Ditching the three-act story structure, the genesis of Churuli (as a setting) is solely based on a folk story which also becomes the opening scene with a foreboding narration. That’s the spark! Throughout the film, there are no foreseen answers, precisely, the payoff is not guaranteed but, it is the mystical and magical world of Churuli that leaves us intrigued.
The film opens up with two undercover cops, Shajeevan and Antony, on a mission to chase down an evasive criminal who has taken refuge in the village of Churuli, which is detached from the outer world and is enticing, moreover mysterious.
Nearly 20 minutes into the film, our protagonists or the men on a mission, reach the base of Churuli along with a group of amiable village locals. And that’s where Lijo Jose Pelliserry drops the first twisted bomb! Upon entering the borders of Churuli, the seemingly helpful locals detach themselves from their amiable disposition. Their tune changes, they begin to converse in an expletive language, dropping off their moral code just before the borders of Churuli. And it states that we have entered the setting, that is all evil!
As Shajeevan and Antony delve in the locality as laborers, they get well-versed with the unpredictability of the peculiar villagers, one of whom might be the culprit they want to hunt down. The overall absurdness of Churuli and it’s characters is what transcends into a bizarre maze, the time loop.
Furthermore, we see a change in the nature of our protagonists, which in a bit, foreshadows an undefined ending. And before the film reaches its end point we are drawing parallels between the main plot and the folk fable that acted as a prologue.
For viewers, the real journey begins with the film’s conclusion as we scout for answers, understand the absurdity of Churuli and the Kafkaesque storytelling of Lijo Jose Pellissery.
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