6 minutes of readingUpdated: February 5, 2026 08:07 pm IST
Aashaan Movie Review: How far would one go to show their love for their favorite actor? Well, Aashaan (Indrans) might be undergoing a long dialysis treatment for his kidney problem, but his mind has refused to give in until he has been transfused with the blood of his screen idol, Kamal Haasan. He borrows money if necessary, bribes middlemen, and generally goes to a lot of painstaking efforts to get the job done.
The same effort is dedicated to making another of his dreams come true: acting in a movie at least once in his life. So when the desperate Anandan (Joemon Jyothir) knocks on his door asking for permission to use his intriguingly designed apartment for a film shoot, Aashaan’s eyes shine with hope. Why Anandan needs that specific Kochi building for the shoot is a story of its own. It turns out that the only way to land the role of assistant director to famous filmmaker KR Shajahan (or KRS, played by Shobi Thilakan) is to fulfill a singular demand: find an apartment that has a well inside it! Aashaan’s circular interiors offer that look of the period horror drama being prepared, and he accepts Anandan’s request to negotiate a role in the film.
Johnpaul George’s Aashaan is the story of two wide-eyed dreamers who exist in two totally different phases of life. Anandan’s sweaty desperation stems from the fact that he abandoned his house for a target that doesn’t have many takers. You may have nothing to lose when you’re young, but to move up in an industry that doesn’t offer free favors, you know you have to take advantage of everything that comes your way. If that means exploiting a fellow human being, so be it, says Anandan.
On the contrary, Aashaan has the perfect life: comfort after retirement, the love and respect of neighbors, and a general goodwill that should not be compromised. However, his dreams draw him in like never before when a massive film crew lands at his apartment and dispenses the cinematic magic that has always eluded him. KRS agrees to give him a supporting role, that of a postman with a solitary dialogue, and the dream itself comes within Aashaan’s grasp. Or is it really?
Aashaan is a meta exercise in the many vibrant aspects that go into making a film. A male superstar (played by Bibin Perumbilli) refuses to take off his wig. An ever-furious sound designer finds the apartment’s acoustics inadequate. A team of assistants moves feverishly from one task to another, without having a fair chance to learn the trade. A director has pledged his house as a last resort to save his dwindling reputation. Aashaan and Anandan aside, the film offers a fun, yet tender, glimpse into the collective life of a film set, one that depends so much on chance and chaos that all notions of glamor and bravery go completely out of the window.
The first half, in particular, is effervescent and full of humor. The scenes showing the behind-the-scenes action of the movie theater are efficient in maintaining a good pace, while the interpersonal dynamics of the team involved test morale and loyalties. He overlooks the constant exploitation of Aashaan’s kindness only in the hope of availing the acting opportunity that Anandan deceitfully promised him. The latter, in return, struggles to keep his sanity and temper in check as the pressures around him increase. Johnpaul George is aware of walking a happy path despite having an emotional core that boasts shock, but one senses that something will give sooner rather than later. Comically, that moment occurs in the form of Aashaan’s performance that doesn’t turn out the way he always imagined.
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And this particular part of canning that harmless scene becomes the highlight of the movie. From Aashaan incessantly practicing the solitary dialogue, “It was raining outside,” to the superstar actor feeling insecure about his popularity among the apartment residents, a sense of something dramatic swirls in the air. It helps that a comedic talent like Indrans knows exactly how to communicate the problems of a non-professional actor, without even caricaturing the character. Indran’s empathetic performance becomes the fulcrum of the film, which appropriately wants to underline the importance of sincerity and innocence in the process of creation.
At the same time, the writing fails to fully capitalize on its many interesting ideas. A significant turn of events during the interval block pushes the second half in a rather enterprising direction, forcing Anandan and Aashaan to come together to make their own film. The whys and hows behind this new direction are the crux of the story, but it nonetheless promises to strongly defend the underdog. However, the potential behind it all seems a little unrealized when the writing begins to outline its central themes, rather than exploring them in any depth.
Consequently, the last section of the film is overcooked, even if it seems serious. When things finally align for the two protagonists, Johnpaul’s own ambition begins to grow out of control. A significant portion of the second half follows the film put together by the two men, and as much as we are impressed by the efforts, elaborately shown as the film (within the film) about the fateful life of a Kathakali dancer, the question of expediency arises implicitly; Why was it so easy, after all, for Anandan to make a film worthy of being screened at a film festival? Aashaan, ultimately, is a good-natured film that rarely disappoints us and is packed with heartfelt moments from start to finish. It tugs at our heartstrings without trying too hard, but in that search, unfortunately, it also lets a stronger, more meaningful story slip through the cracks.