Among the Onam 2025 releases, Dominic Arun’s Lokah Chapter 1: Chandra has emerged as the most ambitious, marking Malayalam cinema’s first full-fledged female superhero film. Starring Kalyani Priyadarshan, Naslen, and Sandy, the fantasy thriller reimagines Kerala folklore with a fresh feminist perspective, setting the stage for what could be the state’s first cinematic universe.
The film introduces Chandra (Kalyani Priyadarshan), a mysterious woman who relocates to Bengaluru after two decades in Sweden. She hides a startling truth: by day, sunlight can burn her skin; by night, she lives with supernatural abilities. Gradually, it is revealed that Chandra is none other than Kalliyankattu Neeli, a legendary yakshi from Kerala’s folk tradition, reimagined here not as a malevolent spirit but as a saviour of the oppressed. This subversion of myth makes Lokah more than just a spectacle—it carries a cultural and political weight rarely seen in Indian superhero films.
What distinguishes Lokah from big-budget Indian fantasy spectacles is its writing. Instead of relying on random mythological borrowings, Dominic Arun and co-writer Santhy Balachandran anchor the story in Kerala’s socio-political history while weaving in humour and emotional depth. The screenplay avoids sermonising, allowing suspense to build organically as the audience pieces together Chandra’s identity through hints—her fangs, her speed, her thirst for blood—before the dramatic backstory reveal.
Visually, the film is striking. Cinematographer Nimish Ravi crafts a textured, restrained palette, while editor Chaman Chakko balances pacing and rhythm to match the story’s tone. The action sequences, choreographed by Yannick Ben, particularly the pre-interval cross-cutting between Neeli’s origin and present events, stand out as some of the most polished ever attempted in Malayalam cinema.
The cast rises to the occasion. Kalyani Priyadarshan delivers perhaps her career-best performance, balancing vulnerability and strength in a role far removed from her earlier films. Naslen, as the carefree neighbour Sunny, brings effortless humour and spontaneity. Sandy, meanwhile, shines as Inspector Nachiyappa Gowda, a corrupt and misogynistic cop who emerges as a chilling antagonist—his transformation into a powered supervillain sets the stage for future installments. Supporting actors, including Vijayaraghavan, Chandu Salimkumar, and Arun Kurian, also contribute to the film’s emotional and comic layers.
The film is not without its flaws. The second half tries to accommodate too many elements—romance, mythology, and universe-building—causing occasional narrative clutter. Some dialogues lack fluidity, and the comedy stretches in the first half don’t always land. Celebrity cameos, while intriguing, feel a bit extended but hint at their importance in the broader Wayfarer Cinematic Universe.
Still, the positives outweigh the shortcomings. Jakes Bejoy’s soaring background score enhances the grandeur, while the layered writing ensures Lokah is more than just a visual feast. By rooting its superhero in folklore, marginalised voices, and feminist reinterpretation, the film succeeds in offering Malayalam cinema something both unprecedented and authentic.
Ultimately, Lokah Chapter 1: Chandra is not about instant payoffs but gradual, consistent world-building. It dares to think big, lays the groundwork for a Malayalam superhero universe, and positions itself as one of India’s finest attempts in the genre. For Kalyani Priyadarshan, it is a career-defining turn. For the industry, it’s a milestone moment.
