Leo Thaddeus’s Chevittorma (The Soul Whisperer), which recently premiered at the 31st Busan International Film Festival, turns a deathbed into a battleground of ego, sins and unresolved family wounds in this atmospheric Malayalam drama.

The film is set in a hilly terrain in Kerala, where Theresia, played by Pauly Valsan, is known among locals for helping those on their deathbed die peacefully by whispering prayers to them in their final days. At the ancestral home of Varkey, a powerful landlord played by Dileesh Pothan whose health is rapidly deteriorating, she faces an unprecedented challenge: the unrepentant man is neither ready to admit his sins nor willing to let go.

Sins, egos and generational scars

As Theresia tries to heal the wounds in the family, she finds them deeper than they appear, plagued by old tensions and unresolved emotional scars that may be generations old. Varkey is saddened that his son George and his wife never visited him in almost a decade, yet he will not own up to his past mistakes or acknowledge how abusive he was. George, in turn, holds a grudge against Varkey for ignoring his wife, George’s mother, on her deathbed.

The film explores the far-reaching repercussions of aggressive parenting and the childhood trauma that follows, showing how such scars can last a lifetime and repeat across generations. Rather than loud and explosive portrayals, the conflicts unfold in an understated manner, much like the environment the story is set against.

Masterclass in restraint

Dileesh Pothan and Pauly Valsan deliver a healthy face-off of restrained acting. Pothan conveys Varkey’s hidden emotions even through his breathing pattern, while Valsan brings depth to Theresia’s quiet devotion. Swaroop Sobha Sankar’s cinematography uses sunlight and shadows to build the film’s atmospheric essence, and Carlo Francisco Manatad’s patient editing lets moments linger. Iranian composer Milad Movahedi’s understated music amplifies the mood.

Chevittorma stands apart from other deathbed dramas by focusing on the person on the deathbed and his emotional journey, rather than those waiting around him. The film earns 3.5 stars for its well-fleshed-out characters, strong arcs and fine technical craft.