LANGUAGE IN INDIA

Strength for Today and Bright Hope for Tomorrow

Volume 25:4 April 2025
ISSN 1930-2940

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         Pammi Pavan Kumar, Ph.D.
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Watching Churuli as a Tale of Hybrid and Liminal Spaces

Vidyasree B, Research Scholar and Prof. K Madhavi


Courtesy: https://en.wikipedia.org/wiki/Churuli

Abstract

This study explores the relevance of spatiality in the Malayalam film "Churuli" directed by Lijo Jose Pellissery. The paper highlights role of spatiality in meaning making and how contemporary Malayalam movies move away from the conventional studio locations and bring in newer and more vibrant settings, which engage the audience more. In "Churuli," the dreamlike storyline traces the adventures of two undercover policemen, Shajeevan and Anthony, who are chasing a criminal. The location of Churuli itself becomes a character, taking an active role in shaping the unfolding of the plot. The proposed contention is that the location gains meaning, turning it from a backdrop into an essential element of the film experience. Finally, the research assumes that investigating hybrid and liminal spaces in "Churuli" not only improves the viewing experience but also acts as a broader reflection of themes of identity and belonging across contemporary art.

Keywords: Churuli, Malayalam movie, Spatiality, Liminal spaces, Hybrid spaces

The question of where, now, more than ever, precedes the when and how in literature and films after the spatial turn that happened gradually. Where we live and when we live can be, at times, two of the most important factors when it comes to art. Take for example, James Joyce’s works. In his words, “I want to give a picture of Dublin so complete that if the city suddenly disappeared from the earth, it could be reconstructed out of my book.” Thus, when artists become conscious of a sense of the place they are attached to or are interested, a geography, real or imagined, it gets reflected in their works significantly.

It is only in recent times that movies started moving out of the premeditated and closed spaces of studios. Places like Hollywood or Ramoji Film City in Hyderabad or Merryland studios in Thiruvananthapuram is still used, beyond a doubt. However, more effort in terms of concepts as well as visuals has been undertaken to make the film experience deeper. This is true in the case of Malayalam movies as well. See for example, some of the popular movies like Kumbalangi Nights or Angamali Diaries which have two places in their titles itself which are Kumbalangi (a village in Ernakulam district of Kerala) and Angamali (a town in Thrissur district of Kerala), respectively. It is a matter worth noting and discussing that, movies are slowly shifting their gaze towards non-city areas.

Movies set in familiar cities have invaded our film viewing culture so much that every time a new movie that does not use erstwhile Victoria Terminus to represent Bombay or Chennai Central Railway station’s heritage building to show Tamil Nadu gives a fresh relief. Not just as a mere setting, a place acquires layers of meaning when it becomes an integral part of a movie. In this paper, the setting of Churuli, a 2021 movie directed by Lijo Jose Pellissery, is being analysed.

This is only the beginning part of the article. PLEASE CLICK HERE TO READ THE ENTIRE ARTICLE IN PRINTER-FRIENDLY VERSION.

Vidyasree B, Research Scholar
Department of Humanities and Social Sciences
National Institute of Technology Warangal, Telangana, India 506004
bvidyasree@gmail.com

Prof. K Madhavi
Department of Humanities and Social Sciences
National Institute of Technology Warangal, Telangana, India 506004
madhavik24@nitw.ac.in
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