Malayalam actor Tovino Thomas' film Identity has set a remarkable tone for Malayalam cinema in 2025. It has effectively demonstrated the potential heights the industry can achieve when quality content and visionary direction receive strong support from producers. Featuring notable performances from Trisha Krishnan and Vinay Rai, the film further solidifies the notion that productions led by Tovino Thomas consistently offer fresh and engaging experiences for viewers in theatres.

In an exclusive interview, the star of Minnal Murali and Thallumaala discusses his collaboration with directors Anas Khan and Akhil Paul, the challenges encountered during the filmmaking process, and the importance of honouring the sensibilities and intelligence of contemporary audiences.

When Akhil and Anas pitched you the script of Identity, what made you believe that this was possible to do within the constraints of budget that Malayalam has operated in so far?

My primary concern was whether I could convincingly embody my character. I had full faith in their ability to organize and execute this project. I witnessed the challenges they faced in bringing Forensics to fruition. The film did not receive the typical pre-production period, yet they managed to complete it due to their unwavering commitment. Regardless of the film's outcome, I have no regrets about collaborating with them, as they are individuals who invested significant effort, which also bolstered my confidence in the project.

When they presented the story to me, I inquired, "If we proceed with this, will the audience be persuaded?" I have mentioned before that my capacity to portray diverse characters stems from the greater confidence my directors have in me than I possess in myself. I experienced tension at various points throughout the process. It is a testament to their skill that they enabled someone like me, raised in Irinjalakuda, to convincingly portray the character of Haran, who possesses his own unique strengths and a distinctly different personality.

Your portrayal of Haran in the film didn’t need to be heroic – for the majority of the film. You needed his character to be discreet in a sense, so that the revelation of who he is, packed a punch. As an actor, what were your inputs to define Haran’s personality, without making it too plain?

The inclusion of obsessive-compulsive disorder in his character was intended to obscure the ultimate revelation. My experiences with numerous individuals in the same field as Haran compel me to refrain from disclosing the profession, as it would constitute a spoiler. However, I can assert that these individuals often lack the emotional range and vulnerabilities that are common among others.

Portraying this character in a particular manner proved to be challenging. For example, one cannot effectively convey 'swag' without engaging in arm movement. I am referring to my own approach to the role. The robotic nature of my character's walk is a reflection of his OCD, the limitations imposed by his profession, and the trauma he endured during childhood. It is possible that his father reprimanded him whenever he moved his arms freely, which has significantly shaped his character.

There’s a lot of similarities in your character as well as Vinay Rai’s, except for the intentions. How much did working together evolve both your characters because both the hero and the villain aren’t the over-the-top kind that we are used to seeing?

Vinay Rai is a remarkably astute actor, possessing an extensive knowledge of cinema. He serves as a comprehensive resource for film recommendations, particularly those from Hollywood's golden age. His ability to recall each scene and performance with clarity is impressive; he is an avid consumer of movies, documentaries, and series.

He expressed a preference for a collaborative working style akin to that found in Malayalam cinema. We engaged in numerous discussions, as the film required our characters to align at various points—most notably in the scene where Trisha's character experiences confusion between us. Consequently, we needed to maintain a consistent rhythm in our performances.

Identity is not a flat film to watch; it has got its set of complexities, and it respects the viewers’ intelligence. Be it Kala, Naradan or Ajayante Randam Moshanam, your films haven’t undermined the audience. Does that come from your perspective as an artiste who wants to make smart films or as an audience member who doesn't want things to be dumbed down?

1. I often contemplate the essence of cinema. It transcends mere box office revenues; it is not solely a platform for directors and their teams to exhibit their talents for personal gratification, nor is it exclusively about the creation of art for its own sake. While it encompasses elements of all these aspects, its foremost purpose should be to engage and entertain the audience.

In an era where viewers are increasingly exposed to international films, it is imperative not to underestimate their intelligence when crafting a movie. The vast array of 200 films I can view or books I can read is readily available to audiences worldwide. Therefore, one cannot afford to take this accessibility for granted.

Cinema profoundly shapes our perspectives and lifestyles; this is an undeniable truth. Thus, when I refer to entertainment, I imply more than just enjoyment in theatres; it should also provoke self-reflection and introspection.

So, you will always back intelligent films and you would always bat for content for evolved audiences?

If the preferences and sensibilities of our audiences are changing, I would have no cause for disappointment. Only my poorly received films would fail to resonate, and I would not dwell on that. In the event that a subpar film does not succeed, I would not hold the audience accountable. However, when a quality film, such as Guppy, does not perform well, that presents a different situation. It is essential for viewers to give worthwhile films an opportunity and to make an effort to watch them.

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