Sharan Venugopal, the director of Narayaneente Moonnaanmakkal, took an unconventional route to the world of cinema. Unlike many filmmakers, he had limited exposure to films during his upbringing in northern Kerala. It was during his engineering studies that he discovered his passion for filmmaking. His short film, Oru Paathiraa Swapnam Pole, created as a student project at the Satyajit Ray Film & Television Institute, earned him a National Award. Currently, Sharan is preparing for his feature film debut, Narayaneente Moonnaanmakkal, set to be released on February 7, 2025, featuring prominent actors Joju George, Suraj Venjaramoodu, and Alencier Ley Lopez in leading roles. In an exclusive interview with OTTplay, Sharan discusses the process of assembling a dream cast for his debut feature, his award-winning short film, and more.

Narayaneente Moonnaanmakkal director Sharan Venugopal interview

Your debut feature film, Narayaneente Moonnaanmakkal is set to be released on February 7, 2025. Could you provide further insights into the project and your expectations?

Narayaneente Moonnaanmakkal is a family drama that delves deeply into emotional themes. While I cannot disclose much more at this time, I encourage audiences to experience the film in theaters. I do, however, feel very optimistic about the project.

How did the project come to fruition, and how did the three principal actors—Joju George, Suraj Venjaramoodu, and Alencier Ley Lopez—join the cast?

The initial concept for this project was conceived in 2018 when I was a student at the Satyajit Ray Film and Television Institute. The writing process unfolded over several phases and included some interruptions, particularly due to the Covid pandemic. I completed the first draft in 2021. During the writing phase, I envisioned these actors for the roles. I first discussed the script with Joju chettan, who expressed his appreciation for it and found it very relatable. This positive feedback bolstered my confidence, leading me to approach Suraj chettan, who also responded favorably. Eventually, Alencier chettan joined the project as well.

Could you elaborate on your experience collaborating with Joju Goerge, who has since taken on the role of director, and Suraj Venjaramoodu?

My experience was quite positive. At the time, Joju chettan had not yet directed Pani. Following our project, he became involved in its production. Working with them was a pleasure, especially for a debut director, as it represented an ideal cast. I was thrilled to collaborate with such talented individuals and gained significant insights throughout the process. Although I had some experience from my time at the institute, entering the industry presented a different set of challenges, and their support was invaluable in helping me adjust. This assistance extended beyond just the three of us to include the other cast members as well.

The film was initially scheduled for release on January 16, 2025, but has now been postponed to February. What prompted this change?

The pre-production phase commenced in 2022, with filming beginning in 2023. During this period, there was a change in producers, and Joby George Thadathil from Goodwill Entertainments joined the project. After he took over, we successfully completed the film. Although we initially announced a January release, we needed to consider additional factors and ultimately decided that February 7 would be a more suitable date.

Prior to Narayaneente Moonnaanmakkal, you directed a short film titled Oru Paathiraa Swapnam Pole, which won the National Award for Best Film on family values. Your feature debut also centers on family drama. What influences your choice of this genre for both projects?

There is no specific reason for this choice. Oru Paathiraa Swapnam Pole was not originally conceived as a family-oriented film; it focuses on the journey of the female protagonist (Nadiya Moidu), with family values emerging as a theme. Narayaneente Moonnaanmakkal, however, diverges significantly from that narrative. Set in Koyilandy, Kozhikode, my primary focus was on the environment, and the story evolved organically through the characters and their interactions. What truly captivates me are the dynamics of interpersonal relationships. In the short film, the emphasis was on the mother-daughter bond.

You have both written and directed your projects. Is this indicative of your filmmaking approach?

That is indeed my preference. Writing is an activity that greatly inspires me. However, I would also be interested in directing a film that has been penned by someone else.

Your debut short film featured Nadiya Moidu in the leading role. How did you manage to secure the participation of such an esteemed actress while you were still a student at the institute?

From the outset of writing the short film, I envisioned Nadiya Madam in the lead role. Initially, I hesitated to approach such a prominent actress for a student project. Nevertheless, my team was very supportive, and I reached out to her. She requested the script, and upon reading it, she expressed her enthusiasm. We faced numerous constraints while working on the project, so her willingness to participate in a student endeavor was a significant gesture, especially considering I was still identified merely as a student at that time.

Winning a National Award, did it facilitate your entry into feature filmmaking?

Entering the film industry is no simple task; it is a challenging journey that every aspiring filmmaker must navigate. The duration of this journey may vary for each individual. However, when I approach an actor, I often mention that I created a short film that received a National Award. This serves as a form of credibility. Nevertheless, I cannot definitively say whether it has been beneficial in my career; I remain uncertain on that front.

Your short film featured female protagonists, while your feature debut centers around three male characters. How do you approach writing for male and female characters?

Prior to Oru Paathiraa Swapnam Pole, I had produced short films during my time at the institute that also highlighted female protagonists. Crafting female characters as a male writer presents unique challenges, as one must be cautious to avoid the male gaze. Yet, I find it quite fascinating to delve into their psychology. In Narayaneente Moonnaanmakkal, the narrative extends beyond the three sons, incorporating a diverse array of male and female characters. Generally, it tends to be easier to write about male characters, particularly in terms of their reactions to various situations and understanding their psyche.

You have expressed a desire to explore interpersonal relationships through your films. What other themes or genres are you interested in pursuing?

In my filmmaking endeavors, I aspire to explore a wide range of genres. I enjoy consuming films of all types, whether they are comedies or action-packed narratives. I am eager to experiment with various styles, including mass entertainment and commercial cinema.

You pursued your studies at the Satyajit Ray Film and Television Institute following the completion of your BTech. What prompted your interest in filmmaking, particularly considering your admission that you did not watch many films during your childhood?

There is often an inherent allure towards things that are not readily available to us. My serious interest in filmmaking emerged during my engineering studies in Thiruvananthapuram, a city I relocated to from Kozhikode. Thiruvananthapuram boasts a rich film culture, replete with numerous film festivals, which introduced me to diverse cinematic expressions. As I engaged in creating short films, I discovered that the language of cinema resonated with me more profoundly than any other artistic medium. This realization led me to enroll in the Satyajit Ray Film and Television Institute.

Who are your preferred filmmakers and writers from the Malayalam film industry?

Adoor Gopalakrishnan stands out as one of my favorites, particularly for his films such as Anantharam and Elippathayam. I also hold a deep appreciation for Aravindan's Kummatty. Among contemporary directors, I admire the works of Dileesh Pothan, as well as Girish AD, whose film Premalu I found particularly enjoyable. In terms of writers, Syam Pushkaran is certainly among my favorites, along with Christo Tomy, who directed Ullozhukku. He is a senior from the institute, and we occasionally discuss various projects.

What projects do you have in the pipeline?

At present, I am engaged in a film project that is being co-written by two of my friends, for which I will take on the role of director. However, it is premature to disclose specific details. The script has been finalized, but we have yet to commence pre-production. The film is intended to fall within the comedy/thriller genre, a category that is widely appreciated, and I found myself laughing quite a bit while reading the script.

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