Told in Gabriel García Márquez-style magical realism, director Rohin Raveendran Nair’s new Malayalam short film, Kovarty, is all things curious and quivering. Set in a dreamy fishing village in Kerala, called Thozhuthilmukku, the narrative is characterised by blossoming frangipani, flapping backwaters and the lovelorn typist Daisy, who finds companionship in her clickety-clack typewriter. Written by Vimal Gopalakrishnan and Rohin, Kovarty is among the four shorts chosen in this year’s ‘MAMI Select: Filmed on iPhone’ programme. Rohin – who is also known for his work in Netflix shows like Sacred Games and Black Warrant – was mentored on this project by celebrated actor-filmmaker Lijo Jose Pellissery. Kovarty is available to watch on Mumbai Academy of Moving Image’s YouTube channel.
STORY: Back in the early 1980s, a sub-registrar office in the South Indian state burst into celebration (complete with colorful bunting flags and a band party!), as a carton carrying a typewriter finally reaches its premises on Thony Vasu’s (Satheesh Pulikka) boat. Father Varky (Noorudheen Ali Ahamed) and Kapiar Chacko (Zan Harid) also accompany the parcel. Upon its arrival, newly appointed typist Daisy (Rajisha Vijayan) herself places the typewriter on the table, surrounded by registrar (Jain Kottayam) and peon Manikandan (Shine Jo Philip), among other enthusiastic staff members. The ‘machine’ gets christened as ‘Qwerty’ (symbolising the standard layout on English-language typewriters). However, the name eventually gets transformed into ‘Kovarty’, more in tune with the lilting Malayalam accent. The term also serves as a metaphor for the film’s underlying theme – change.
Bustling with the typical sounds of a typewriter’s keys, margin bell and carriage return, the otherwise quiet office is now the busiest spot in the fishing village. From applications for birth and death certificates to ‘revolutionary’ inter-faith marriages, a kind and composed Daisy patiently attends to every visitor’s request, while continuing to admire the new wonder tool. The plot takes an interesting turn when one evening after the office was shut, the machine starts keying in by itself. Upon that, the pendulum clock on the wall interjects (voiceover by Lijo), teasing the typewriter about stealing the plumeria flower tucked in Daisy’s braid. That’s not her only suitor though. Chacko also seems to have taken a liking to her, but hesitates confessing to her. Daisy, on the other hand, is committed to a certain Solomon, with whom she corresponds via letters.
Things turn bitter when she faces betrayal in love. This, in turn, fuels her fondness for the typewriter, which she finds to be more stable and reliable than an actual human being. But how can a girl fall in love with a typewriter? Wouldn’t that be considered a sin? Jittery and anxious, she spills her little secret in the confession box in church. What follows next determines the centre of the narrative.
REVIEW: Although enamoured of magical realism, Kovarty maintains a straightforward narrative voice. The themes of ‘quiet revolutions’ and ‘fading affections’ inform the storyline, rich in sensory detail. The 30-minute film turns out to be a masterclass in depicting emotional resonance between a human and a tool, complete with a gripping soundscape (composed by Ajay Jayanthi and Suraj Sarawagi; designed by Bigyna Dahal). Filmed in Kavalam (a village in Kerala’s Alappuzha district), Kovarty keeps up a sense of vigour and wonder even while delineating the slow living of a bygone era.
But what’s probably more intriguing than the script itself is the style in which Kovarty has been filmed. Shooting on an iPhone 16 Pro Max meant Rohin, along with cinematographers Swapnil S Sonawane and Sunil R Borkar, could employ different aspect ratios to capture point-of-view shots. Mind you, the ‘interactive’ typewriter is a lead character in the movie. Thus to mimic verticality of a sheet of paper, the 4:3 aspect ratio was used. Meanwhile, to capture the serene essence of the sylvan backwater landscapes, the 2:1 aspect ratio came in handy. Nostalgia and poetic charm being important plot devices, black-and-white and colour schemes were used interchangeably to highlight the mood of every sequence. To smoothen the edges and add a subtle glow around highlights, the bloom filter turned out to be useful. Editor Shweta Kamat’s contribution also deserves a special mention.
Rajisha is vibrant and distinctive as ‘Kovarty Daisy’, making a statement in printed sarees and oiled hair. Her naivety and emotional resilience jostle for space as the actress puts a memorable act. Even at a time when collective conscience would dictate ‘penance’, Daisy values her inner voice and registers her silent resistance against social norms. She sees the typewriter as a ‘hero’ that has helped in bringing a paradigm shift in her remote village. Zan and Satheesh are also brilliant as Chacko and ‘Boat Vasu’, respectively. A quirky plotline, playful camerawork and fleshed-out characters make Kovarty an immersive cinematic delight.
VERDICT: Watch Kovarty for its imaginative storyline, compelling performances, tactful editing and a spool of monochrome and colour sequences. Rohin Raveendran Nair reinterprets the poetic charm of Kerala’s luscious hyacinth-covered backwaters, complete with a minimalist narrative and magical detailing.
Kovarty
Writer: Vimal Gopalakrishnan and Rohin Raveendran Nair
Director: Rohin Raveendran Nair
Cinematographer: Swapnil S Sonawane and Sunil R Borkar
Mentor: Lijo Jose Pellissery
Cast: Rajisha Vijayan, Zan Harid, Satheesh Pulikka, Jain Kottayam, Shine Jo Philip and Noorudheen Ali Ahamed, among others
Rating: 4 stars
