Ouseppinte Osiyathu Movie Review : A thought-provoking exploration of family and love

Ouseppinte Osiyathu is a film with many layers—an exploration of relationships between fathers and sons, between brothers, and how childhood trauma shapes people. It delves into societal expectations that place an elder sibling in a quasi-parental role and examines how even those who love each other react when faced with unforeseen tragedy. Debut director Sarath Chandran RJ and writer Fazal Hassan have intricately woven these themes into the plot, making it cohesive and deeply moving, with a touch of tragedy.


Vijayaraghavan (Ousep) has three sons: Michael (Dileesh Pothan), George (Kalabhavan Shajohn), and Roy (Hemanth Menon). Michael and George are married and work as a Tehsildar and a senior police officer, respectively. Roy, quite different from his brothers, is dedicated to social causes.


At various points, the entire family—including Ousep's brother—relies on his wealth. A tragedy strikes unexpectedly, and the brothers spend almost the entire film attempting to cover it up. The conflict is introduced early on, and the spontaneity of the event leaves even the audience shaken. A seemingly inconsequential act leads to a devastating outcome, nearly destroying the family. What makes it all the more chilling is how easily such an incident could happen to anyone. However, the childhood trauma is primarily established through dialogue, making it slightly less impactful.


The emotional turmoil that unfolds makes the film a difficult yet compelling watch. However, there are moments where the pacing lags, with unnecessary lingering that takes up screen time. A little trimming and tighter writing could have intensified the impact. While Michael’s character is well-developed, George’s arc feels somewhat hazy. In the first half-hour, a scene establishes George’s love for his brother through an incident in their hamlet, but later, his emotional turmoil is scarcely explored. Instead, the film primarily focuses on Michael’s unraveling—his bottled-up emotions, the choices taken away from him, a wife who fails to empathize with him (Annie, played by Lenaa) or his siblings, a job he never truly liked, lost opportunities, and his feelings of failure as an older brother. The film leaves viewers reflecting on why elder siblings often bear such immense pressure, a question that lingers long after the climax.


The film also explores how tragedy tests love—and in this case, love endures, which paradoxically makes it even more tragic.


Vijayaraghavan delivers a phenomenal performance as Ousep, a miserly patriarch whose approach to parenting plays a crucial role in the story’s trajectory. When the older son still remembers his younger brother starving himself for two days to get a bicycle—only to never receive it, even decades later—it highlights deep flaws in Ousep’s upbringing. Dileesh Pothan and Kalabhavan Shajohn give excellent performances, while Hemanth Menon, despite limited screen time, makes an impact. However, Zarin Shihab’s role is too brief to leave a strong impression. Kani Kusruti, as a soft-spoken police officer, feels somewhat miscast.


Arvind Kannabiran's cinematography deserves special mention, as he captures the beauty of Peermade while maintaining the melancholic tone of the film, adding layers to the narration and enhancing the tense atmosphere. The film's background music by Akshay Menon is intricately woven into the tense narrative. Sumesh Parameshwar composed the three songs in the film.


Overall, Ouseppinte Osiyathu is a powerful, thought-provoking film that could have been even more impactful with some narrative tightening.