Paradise Review: A Layered And Strong Narrative Supported By Powerful Performers In The Lead

Writer-directer Prasanna Vithanage has woven together a complex tapestry that effortlessly handles two parallel narrations - one, the slowly-building tumult in the couple's relationship as various undercurrents finally become obvious to each other; and the other is a serious yet sometimes tongue-in-cheek commentary on Sri Lanka, and its crisis. At many points, personal does become political in this film. The way the director has chosen to communicate this through his two primary characters, and a play on the dichotomy of the Ramayana story is impressive. Cinematography by Rajeev Review, supported by A Sreekar Prasad on editing plays strong pillars to this masterful story-telling. The cinematography, especially, and how it switches from the languid and easy background of Sri Lanka from a holiday point-of-view, to how these very same visuals gain intensity as the plot does too, was an excellent way to shift the mood of the audience using such visual cues. Music by K is mellow and unobtrusive. It blends in with the visuals so effortlessly.

Of course, the two primary characters in the film have the two most primary spots to highlight their own performances. The personal parallels and points of view that the director poses using the Ramayana as a significant narrative trope could be carried out so well only because of the convincing performance of his two lead actors. Darshana just blends in as Amrutha, a breezy, effortless representation of her character's arc. Roshan Mathew takes the audience through a rollercoaster of varying opinions and questions regarding his character. Another notable performance is actor Shyam Fernando, who plays a link between the couple and the "world outside".

Paradise is a hard-hitting watch with a lot of layers to its characters and parallel points of view. The film is a slow burn that seeks to make a point that is as layered, and manages to engage you with its narrative in the process.