c u soon on Amazon Prime Video, with Fahadh Faasil, Roshan Mathew, Darshana Rajendran: A solid mystery that unfolds entirely on a set of screens

Posted on September 1, 2020


The last half-hour is a cracker. The excitement is manufactured simply out of a man trying to get at the bottom of a mystery by staring at his computer screen.

Spoilers ahead…

It’s inevitable that c u soon takes you back to Aneesh Chaganty’s Searching, for the films share a USP. Both are a “missing-persons investigation that unfolds entirely on computer screens,” as the Variety reviewer said. But there’s a second — larger — link. Variety also said: “Cutting to the emotional core of what social media says about us, [Searching is] a time capsule of our relationship to (and reliance upon) modern technology…” c u soon drags this subtext to the now, and adds another layer. It’s a time capsule of our relationships in the COVID-19 era. From the global sprawl of Take Off, Mahesh Narayanan shrinks his vision to a series of screens that span the globe, enabling worldwide access from the confines of homes. We get phone screens, computer screens, VLC media player screens, CCTV screens, Google Maps screens that transport you virtually to destinations across countries and continents… c u soon seems to be asking: Do you really need to step out anymore, even to watch this movie?

The film opens with Jimmy (Roshan Mathew). Correction: The film opens with Jimmy’s phone, as he swipes through pictures of women on a dating app. He’s matched with Anu (Darshana Rajendran). He is in Abu Dhabi. She is in Dubai. It doesn’t matter. While on their phones (and confined by the bigger screen of the tablet or television or whatever), they look like they are in the same physical space. Their interactions look like the conventional shots and reaction shots you’d get when you shoot two people chatting over a drink: hence the credit of “virtual cinematography” in addition to good, old-fashioned “cinematography”. (The former is by the director, who’s also the writer and editor; the latter is by Sabin Uralikandy.)

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