Jeo Baby's influence is palpable in the latest anthology from Malayalam cinema, Freedom Fight, despite having directed only one segment. As a presenter of the project, he has inspired the other five filmmakers who contributed to the collection. The filmmakers have fearlessly explored new narrative terrains, resulting in films that each have their own distinct tone and style. The end product is a testament to the efficiency of a group of filmmakers who work tirelessly to deliver a product that is free of limitations and conventions. It is like giving school children permission to use their playground for any purpose they desire. It is a fitting tribute to the title of the project, Freedom Fight. However, the collection may not be suited for a big-screen release, as it is best experienced as a whole. Once you watch it, you will understand why.

Directors: Akhil Anilkumar, Kunjila Mascillamani, Jeo Baby, Francis Louis, Jithin Issac Thomas
Cast: Rajisha Vijayan, Renjit Sekhar Nair, Srinda, Joju George, Rohini, Jeo Baby, Kabani, Unni Lal, Sidartha Siva
Streaming on: SonyLIV

In Freedom Fight, which explores various themes such as class, caste, gender, power, marital, and health issues, the dominant emotion is frustration, often experienced from two opposing perspectives. On one hand, there are those who are frustrated by the oppressive conditions that they must endure in their daily lives or work, while on the other hand, some feel frustrated because their irresponsibility is now being called into question. After watching Freedom Fight, I found myself pondering many things, but it would be difficult to articulate them all here. I am confident that upon revisiting or reflecting on it later, new thoughts will arise.

Geethu Unchained, the first film in the anthology, stars Rajisha Vijayan and Renjit Shekar Nair. Vijayan portrays a woman who is hesitant about entering into a relationship due to the issues that the men around her seem to have. Fresh off a breakup, she is approached by a nervous co-worker (Nair) who proposes to her. Initially scared, Nair's character exhibits various facets of his personality, making it seem as though he is playing multiple roles at once. Geethu's home environment is stifling, with pressure coming from her father, mother, and brother. Meanwhile, she must navigate the changing psyches of the men in her life. While the story is not entirely new, filmmaker Akhil Anilkumar uses innovative editing techniques, including close-ups, inserts, flashbacks, alternate scenarios, and a surprising twist ending to give it a fresh perspective.

One of my favorite films in the anthology is The Unorganised, directed by Kunjila Mascillamani. The story follows Srinda, a salesgirl in a textile shop who, along with other working women in the area, struggles with the lack of toilets in their workplaces. The film is refreshingly candid in its portrayal of a woman's daily struggles and touches upon various gender-based issues without feeling forced. The degree of humor used in the film is remarkable, adding levity to raw conversations without being intrusive. Kunjila skillfully uses humor to highlight the interactions between Srinda and another woman, providing an opportunity to educate without preaching. This mini 'school' session is particularly effective in showcasing the women's ignorance of certain matters. I know that I will revisit this film many times in the future.

In the third film titled "Ration," Jeo Baby plays one of the main characters, portraying a husband who is struggling financially. The story revolves around a couple who face a harmless mistake caused by their child. Although it may seem trivial, the couple is deeply affected by the situation. The film is directed and edited by Francis Louis, the editor of The Great Indian Kitchen, and presents a dilemma that could have been resolved easily if one party communicated more directly. However, they end up complicating things further by taking a long and anxiety-inducing route that temporarily fixed the issue in their eyes but made it worse for us viewers. The film's final shot leaves the audience questioning and feeling like it was a missed opportunity, as they wonder what could have been done differently.

In the fourth film, Old Age Home, directed by Jeo Baby, we witness yet another stunning performance by Joju George, showcasing his impressive acting abilities. His portrayal of a middle-aged man struggling with the early stages of dementia is so powerful that it is safe to say that he is now in the league of legendary actors like Mammootty and Mohanlal. The film's theme deals with the typical behavior of an aging patriarch, who, in their youth, takes advantage of their dominant position but seeks sympathy in old age by highlighting their frailty. The character establishes a special bond with the house help, played brilliantly by Rohini. Jeo Baby's approach in this film is entirely different from The Great Indian Kitchen, almost like an MT Vasudevan Nair film interpreted by Jeo. The contrast in styles adds another layer to the anthology, showcasing the versatility of the directors involved.

The final film, titled Pra. Thoo. Mu, is guaranteed to leave you with at least a chuckle once the expanded form is revealed during the final credits. This film is the angriest of the series and is presented in black-and-white, which reminds me of Martin Scorsese's decision to shoot Raging Bull in grayscale to lessen the impact of the blood in the boxing scenes. It's possible that Jithin Issac Thomas opted for the same format, but it's not to tone down the effect of blood. Instead, the bodily secretion in this film is of a different color and consistency. The plot revolves around septic tank workers rebelling against a despot and performing blood-boiling acts of retribution, intensified by zooms and freeze frames. Unni Lal and Sidhartha Siva deliver fearless performances that complement the intense storyline.