Feature Films

Swayam (Malayalam/2017)

The story is about a German Malayali family,Abey and Agnes . They have a ten year old son, Maroon, who is autistic. Agnes doesn't sit crying about her son. She acts bold, discovers the talents in him. Later, Agnes has to take up all the responsibilities for the sake of bringing up their son. Maroon is good at football. Agnes dreams about to make his son socially competent and encourages him to excel in football.
Direction & Screenplay: R.Sarath
Producer: Vinod Balakrishnan
Story & Dialogues: R. Saratht & Sajeev Pazhoor
Assistant Directors: M.Chandramohan & Dr. Titus Lassar
Cinematography: Sajan Kalathil

BUDDHANUM CHAPLINUM CHIRIKKUNNU

Buddhanum Chaplinum Chirikkunnu (English: Buddha & Chaplin Smile) is a 2014 Malayalam film directed by R. Sarath. The film stars Indrans in the lead role and co-stars Jagadheesh, Nedumudi Venu, Nandhu, P. Balachandran, Praveena, Sharvari Jamenis, and Malavika Menon in supporting roles.It is a hundred years since Charlie Chaplin, artist nonpareil, appeared on the silver screen mesmerising audiences across the globe. His signature moustache and derby that have left their indelible imprint on the annals of film history. Buddhanum Chaplinum Chirikkunnu is a film that pays homage to Chaplin at the centennial commemoration of his acting career.
Cast: Nedumudi Venu,Indrans, Jagadheesh,Nandhu, Praveena, Malavika Menon
Direction & Screenplay: R.Sarath
Producer: Jyothikrishnan, Dr.Sumithran, Lakshmipriya
Cinematographer: Sajan Kalathil

Parudeesa (Malayalam/2012)

The story revolves around a catholic priest at a high range village parish and the verger there, while the priest follows a conventional path in everything, the verger is of a progressive approach. The cook at the nearby convent, unmarried young woman and a local big shot play significant roles in the narration. The story is treated in a satirical way and Sarath turns to be in the mainstream.
Cast: Sreenivasan Thampi Antony, Jagathy and Sweatha Menon
Direction: R.Sarath
Producer: Thampi Antony
Screenplay: Vinu Abraham
Cinematographer: Sajan Kalathil

The Desire - 2011

The story of The Desire mainly revolves around Gouthami, an accomplished Odissi dancer and Jai Leang, a talented artist. They get introduced to each other during Gouthami’s tour of Malasia for a performance. The film follows the journey of their respective lives until they’re brought together. Gouthami’s life revolves entirely around dance. She channalizes all her desires into this art form which we considers pure and sacred. Gouthami comes across as a strong, calm, determined women of substance who is untouched by the attention showered on her by her numerous admires. She believes she’s here for a purpose which is dance and this means everything to her. She blocks all other thoughts from her mind focusing all her energies on her art. Jai leang, a young painter and sculptor, is of mixed parentage, with a Chinese father and Malay-Indian mother. She lives in KualaLumpur. His art is highly influenced by the communist culture prevalent in China during his childhood. Jai is an introvert, whose passion towards his beliefs is revealed in his art. Gouthami’s grace and charm appeal to Jai immensely and he begins to fall in love with her. She doesn’t reciprocate his feelings initially and returns to India shortly after her performance in KL. Though she doesn’t admit it to him, Jai does leave an impression on Gouthami’s mind. A couple of years later, Garysukarno, self styled cultural impresario based in KL organizes an exhibition of Jai’s paintings and sculptures in Mumbai thus bringing Jai to India. On his arrival he begins his quest for Gouthami and travels all over the country in hope of finding her. He eventually finds her in a monastery with a 4 year old boy. They meet after her initial disinterest to see him. She even consents to him painting a portrait of herself. That night turns out to be very memorable and fateful for two of them and transforms Gouthami’s life for ever. Colourful characters like Musui, a boy in his early teens adopted by the Nrityagram inhabitants, Nalini, a Lesbian who longs and desires for Gouthami in vain, satisfying herself with other dancers, Frederic Norman Souza, an accomplished, witty artist add an interesting aspect to the story.
Essentially, The Desire is a passionate film mainly dealing with dance, music, art, culture and emotions.
Cast: Shilpa Shetty, Xia Yu, Jayaprada, Vikram Gokhle, Sheetal Menon, Nakul Vaid, Aasif Sheikh, Bikramjeet, Bijay Lakshmi, Shweta Khanduri, Vinayak Gananya and Anupam Kher.

Purani Dun (Hindi/2008)

The first Hindi short film by R Sarath takes a look on the expatriate Indians’ and their second generations’ relationship with India. The screenplay is written by Zaker Syed and R Sarath based on a Gazal by Capt.Suneer Hamsa.
Banner :Indish Creations
Produced by: Capt.Suneer Hamsa
Directed by: R.Sarath
Cinematography: Praveen Panicker,James Bava
Music: Saurav Bhatt
Cast: The key role is enacted by Grammy award winner and Mohan Veena maestro Vishu Mohan Bhatt.The support cast includes theatre exponents Joseph Ouso (USA), Veena Babu (UK) and Irine Maria (Germany) along with Mohohar Keshkar, Jumma Mukherji, Kasturi, Shivani, Abhiram Sarath and Gouri Krishna.

Seelabathi (90 mts)- 2005

Over-exploitation of natural resources in the name of development. Sexual abuse of minor girls. These two themes from the social life of present-day Kerala run parallel in writer-director R.Sarath's Seelabathi. Huge machines extracting water by boring deep into Mother Earth shatters the quietness of the village. This leads to scarcity of water in the village. Two school girls go missing. One of them is found raped and later dies in hospital. The story of the film revolves around the experiences of two young people who come from outside the village. One is Seelabathi (Kavya Madhavan), the computer teacher who involves herself in the problems of her girl students, and the other Dr. Jeevan (Sunil), the kind and caring doctor at the government hospital. Sarath attempts to portray hoe the simple rustic life is being destroyed by the llustful and greedy ways of those who clamor in the name of modernity and development.
Kavya Madhavan gives a creditable performance as the main character, Seelabathi. Sunil acts with ease his role. C.K. Babu as the farmer gives expression to the sad plight of the farming community.
Indran's Bengal Basu is a dig at Leftist rhetoric. Lyrics by Prabha Varma are set to music by Ramesh Narayan.
A highpoint of the film is Anand Balakrishnan's camerawork capturing the charm of the scenic village. Radhakrishnan Nagavally for Rhithu Films produced the film.

Divine Love (20 Mnts) 2003

The Concept
Art historians have depicted Raja Ravi Varma, the World-renowned Indian painter as having been influenced by the classical European tradition of portraits and drawings. But during my research for the documentary film 'The Painted epics' for The Indira Gandhi National Center for Arts, New Delhi, I some hitherto unknown murals in the family temple of Ravi Varma. These wall paintings are in the royal temple of Kilimanoor palace near Thiruvananthapuram the place where Ravi Varma was born and lived till youth. I found some similarities between Ravi Varma's work and the rich mural tradition of Kerala. Art history books hade no knowledge of these family temple murals. Further research strengthened my belief and I discovered the painting in a haphazard manner. In this temple poojas are hardly conducted now. So these paintings remained almost undetected.
The silent expressions in these temple murals conclusively prove this admiration of classical art forms. Most of the figures appear like sequences from performing arts. So Ravi Varma's creativity must have been influenced by our traditional art forms. Hence I decided to make a documentary on Ravi Varma's creativity, which is highly influenced by the classical art forms in our tradition. It is evident that regular Theatrical art performances were staged in his place. This influence might have been precipitated.
The Treatment
How Ravi Varma portrayed his divine characters? How Ravi Varma was being inspired by the performing arts staged in his palace during his boyhood days? How did his imagination take off from the sequences of divine love in our performing arts? How he could create 'shringara rasa' in his characters and always prefer love affairs and highly sensuous heroines? How he depicted the spiritual feeling and erotic surrender in pictorial narrative? How his imaginative faculty was aroused with the performances like Mohiniyattam, Barathanatyam, Koodiyattam, Kathakali etc.?
The total treatment is inter cutting Ravi Varma's paintings with the performing art forms which influenced him. For example Radha with raised hands and face titled towards the sky is in a spiritual ecstasy - Radha. Ravi Varma is successful in establishing a relationship between women and nature both having the fecund qualities of vegetation and life - Sakunthala.
The other aspects of influence he inherited from the traditional art are the light effects and violent passions. The flame of the art is the source of light illuminating the faces as well as imparting them expressions and age differentiation while simultaneously establishing the solemnity of the occasion. The strong vertical shaft of light crossed by several diagonally inclined light effects implies violent passion. Do these pictorial narratives have their roots in the 'nritya and nritya' of the Indian Classical forms?

Sthithi (The Plight) (95 mts)- 2002

By concentrating on a family at the time of a small politically-oriented upheaval in the state, Sthithi deals with the problems that have ideological significance and global repercussions. The events depicted are based on actual facts and because of the close proximity in time of real and the pictured incidents it indicates the audience the real problem and its aftereffects. The film ends disclosing the pitiable and ignoble 'sthithi' (state) of an average young family.

Sayahnam (Twilight) (90 mts)- 2000

Sayahnam is a silent protest- a protest impregnated with the gnawing inner pain of people with conscience. On one level, the film is a critical appraisal of left-wing posturing on the issue of nuclear armament in the subcontinent. On another, it portrays the conflict between the old and new order and the shift in moral perceptions in a world afflicted by globalization logistics. It is the filmmaker's aesthetic protest against the silence of the left-wing intellectuals in Kerala and elsewhere, who kept a selective silence on India's nuclear policy.