Post Cinema Aesthetic – C U Soon

C U Soon (2020) directed by Mahesh Narayanan tells a compelling story entirely through digital screens, is an innovative Malayalam film that challenges conventional storytelling techniques, utilising a minimalist approach.

This film can be viewed as an example to understand this post-cinematic affect in films, which according to Steven Shaviro prioritise affect over narrative, creating experiences that are more spontaneous and immersive. The film’s reliance on digital platforms and the blurry line between the virtual and real align with Shaviro’s ideas.

C U Soon is a digital thriller, where the characters from across different time zones connect, develop relationships, and uncover life-changing truths solely through messages, calls, and video chats. The plot revolves around the story of Jimmy (Roshan Mathew), a Sharjah-based banker who blinded by the allure of the screen, enters into a hasty relationship with Anu (Darshana Rajendran), a woman he met on a dating app. Through a series of messages and video calls, we learn that Jimmy is eager to marry her. However, things change when one day Anu reveals her bruises during a video call, prompting Jimmy to ask his cousin Kevin (Fahadh Faasil) to do a background check on her, which reveals several secrets.

The success of the film is in its use of technology as a narrative device. The first five minutes of the film are devoid of any audio dialogue. Characters of the film are introduced through their social media profiles and online chats, offering a distinct viewpoint to the viewers. Only after this extended digital interaction does the first human conversation occur. What adds depth and makes the narrative more captivating is the use of digital cues – typing delays and unread messages. Even the location of the characters is revealed indirectly through their phone contacts list. The audience is given a voyeuristic look into the lives of the characters – especially Jimmy’s virtual existence as he interacts with Anu – making them active participants rather than passive viewers.

Despite its limited budget and remote production, the film seamlessly transitions between various digital platforms (Google Hangout, Emails, Google Search, Tinder, etc.) to create an engaging narrative. The movie demonstrates the potential of cinema to evolve and engage with the changing landscape of technology and culture. C U Soon breaks away from the traditional cinematic conventions by its unique visual style challenging the audience’s expectation of how a story should be told, as they must decipher information from scattered digital cues.

Reference List

Sowmya Rajendran, & Sowmya Rajendran. (2020, September 2). “C U Soon”: Mahesh-Fahadh film is a reminder of what the Malayalam industry does best. The News Minute. https://www.thenewsminute.com/kerala/c-u-soon-mahesh-fahadh-film-reminder-what-malayalam-industry-does-best-132155

Rishi Graphics & Digital Prints. (2021). Modern narratives in literature, cinema, culture and society (T. A. Mattappallil & S. Mundakkal, Eds.; First, pp. 1–170) [Conference-proceeding]. St. Claret College Publications. https://www.claretcollege.edu.in/pdf/Modern_Narratives_Literature_Cinema_Culture_Society.pdf#page=9

Author, G. (2020, October 10). C U SOON: A movie happened beyond limitations. Maktoob Media. https://maktoobmedia.com/more/film-and-tv/c-u-soon-a-movie-happened-beyond-limitations/?nowprocket=1

Shane Denson & Julia Leyda (eds), Perspectives on Post-Cinema:  An Introduction. Post-Cinema: Theorizing 21st-Century Film (Falmer: REFRAME Books, 2016).

Figure 1 – https://maktoobmedia.com/wp-content/uploads/2020/10/c-u-soon-881122-1599038337.jpg.webp

Figure 2 – https://sc0.blr1.cdn.digitaloceanspaces.com/article/146810-qnrctbgibv-1598906035.jpeg