Lokah Chapter 1: Chandra (2025) Movie Review: Myth Meets 'Marvel' as Malayalam Cinema's First Superwoman Rises

If Chandu Chekavar, once branded a treacherous villain, can be revamped as a tragic hero in “Oru Vadakkan Veeragatha,” why can’t Kalliyankattu Neeli, the powerful and malevolent bloodthirsty Yakshi from Kerala folklore, be transformed into a superhero? In “Lokah Chapter 1: Chandra,” director Dominic Arun achieves this feat effortlessly, recasting the feared and vilified Neeli as a modern-day vigilante. Under the guise of Chandra, she fights for the voiceless and the oppressed, offering Malayalis a bold, revisionist take on the haunting grandmother’s tales they grew up with.

Backed by Dulquer Salmaan’s Wayfarer Films, “Lokah” is a masterclass in reimagining what the superhero genre can achieve. Opening with the evocative declaration, “Some legends have an element of truth,” the film ushers us into a dystopian world, an audacious space Malayalam cinema has rarely dared to enter. Kalyani Priyadarshan plays Chandra, a red-haired, athleisure-clad, mysterious woman who arrives in a neon-soaked, flame-tinged Bengaluru. Taking up night shifts at a cafe, she carries a dark, gothic aura that inevitably draws glances from across the street. Her apartment stands across from that of two aimless youngsters, Sunny (Naslen) and Venu (Chandu Salimkumar), frequently joined by their friend Nigel (Arun Kurian). Sunny, after being saved by Chandra, gets drawn towards her, but also senses a strange dissonance in her presence.

The film scatters breadcrumbs with deliberate precision, keeping us teetering on the edge of revelation as we try to unravel Chandra’s true identity. It literally plays out like a gender-flipped “Twilight,” but darker, moodier, and rooted in tales of Aithihyamala. Just as Bella discovers Edward’s vampiric secret, Sunny gradually pieces together that the enigmatic woman is no ordinary neighbour, but a blood-drinker who haunts the night, a being who has walked the earth for centuries carrying the weight of forgotten histories and untold sorrows. When dark forces assemble to destroy her, Chandra is thrust into a relentless battle for survival, fighting tooth and nail, summoning every ounce of her strength, and even gathering help from superhuman allies like her.

Lokah Chapter 1 - Chandra (2025) — A still from Lokah Chapter 1 – Chandra (2025)

“Lokah” transports you into an extraordinary world from the very first frame, one where the superhumans live quietly among the mortals. While global cinema has often explored this idea, the thrill here lies in how director Dominic Arun roots this concept in a distinctly Malayalam sensibility, blurring folklore, feminism, and contemporary politics. Dominic peels back the mystique of her identity as well as her backstory, maintaining a sense of intrigue that grips you from start to finish. It’s a world-building so immersive and meticulously built that it is impossible to look away from the screen.

On the surface, the film plays like an Indianised Marvel movie, embracing many of the familiar elements, a shared universe with interconnected characters, superheroes with human vulnerabilities and relatable flaws, cutting-edge visual effects, sharp humour, distinct musical themes, a signature opening fanfare, and even post-credit scenes. But “Lokah” sets itself apart, positioning itself as Malayalam cinema’s answer to the Marvel Cinematic Universe, and perhaps an evolution of it, because it draws its strength from the rich tapestry of Kerala’s mythology, history, and culture.

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It is a moment of great pride for Malayalam cinema to have its own female superhero, one who can stand shoulder to shoulder with any Marvel superwoman. Kalyani Priyadarshan delivers a career-defining performance as Chandra aka Kalliyankattu Neeli, embodying a character that is at once fierce, soulful, and deeply human. Her magnetic screen presence blends brooding silences, raw vulnerability, and explosive ferocity with ease. In the action sequences, her physicality commands attention, while in quieter moments, her emotional depth anchors the film. Kalyani emerges as the heart and soul of “Lokah,” carrying its mythology, its power, and its pulse on her shoulders. Stealing hearts alongside Kalyani was 11-year-old Durga C. Vinod, who played young Neeli with such breathtaking intensity.

Naslen slips into the role of Sunny, his charisma and impeccable and razor-sharp comic timing making the character instantly endearing and relatable. Chandu Salimkumar complements him perfectly as Venu, his easygoing ally, playing off Naslen with an easy camaraderie, and Arun Kurian injects just the right dose of energy and mischief as Nigel, completing a dynamic trio that provides much of the film’s heart and humour. Tamil actor Sandy, meanwhile, shines as Nachiyappan, a swaggering, misogynistic police officer whose arrogance and ruthlessness bring him into direct conflict with Chandra, adding a layer of menace and tension to the story.

Adding to the thrill and excitement are the high-voltage cameo appearances that propel “Lokah” into an even grander cinematic universe. Dulquer Salmaan stuns as a sword-wielding ninja, Tovino Thomas crackles with raw energy as the mischievous Chathan (trickster), and Sunny Wayne captivates as the enigmatic Kadamattathu Kathanar. These aren’t throwaway fan-service moments; they are carefully planted to tease something far bigger.

There is an undeniable richness in Lokah’s visual and sonic tapestry, a meticulous blend of production design, visual effects, and framing that never overshadows the story but elevates it. The world feels lived-in, textured, and expansive, carrying the weight of centuries-old legends while pulsating with futuristic energy. A significant contribution comes from one of Malayalam cinema’s finest performers, Santhy Balachandran, credited with additional screenplay and dramaturgy.

Witnessing the vision of Dominic Arun onscreen makes you realise that he works in perfect sync with his technical team. Nimish Ravi’s striking cinematography bathes Bengaluru in hues of neon and shadow, transforming the city into a landscape that feels both alive and haunted. Chaman Chakko’s editing and transitions keep the tension taut while allowing moments of silence to breathe. Jakes Bejoy’s rousing background score and music pieces lend the film its heartbeat, at once edgy and deeply emotional. Dawn Vincent’s immersive sound design and MR Rajakrishnan’s crisp mixing create a layered sonic world, from Chandra’s quietest footsteps to the thunderous clashes of power. Banglan’s evocative production design and Yannick Ben’s action choreography, peaking during Chandra’s flashback sequences, elevate the film to another level.

“Lokah” definitely marks the dawn of a saga, promising the birth of a mythology-driven cinematic universe that will captivate audiences for years to come. More than its visual grandeur and fantasy spectacle, it thrives on its strong screenwriting and powerful storytelling. It also becomes relevant for it dares to challenge hierarchies, provoke dialogue, and reclaim narratives for those historically marginalised. A theatrical experience worth celebrating, “Lokah” has already set a new benchmark for Malayalam cinema.