‘Anomie’ Review: A Quiet Crime Thriller That Grows Stronger As It Unfolds
We have seen Rahman in police investigative thrillers before, and honestly, it’s always a feast to watch him on screen in such roles.
There’s a certain calm authority he brings, a lived-in seriousness that never feels forced.
Anomie once again reminds us of that strength, especially if you remember his work in 1000 Babies and similar films.
He fits into the uniform so naturally that you stop seeing the actor and start believing the character.
Right from the very title, Anomie sets its tone. The word itself refers to a social condition where moral values, guidance and emotional anchors break down through the equation of death.
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That idea quietly runs through the entire film as an undercurrent beneath every character and decision.
Then there is Bhavana, and she is nothing short of stupendous here.
She plays Zara Philip, a forensic surgeon, and from her very first appearance, you sense an inner strength mixed with vulnerability.
The film beautifully establishes the brother–sister bond through childhood memories, small moments, and a song montage using an English track that moves between past and present, showing happier family times.
Spoiler Alert:
A tragic car accident that took their parents’ lives hangs over the story. Zara’s brother Ziyan (Shebin Benson) never truly recovers from that loss. He struggles with depression, psychiatric treatment, and suicidal thoughts.
This background becomes crucial when the narrative shifts into darker territory.
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The film introduces a case of a young boy’s apparent suicide, and soon after, Rahman’s character Gibran, a police officer, enters the story.
Zara arrives at the same scene in her professional capacity as a forensic surgeon. Their paths cross naturally, not dramatically.
Zara’s panic feels real because she knows her brother’s fragile mental state. When his body is found under a tree, everyone assumes suicide. It makes sense. Even the police think so. Even Gibran thinks so. But Anomie doesn’t settle there.
Bhavana truly shines when Zara begins to notice something unusual in the post-mortem report.
The background score turns eerie, murmurs creep in, and the film slowly transforms into a psychological investigation.
She challenges Gibran openly, pointing out loopholes in the investigation. At one point, she even filed a case against him for professional negligence. This conflict between a grieving sister and a weary police officer becomes one of the film’s strongest threads.
The film also explores why Gibran is the way he is. Once a brilliant officer, one incident changed him. Rahman plays this with restraint. Just a man carrying emotional fatigue.
There are moments where the film lags slightly, especially with repetitive background dialogue and murmuring, but the second half regains grip by shifting the question from how the killings happen to who is behind them.
The reveal that the apparent killer is merely a peddler, acting for someone else, adds an interesting layer.
The murder of Alby, Zara’s love interest, raises the emotional stakes further. Zara investigates because she has lost everything. Gibran investigates because he is still a policeman at heart. Their motivations differ, but they converge.
Yes, parts of the film are predictable. You may guess where it’s heading. But Anomie is about broken minds, suppressed grief, depression, and the invisible damage people carry after loss.
In that sense, the title holds strong till the end.
Technically, the film does its job well. The cinematography supports the mood without showing off. The background score works effectively.
But in the end, Anomie belongs to Bhavana. This is one of her most controlled and mature performances in recent years.
The supporting cast, Arjun Lal, Shebin Benson and Vishnu Agasthya — fit seamlessly into the narrative. No one is written for effect; everyone feels like part of the same bruised world. Director Riyas Marath deserves credit here for keeping performances grounded and consistent in tone.
The first half takes its time, setting the mood and emotional context. But it’s the second half that truly pulls you in. The film becomes more focused, the stakes rise, and questions deepen rather than multiply. Without resorting to shock value, Anomie nudges the audience into thinking about guilt, responsibility, and the unseen damage people carry.
Technically, the film supports its atmosphere well. Sujith Sarang’s cinematography keeps things muted and realistic, while Harshavardhan Rameshwar’s background score subtly amplifies tension without overpowering scenes. The editing stays mostly sharp, allowing silences to speak where needed.
By the time the film reaches its final stretch, Anomie feels more confident than it did at the start. It doesn’t aim to surprise for the sake of it; instead, it leaves you with a lingering unease and questions that stay after the screen fades to black.
A special mention must be made of the central antagonist, whose presence is felt more than announced.
Played by an actor who has already given Malayalam cinema a distinct vibe through memorable appearances in earlier films, this character stands out without resorting to theatrics. I don’t want to reveal his name, though.
Anomie may not be a conventional crime thriller, but it is a sincere and thoughtful one.
Having a strong central performance from Bhavana, a dependable turn from Rahman, and a promising debut by director Riyas Marath, the film finds its strength in mood, meaning, and a second half that makes the journey worthwhile.
Timeline Verdict:
Anomie is a sincere and thoughtful attempt, with a second half that holds attention, elevating the film.
Cast:
Bhavana, Rahman, Arjun Lal, Shebin Benson, Vishnu Agasthya
Crew:
Director, Writer & Screenplay
Riyas Marath
Producers
Bhavana (Bhavana Film Productions)
Dr Roy CJ
Aadith Prassana Kumar
Blitzkrieg Films
Cinematography
Sujith Sarang
Editing
Kiran Das
Music
Harshavardhan Rameshwar
