“Narivetta” (which translates to Jackal Hunt) is a heavy, emotional watch. The injustice shown in the film hits hard — you can’t help but feel disturbed. Even though there’s a standard disclaimer saying it’s all fictional, it’s pretty obvious that the story closely mirrors real-life events. As the title hints, it’s about a hunt and that’s literally how it starts: with a chase, where the police are going after one of their own. What’s interesting is that the roles of predator and prey keep flipping.
The movie centers around a protest by tribal people in a forest area in Wayanad, led by a fierce activist, CK Shanti (who might remind you of someone from real life). This setup feels a lot like the 2003 Muthanga incident, where tribal communities fought for land rights they were promised. Director Anuraj Manohar brings this all to the screen, mixing fiction with real events, just like he tackled gender roles and social expectations in his first film, Ishq.
A film like this could’ve easily come off as a documentary, but thanks to a sharp script by Abin Joseph, it doesn’t. There’s no sugarcoating here and honestly, there shouldn’t be. Anuraj keeps things real while also making the movie accessible. Sometimes the story dips into commercial territory (like the romantic subplot), which slows things down a bit, but the message still comes through strong.
Despite its flaws, Narivetta works because of its subject. The cast fits well, though some actors could’ve been given more to do. Arya Salim is fantastic as CK Shanti, she completely owns the role. Pranav Teophine also stands out as Thami, a member of the tribal community. The film also follows the journey of Varghese Peter, who starts off as a bit of a slacker, jobless and picky about what he wants to do, especially when it comes to joining the police. Tovino Thomas plays him well, showing how he grows from an immature guy into someone brave enough to call out what’s wrong from within the system.
Varghese’s personal story is relatable, he’s stuck between being dependent on his mom and girlfriend and realising it’s time to grow up and face life. The first half of the movie is a bit slow, but it picks up about halfway in. The narrative moves between past and present, and through that, we see how much Varghese changes. The locations from peaceful Kuttanad to the wild forests of Wayanad, reflect what’s going on inside him.
During his police training, Varghese meets Basheer Ahmed, a senior cop who becomes a mentor. Their relationship deepens during their assignment in Wayanad. Suraj Venjaramoodu plays Basheer perfectly subtle and grounded. Tamil actor Cheran also makes a strong Malayalam debut as a police officer whose moral compass is unclear and he’s disturbingly good at being bad. The film dives into the everyday life of police officers with a level of detail that feels like a crime drama. Whether that adds or distracts from the bigger picture is up for debate.
What’s really refreshing is how the tribal community is shown, not in a stereotypical or romanticised way, but as real people with their own language, lives, and struggles. One scene that really hits hard reminds you of the real case of Madhu, the tribal man killed over allegedly stealing food. Moments like these show how both sides, the police and the tribal people, are being manipulated by political agendas. And in the end, it’s always the truth that gets buried under fake labels, like calling it all Maoist terror. Lives are lost, and nobody seems to care.
The songs in the background add depth, especially one haunting line about people drifting through dreams without land. The film never pretends to tell the story from the tribal community’s own voice, which is probably for the best, it would’ve felt fake otherwise. The final confrontation between the community and the police spirals into chaos, leaving both Varghese and the audience stunned.
The movie doesn’t wrap things up neatly. Instead, it leaves you thinking hard about how things really work. Jakes Bejoy’s music, the cinematography by Vijay, and the editing by Shameer Muhammed all deserve credit. At the end of the day, Narivetta tells a story that needs to be heard. And even if it’s not always perfect, it hits where it matters and that’s what makes it worth watching.
