Eko review: A gloomy thriller exploring the cost of “protective” control
Eko review by Kausalya Rachavelpula
Eko, a Malayalam mystery thriller directed by Dinjith Ayyathan and written and shot by Bahul Ramesh, serving as the third and final chapter of Ramesh’s Animal Trilogy after Kishkindha Kaandam (2024) and Kerala Crime Files 2 (2025). Produced by MRK Jhayaram and Vipin Agnihotri under Aaradyaa Studios’ debut banner, the film stars Sandeep Pradeep, Vineeth, Narain, Binu Pappu and Biana Momin, and was filmed extensively in Kerala’s Idukki district between April and June 2025. Released on 21 November 2025 to positive critical and audience reception, Eko emerged as a major commercial success, grossing over ₹50 crore against a reported budget of ₹5 crore.
Eko, the latest offering from the makers of Kishkinda Kandam and Kerala Crime Files 2, arrives with the weight of expectation that naturally accompanies a team known for crafting layered, socially conscious thrillers. Set against a moody, wintery backdrop, the film leans heavily into a gloomy and melancholic tone, making it a fitting watch for the season. Atmosphere is one of Eko’s strongest assets, even when its narrative ambition does not always match that of its predecessors.
From the outset, Eko establishes a sense of emotional coldness that mirrors its thematic concerns. The film explores the thin and often dangerous line between protection and restriction, questioning how control is frequently disguised as care. Visually and tonally, the film embraces restraint—muted colours, quiet spaces and an underlying sense of unease permeate almost every frame. This deliberate bleakness works well in immersing the audience, even when the plot itself begins to feel familiar.
In comparison to Kishkinda Kandam and Kerala Crime Files 2, Eko is notably less profound. Where the earlier works thrived on layered storytelling and complex moral dilemmas, Eko opts for a more straightforward narrative structure. This simplicity, however, comes at a cost. As a thriller, the film is largely predictable, with narrative beats that can be anticipated well before they unfold on screen. The lack of genuine surprises hinders the tension, making parts of the film feel more observational than gripping.
That said, the central concept of the film—the ideology of “protection through restriction”—is where Eko truly finds its voice. In the context of recent public discourse, including controversial remarks by actor Sivaji regarding women’s clothing and the idea that “restriction is for protection,” the film feels timely and relevant. Eko does not merely present this ideology but actively dismantles it, exposing how such thinking often masks manipulation, control and humiliation.
The film poignantly illustrates how so-called protective behaviour can become a form of emotional violence. Through its characters, Eko shows how restriction erodes autonomy and self-worth, leaving lasting psychological scars. This thematic focus lends the film emotional weight, even when the plot mechanics fail to surprise. The portrayal of manipulation is subtle yet unsettling, making the audience question how often control is normalised under the guise of concern.
While predictability remains a recurring issue, Eko redeems itself in its final act. The climax is one of the film’s strongest sequences, injecting much-needed energy and suspense into the narrative. The final revelation, though not entirely unforeseen, is executed with enough tension and emotional payoff to make it engaging. The pacing tightens, performances sharpen, and the film briefly recaptures the intensity expected from its creators.
Importantly, the climax also reinforces a powerful message of women’s empowerment. Rather than positioning the female character solely as a victim, the film allows her agency to emerge decisively in the closing moments. This shift is both cathartic and meaningful, transforming the narrative from one of control and suppression into resistance and self-assertion. The empowerment element, woven into the thriller framework, leaves a lasting impression and elevates the film beyond its structural shortcomings.
Eko review: Eko may not reach the narrative depth or unpredictability of Kishkinda Kandam or Kerala Crime Files 2, but it remains a thematically relevant and atmospherically strong film. Its exploration of restrictive “protection” is timely and thought-provoking, and its climactic payoff ensures the experience ends on a compelling note. Imperfect yet sincere, Eko is a melancholic winter watch that resonates more through its ideas than its thrills.
