Bramayugam: The Age of Madness Plot
The movie draws from Kerala’s folklore and mythological traditions. It revolves around the fictional evil deity Kodumon Potti (Mammootty), a shape-shifter who lives in a secluded mana, a traditional Namboodiri Brahmin household. He welcomes anyone who enters his home but traps them as guests or servants for life.
Throughout the film, Rahul Sadasivan uses silence, subtle movements, and measured dialogue delivery to create an uncanny atmosphere. Beyond the supernatural elements, the conflict between Thevan (Arjun Ashokan) and the cook (Sidharth Bharathan) over a ring highlights human greed and the desire for power. Meanwhile, the Chathan remains a silent observer. The film suggests that the Chathan may deliberately fuel human conflicts to strengthen its influence and move freely in the darkness.
The black-and-white cinematography of Bramayugam and the mana’s isolation within dense forests make even daylight feel oppressive. Together, these elements create a haunting atmosphere. More importantly, they introduce audiences to a distinct form of horror that expands the genre’s possibilities in Indian cinema.
Bhoothkalam and Diea Irae: The Connection
While Bramayugam explored folklore and mythology, Bhoothakaalam and Dies Irae highlight Rahul Sadasivan’s continued fascination with the intersection of the supernatural, trauma, and grief.
In Bhoothakaalam (2022), Vinu (Shane Nigam) and his mother Asha (Revathi) confront the spirits of a former tenant’s family who died by suicide. The spirits have haunted the house for years but emerge only after the death of Vinu’s grandmother (Valsala Menon). At the same time, both mother and son struggle with psychiatric issues and find it difficult to communicate. As the haunting intensifies, they work together and eventually escape the house.
Dies Irae: The Day of Wrath (2025) explores similar themes through a different story. After his ex-girlfriend Kani (Sushmitha Bhat) dies by suicide, Pranav (Rohan Shankar) attends her funeral. There, he unknowingly takes a red hair clip from her room. Soon after returning home, he begins to experience supernatural disturbances from a spirit with no apparent connection to him. With the help of Madhusudhanan (Gibin Gopinath), he investigates the mystery and uncovers the spirit’s link to Kani.
A character named George (Saiju Kurup) connects both films. In Bhoothakaalam, he works as a psychiatrist and helps Vinu and Asha understand their situation. In Dies Irae, he asks Madhusudhanan to investigate the same house featured in Bhoothakaalam.
This connection hints at a shared cinematic universe. It also leaves room for future films in which George could take on either a central or supporting role.
The Big Announcement – “Odiyan: The Age of Illusion”
Recently, the poster of Rahul Sadasivan’s upcoming horror folk movie, named Odiyan: The Age of Illusion, was released. It is also Karan Johar’s Dharma Productions’ entry in Malayalam Cinema. The announced leading cast till now are Prithviraj Sukumaran and Manju Warrier, while the official conference awaits.
From the Age of Madness to the Age of Illusion, the director has created a completely different universe of folklore connected horror cinema, which not only feels real but makes people believe in the dark aesthetics of the movie. The story is based on another folklore in Kerala. The Odiyan are the shape-shifters and supernatural entities, having abilities of magic and manipulation. Since the story is based on another legend, the demand and expectation seem to be unreal.
Across his filmography, Rahul Sadasivan’s horror is rarely about ghosts alone. Instead, it emerges from grief, power, greed, folklore and the lingering influence of the past. As Odiyan: The Age of Illusion prepares to bring another Kerala legend to the big screen, it also continues a creative journey that has made Sadasivan one of the most intriguing voices in contemporary Indian horror.
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