Following a remarkable 2019 in which he delivered some of his most critically acclaimed performances in Kumbalangi Nights, Athiran, and Super Deluxe, Fahadh Faasil began 2020 by reuniting with acclaimed filmmaker Anwar Rasheed. The two had previously collaborated on the Aami segment of the 2013 anthology 5 Sundarikal. However, their new project, Trance, stood out not just from their previous works but also from other Indian films that explored similar themes.
Despite receiving varied reactions, Trance exposed the contradictions within Kerala society’s so-called progressiveness and its reluctance to critically analyze religion and its messengers. At the same time, the film highlighted the risks of pursuing grand ideas without a solid foundation. It served as a reminder that no matter how visually captivating a film is or how impressive the performances are, a weak screenplay can still undermine its success.
At its heart, Trance delves into a broad spectrum of themes, including the hypnotic power of theism, the essence of atheism, the commercialization of faith, the exploitation of human suffering, existentialism, nihilism, the impact of mental health struggles, and the devastating effects of substance abuse. However, one of its greatest strengths lies in how all these ideas are embodied within a single character. Every shift in his psyche creates ripples in the external world, making Viju Prasad’s (Fahadh Faasil) mind a personification of the concept of Everything Everywhere All at Once.
While films like PK (2014) and Oh My God! (2012) highlight the emptiness of superstitions and pseudo-gurus by adopting an outsider’s perspective, Trance takes a different approach. Instead of focusing on those who reject blind faith, the film closely examines the very institutions that manufacture these beliefs and the skilled individuals who recruit the gullible as believers using persuasive tactics. Unlike its Bollywood counterparts, which treat these subjects with humor and only scratch the surface of the consequences of challenging religious enterprises, Trance fully immerses itself in the dark realities beneath the glossy façade, exposing the metaphorical bloodstains that remain hidden from public view.
The story follows Viju, a motivational speaker living in Kanyakumari with his younger brother Kunjan (Sreenath Bhasi), who suffers from severe clinical depression. The first act of Trance focuses on their lonely and impoverished existence. Although Viju conducts motivational sessions to help others unlock their potential, he himself remains trapped in financial struggle. Having lost their mother to suicide as children, Viju assumed the role of caretaker for Kunjan, working odd jobs at the expense of their education. The film makes it evident that their unconventional upbringing had a lasting impact on their mental health.
Interestingly, Trance critiques the superficiality of motivational speaking through Viju’s journey. It draws a direct parallel between self-help seminars and religious gatherings, both of which rely on unwavering faith in a central figure who is believed to possess transformative powers. Notably, the primary audience for Viju’s “Success Juice” sessions consists of elderly individuals, mirroring the demographic that later flocks to Pastor Joshua Carlton, the identity Viju adopts in his new role. However, despite positioning himself as a guide to self-improvement, Viju is unable to prevent Kunjan’s suicide—a tragedy that sends him into a downward spiral.
Struggling with insomnia and auditory hallucinations, Viju begins taking his brother’s anxiety medication, which amplifies his energy but does little to numb his grief. Feeling lost, he leaves Kanyakumari for Mumbai, but his troubles persist. In one particularly striking sequence, he is seen through a broken dormitory windowpane, sitting under dim light in disheveled off-white clothing, symbolizing his fragile mental state. As the camera zooms out, revealing the building’s exterior, the presence of trippy purple and yellow decorative lights on the floor above visually hints at his descent into a trance-like state—marking the moment the film’s title appears on screen.
The narrative then shifts focus to how an atheist like Viju is transformed into Pastor Joshua Carlton, a self-proclaimed miracle worker. The film highlights how religious leaders, much like movie stars, can be meticulously manufactured through image-building. Initially hesitant when approached by a corporate firm that wants him to pose as a pastor, Viju receives what could be interpreted as a sign—he slips and falls while answering the phone call inviting him to meet the company’s heads, Solomon Davis (Gautham Vasudev Menon) and Issac Thomas (Chemban Vinod Jose). Perhaps this was a warning, but for someone on the brink of mental collapse and extreme poverty, recognizing such signals is a privilege he does not have. Hearing the financial incentives, Viju accepts the offer without hesitation.
A closer look at Solomon and Issac’s conversation with Viju reveals another parallel—just as Joshua later exploits his followers’ pain and desperation to rise in power, Solomon manipulates Viju’s suffering to make him feel trapped.
Once Viju’s transformation into Joshua begins, the film’s visual tone undergoes a drastic shift. The muted colors of the first act are replaced by vibrant hues, the pacing quickens, and the editing becomes sharper, emphasizing the staged nature of his newfound persona. Trance also deconstructs its own imagery, revealing the changing power dynamics. In training, Avarachan (Dileesh Pothan) asserts that he is Jesus while Viju is merely a servant. Later, Joshua assumes a Christ-like role himself, even symbolically resurrecting on the third day after being attacked by Solomon’s men for defying their control.
Despite struggling to gather 50 attendees for his motivational sessions, Joshua’s first prayer meeting attracts at least 1,500 people—demonstrating the immense power of religion as a commercial product. As he exploits vulnerability and blind faith, Joshua rises in influence, losing his sense of integrity in the process. Once too self-conscious to clap for himself in private, he later begins applauding his own success publicly, growing bolder with each step. The deeper Trance delves into its themes, the more it exposes how religious institutions evade accountability by attributing everything—both real and fraudulent—to divine intervention. “Miracles are not created, they happen,” Joshua proclaims.
The film also introduces biblical parallels, with the most notable being the character of Esther Lopez (Nazriya Nazim), a sex worker whose role mirrors that of Mary Magdalene. However, at this point, Trance takes a problematic stance on psychotropic drugs, inaccurately portraying prolonged use as fatal without acknowledging that dosages are determined by medical professionals.
In the film’s final act, Joshua, now freed from corporate control and blind believers, sets out to find Esther. Their reunion in Amsterdam is depicted in a fourth-wall-breaking moment, symbolizing a break from the illusion of religious grandeur. The film also reflects on how prophets, once created, are often left isolated and powerless—mere pawns in a larger scheme. The subplot involving Thommichan (Vinayakan), his wife Sheeba (Amalda Liz), and their daughter serves as an eye-opener for Viju, further reinforcing this theme.
Fahadh Faasil’s performance is the film’s standout feature. One particularly haunting moment is when Viju finds Kunjan’s farewell letter. As he dials his brother’s number, his breathing becomes erratic, fearing the worst. Upon hearing the faint vibration of Kunjan’s phone in the next room, he hesitates before looking—deep down, he already knows. When he finally lifts his gaze, his eyes gradually redden with tears, capturing the devastation of the moment.
Despite its impressive technical aspects—including Anwar Rasheed’s direction, Amal Neerad’s cinematography, and Sushin Shyam’s music—Trance ultimately stumbles under its own weight. As the plot expands, the emotional depth that anchors the first act begins to wane. The film juggles too many elements without fully developing them, leaving the script feeling overloaded rather than profound.
While Trance is visually arresting and thematically ambitious, its overreliance on spectacle dilutes its message, preventing it from reaching its full potential.