Malayalam serial killer thriller Anomie follows parallel investigations into bizarre murders, one led by disgraced cop Ghibran seeking redemption after past failures, the other by forensic expert Zara driven by her brother’s apparent suicide. Released recently, the film directed by Riyas Marath sets up a contrast between brute force and scientific precision amid a sweltering Kerala backdrop, using technical jargon and recurring clues like a sound bite to piece together the puzzle. That said, the dual tracks never quite gel, leaving the procedural side underdeveloped.

In the crowded space of Indian crime dramas, Anomie nods to influences like Trance with its suicidal sibling angle and aims for Robin Cook-style medical intrigue, but the world-building drags under mismatched aesthetics—sweater-clad characters in tropical heat stand out awkwardly. Lighting shifts from cool blues in Zara’s lab to moody warms in Ghibran’s pursuits add some tension early on, yet the narrative leans too hard on visuals over dialogue or stakes. It’s a setup with potential that feels disjointed from the start.

Bhavana holds steady as Zara, bringing sincerity to her personal quest, while Rahman as Ghibran captures a slacker cop’s vulnerability, though clunky English lines in key scenes undercut the impact. Standout imagery, like red ants over an eyeball, hints at storyboard precision, but performances take a backseat once aesthetics dominate. Meanwhile, the second half falters with premature drama shifts and a confession that veers into unintended laughs.

The finale pivots to AI dream sequences, afterlife notions and nirvana talk, turning a shaky thriller into baffling abstraction that no acting can salvage. What might have lingered as a fresh take on cop-forensic dynamics ends up diluted, though its visual ambition signals Riyas Marath’s bold if uneven voice in Malayalam thrillers.