Drones takes its time to deliver a meaningful message

CHENNAI: Three suspended astrophysics students, a serial-killer-chasing cop, a mad scientist hiding out in a ‘Black Hole’, an angel, and a witch.

How these unrelated characters collide forms the crux of Drones, directed by R Raghav Mirdath. Blending fantasy, horror, and comedy, the film weaves in concepts like wormholes before delivering a timely message on colour discrimination and self-worth.

Kish, Rush and Dush, played by Dravid Selvam, Anjali Nair and RJ Deepak, are three astrophysics students who find themselves suspended from college. The early references to their subject, particularly Kish’s academic prowess, hint at its relevance to the story later on. However, the events that lead them to ‘Black Hole’, the hideout of scientist Padmanaban (Mohamed Kuraishi), feel unnecessarily stretched. Padmanaban is busy building a robot that can fulfil his fantasies of an ideal girlfriend. Their encounter with an angel (Siddhi Idnani) and a witch (Devadarshini) adds to the confusion, making the first half a rather tedious watch.

Prakruthi (Siddhi Idnani), an angel and miniature artist, catches Kish’s attention through Sampangi, a drone. Smitten by her looks, he uses the device to befriend her before meeting her in person and proposing to her. But things take an unexpected turn when he gets trapped by her grandmother, a witch, and subsequently disappears.

One line Kish uses to impress Prakruthi, “I’m not like other men”, is repeated by other characters in similar situations. The repetition hints at the film’s larger point about how men approach women, often believing that a few familiar lines are enough to win them over. However, the significance of these moments becomes clearer only in the second half, when the central conflict begins to unfold.

The witch repeatedly warns Prakruthi against trusting men, appearing at intervals to unsettle both the character and the audience. The eventual reveal that the angel and the witch are the same person, along with the idea of men’s souls being trapped inside dolls in a dollhouse, offers plenty of scope for a compelling fantasy-horror narrative. Yet, these ideas are not explored as effectively as they could have been, and the scares rarely make the intended impact.

The film finds its footing in the climax, when the seemingly disconnected storylines begin to come together. The use of black holes and wormholes, and the characters’ search for the right door to another dimension, make this stretch more engaging. The sequence in which the witch is finally stopped leads to an emotionally charged exchange between Rush and the witch, giving the film its most affecting moment.

It is here that the film’s message comes into focus. Through Rush, who has faced remarks about her dark complexion and appearance,

Drones addresses colour discrimination and the damage caused by seeking validation from others. Anjali Nair brings conviction to the emotional scenes, while Devadarshini’s reactions add weight to their confrontation. Their performances help the film deliver its message without losing sight of the characters at its centre.

On the whole, Drones takes a while to find its direction, and its promising fantasy elements could have been handled better. But the climax brings the story together and gives it an emotional core. Anjali Nair stands out, while the ensemble lends the film its share of humour and eccentricity. It may take time to get there, but Drones leaves the audience with a message worth taking home.