The film opens with the sun rising over the mountains, unveiling a quiet hamlet set against a brownish-green landscape and expansive blue skies, while a man’s song threads through the morning air. Here, a young boy named Chindan begins his day, brushing his teeth, helping his mother with the vegetables, and setting off for school. As he and his friend walk toward the temple, they share a simple moment of curiosity, listening to the temple priest’s offering and watching an old woman sweep the floors. In a playful impulse, Chindan whispers a tease to the old woman, then darts away to join his friend.
Throughout the village, fields glow with pale whiteness as children carry their books and walk toward school. A lesson about elections and voting unfolds, grounding the world of these youngsters in everyday democracy. Back at home, Chindan tugs at a caged parrot, enjoying a few carefree moments before the day’s adventures pull him toward the river with his schoolmates. A tense moment arises when he spots a black dog and considers throwing a stone, but he stops himself, letting the animal slip away.
That afternoon, curiosity leads Chindan and friends to a woman who lies in a sweaty, unconscious state in her home, while a doctor hovers nearby and works with anxious hands. The scene stirs something in Chindan, a sense of wonder at the unknown powers at work in the world around him. The following morning, the old temple woman visits with a pot of water; the children seize the pot and vanish, and she curses them with a warning voice that lingers in their minds.
> Just see, I'm going to send you to Kummatty.
As Chindan and his friends sing a playful tune about Kummatty’s descent, they wander through grass, across fields, and beneath towering trees, the landscape becoming a liminal space between childhood innocence and myth. By dawn, a wandering man arrives in the village, carrying a cloth sack and a rack of bohemian animal masks. Chindan and two girls notice him, tracing his songs as he rests under a tree near the temple. The man’s eerie melodies ripple through the night, drawing every child’s attention as they study by the glow of oil lamps and candles.
The next morning, the group watches as the man bathes in an ancient pool, while the old woman watches from behind a wall. He then goes to the school, where his tambourine and lively song lure the children into a moment of shared joy. When Chindan returns from the market, he finds the masks left behind under the tree and studies them with a mix of fear and fascination before the man is encountered again and simply asks him to move on. From that day, the children begin to refer to the mysterious figure as Kummatty, the Bogeyman, a title that blends fear with a hint of friendly wonder.
Chindan’s insistence on Kummatty’s magical powers grows, though some friends doubt him and even watch as Kummatty shaves his beard in the underbrush. On another occasion, Kummatty invites Chindan to approach and introduces himself, conjuring a fruit from nowhere. The old woman witnesses the moment and, soon after, Chindan’s friends join in the belief that Kummatty holds real magic. A festival scene arrives as one friend dresses as a deity, walking through the village to the cheers of the crowd.
When Kummatty’s health falters, Chindan runs for help, bringing a doctor to the old woman’s aid. Then, during a moment of farewell, Kummatty gathers his masks and prepares to move on, but Chindan and the other children beg him to stay. As a parting gift, Kummatty performs a final trick for his beloved pupils, guiding them to wear the masks and lie on all fours in a playful tableau. He closes his eyes, chants a mystic mantra, and one by one the children transform into animals—a monkey, a donkey, a goat, a cow, an orangutan, an elephant, a peacock, a horse—and even Chindan becomes a dog.
The joyful moment collapses into confusion as the dog-changed Chindan is pursued by the very black dog he once spared. Kummatty returns the children to human form, but Chindan remains trapped as a dog, while the others resume their lives. The village wakes to search for the missing boy, tears and fear mixing with the flame-lit torches that illuminate the night. The boy-turned-dog is found at a grand mansion where a girl keeps many dogs as pets, and he is claimed as her new pet. He is chained to a tree, and the other dogs bark at him from their kennel.
Days stretch into a lengthy illness for Chindan the dog. A veterinarian tries to diagnose him, but the doctor’s verdict is clear: only open nature can restore him. The girl’s father negotiates with his daughter, trading a Pomeranian for the chance to free Chindan, but the dog’s fate remains uncertain. Back home, Chindan’s mother and father pray to multiple deities in a desperate bid to reverse the transformation, but their hopes wane as the old temple woman passes away.
A year passes. Then a faint, familiar melody returns to Chindan’s ears, guiding him to the village’s edges where he discovers that Kummatty has returned. The two share a heartfelt reunion, and Kummatty recognizes that the dog is Chindan. With a joyous embrace, Chindan becomes human once more, and the village gathers for a moment of communal marvel. The film closes with a quiet, symbolic gesture: Chindan frees the family’s caged parrot, tossing it into the Malabar sky, as a montage follows—birds of every kind wheeling through an open, limitless expanse, embodying freedom and the unbounded reach of imagination.
