Pakal

The film opens with Nandakumar and his cameraman Abu being sent to Pannakamkudi to document the farmers' plight. They begin a regular investigative series for Kerala Today on crop failure, low prices, and mounting loan pressures. The aim is to shed light on the villagers' struggles and the perceived failure of authorities to help.

In the village office verandah, the 87-year-old Kochuthekkethil Kunjappan appears as a symbol of long-standing grievances. He has spent years demonstrating for justice while his land is seized, fueling the narrative of systemic injustice. His presence anchors the investigation into who is responsible for the farmers' misery.

Thenginthottathil Joseph and his family are depicted at the brink of desperation due to spiraling finances. Merlin works for a private exporting company, while Celine studies medicine, both representing the village's aspirations. Joseph's need to cover his daughter’s education drives him to borrow from four banks, amplifying the debt burden.

The film follows Merlin's ambition to work abroad in an exporting company and Celine's pursuit of becoming a doctor. Their careers symbolize the village's last chance to break the cycle of poverty. The looming debt pressures them to dream bigger while the family teeters on collapse.

Nandakumar and the Kerala Today team begin airing daily reports about crop failures, depressed market prices, and loan burdens. Their investigations draw attention from officials and expose the power of private moneylenders. The broadcasts start reshaping public perception and political pressure.

As more episodes air, government officials and moneylender Ummachan grow tense, worried about the mounting attention. The reporters become an integral part of village life, moving between filming and supporting local efforts. The publicity begins to threaten the status quo.

The media house tries to pull back on the coverage, asking Nandakumar to stop reporting and return to the city. He refuses, choosing to stay and document the ongoing struggle. The village relies on his continued presence to keep the plight in the public eye.

Despite growing coverage, the crisis deepens and suicides multiply, including Merlin and Joseph. The community is traumatized as hope fades and the need for urgent intervention becomes dire. The media attention is juxtaposed with increasing personal tragedies.

With the help of Celine and other villagers, Nandakumar moves beyond reporting to identifying real-world relief options. They explore avenues such as direct aid, policy pressure, and community solidarity to avert further catastrophe. The plan marks a shift from mere exposure to actionable solutions.

Celine leverages her medical training to coordinate care for the ill and connect families with resources. Her involvement demonstrates how local empowerment can translate into tangible help. This adds a new dimension to the village's fight for survival.

Together, the media exposure and community actions begin to ease some burdens. There are signs of relief as authorities and lenders respond with measures, though the situation remains fragile. The village learns that collective effort can move the needle.

Nandakumar's reporting and Celine's advocacy set in motion continued efforts to secure aid and systemic reform. The film closes by underscoring that real change requires persistent pressure and community resilience. The villagers vow to keep fighting to prevent another crisis.