Thinkalazhcha Nalla Divasam

Children and grandchildren return to the ancestral house to celebrate Janakiyamma's 60th birthday. Amma beams with happiness as the old halls fill with familiar faces and warm conversations. The festive mood masks the tensions waiting to surface later.

Gopan and Bindu reveal their plan to sell their share of the property to fund a flat in Bangalore. Narayanankutty and Ambika react with frustration, feeling uprooted and anxious about losing the home they once hoped to own. The moment foreshadows the conflict between family loyalty and material gain.

Kochu/Kunju, their father's former servant, arrives with an offer to buy the house. Narayanankutty resents the outsider's bid, echoing his own caste-based superiority complex. The visit intensifies the clash over caste, status, and property.

Bindu buys a TV for Amma and uses it to imply that Amma might not be safe living alone. She and Ambika discuss selling the house and waiting for Amma to die, revealing their true ambitions. Amma overhears the conversation and grows heartbroken.

Janakiyamma overhears the talk and is overwhelmed by the possibility of losing her home and being moved to an old age home. She makes a difficult choice to accept the sale rather than burden her children, seeking some dignity in independence. The decision shifts the family dynamics dramatically.

Janakiyamma leaves for the old age home, choosing a place she believes will keep her safe and cared for. Her departure marks the end of the ancestral era as the house stands ready to be sold. The act underscores the film's critique of the costs of selling memory for security.

Janakiyamma dies the following day after arriving at the old age home. Her death leaves a hollow within the family and intensifies the guilt among the remaining members. The event frames the narrative as a meditation on memory, loss, and materialism.

Gopan experiences nightmares and a gnawing guilt for pursuing the sale of the house. He decides not to sell and to remain in the ancestral home with his family. The choice reframes his priorities toward family and memory rather than money.

The stay also includes lighter moments, with Sheenu and Venu's on-and-off romance and Gopan’s daughters playing with livestock and ponds. The girls’ carefree energy strengthens their father’s resolve to stay back. Their presence helps anchor the family to the ancestral home.

Sheenu, raised in Mumbai, initially dislikes the home relative due to her over-friendly approach. The moment exposes the urban-rural divide the film explores. She eventually begins to rethink her judgments after a telling exchange with Venu.

A revealing moment shows the relative girl understands the swear words Sheenu uses in English because she is more educated. The embarrassment highlights class and education differences and challenges Sheenu’s assumptions. The scene reinforces Padmarajan's critique of urban arrogance toward villagers.

By the end, the family chooses to remain in the ancestral house rather than sell it. The film closes with a nuanced reflection on values, memory, and the costs of materialism. The home stands as a stubborn symbol of identity for the family.