Trivandrum Lodge

Trivandrum Lodge in Kochi hosts a loose confederation of residents whose desires collide under fading walls. Abdu, Shibu, Kora, Satheeshan, Relton, Peggy Aunty, Ravi, and their guests drift through each day with small dramas that ripple through the rooms. The setting itself feels like a character, shaping choices as much as the people do.

Abdu keeps a string of odd jobs to scrape by, moving from a spa massage to driving the wealthy, always chasing the hunger that defines his life. He glides through the lodge’s corridors, appearing where someone needs a favor or a hand, and leaving behind a trace of unspoken longing. His hunger is not only for food but for connection and opportunity that never quite arrive.

Ravisankar's wealth comes with a shadow rooted in his mother's connections with powerful men. That history haunts his relationship with his son and stains his present with unspoken guilt. The lodge sits atop that secret, a reminder of how power travels through families and places.

Narayanan Nair, Ravi's father, moved away years ago and now runs a modest hotel far from the bright circles. The distance underscores a fractured family history and a quiet ache that threads through every conversation at the lodge. The past lingers as a counterpoint to Ravi's wealth.

Dhwani enters as a divorced woman seeking freedom, appetite, and a new story to tell. She declares her intention to write a novel set against Kochi and decides to stay at the lodge to observe people and places. Her arrival unsettles the sexually repressed residents who find themselves reassessing boundaries.

To deter her husband from pushing for a return, Dhwani pays Abdu to pose as her lover in a hotel room. The arrangement blurs lines between money, affection, and performance. As their ruse deepens, bonds within the lodge tighten and tensions flare.

Shibu Vellayani uses his access as a cinema reporter to steer women toward film roles, a calculated mix of charm and coercion. His behavior ripples through the lodge, shaking up loyalties and awakening old desires. The residents watch, sometimes wistfully, sometimes wary, as his schemes unfold.

Kora, a retired clerk, loves to boast about his lay history and his audacious tally of women. He declares his aim to sleep with a 1000th partner, ideally a policewoman, turning desire into a game. His vanity sits beside the quiet hum of the lodge, a constant reminder of aging and appetite.

Satheeshan dreams of stardom, chasing a glamorous reinvention of himself. Arjun and Amala's adolescent romance flickers in the lodge's shadows, a reminder of simpler desires echoing beside adult dramas. Shibu renames him Sagar, hinting at the ease of becoming someone else inside the lodge's closed world. The fantasy clashes with the duller rhythms of daily life, revealing how fragile fame can be.

Relton, the piano tutor, and Peggy Aunty, who runs the canteen, are the oldest residents whose companionship anchors the lodge. Relton's music threads through the walls while Peggy feeds both bodies and stories to anyone who sits at her counter. Their quiet, ache-filled romance adds a layer of tenderness to the mosaic.

Ravi's love for his wife Malavika remains even after her death, a stubborn, luminous memory that shapes his choices. The memory colors his dealings with others in the lodge, infusing warmth and restraint into his fatherly and managerial roles. It is a poignant, guiding force in a house built on longing.

Dhwani grows fascinated by Ravi's stubborn loyalty to the memory of his wife, and by the idea that some loves endure beyond death. Her presence, like a fresh current, stirs the lodge's tangled memories and desires. The film presents the lodge as a microcosm where past affections ripple into present actions.