Dreamscapes in the Wilderness: Exploring Surrealism in Churuli through André Breton's Lens

Abstract

 Lijo Jose Pellissery’s Churuli (2021) emerges as a compelling exploration of the surreal, blending folklore, chaos, and the subconscious within the confines of an enigmatic forest. This paper examines the film through the lens of André Breton’s Manifestoes of Surrealism, unravelling its surrealistic narrative structure and aesthetic. Breton’s framework, which emphasizes the liberation of thought from rational constraints and the embrace of the subconscious, serves as a theoretical foundation for understanding the dreamlike qualities of Churuli. The paper argues that the film’s disjointed narrative, bizarre character transformations, and cyclical storytelling reflect surrealism’s core tenets. The setting of the forest functions as a liminal space, a metaphorical bridge between reality and the subconscious, where societal norms dissolve, and primal instincts take over. Key surrealistic elements, such as the use of symbols, fragmentation, and a deliberate ambiguity in plot resolution, are analysed to uncover the film’s deeper engagement with themes of morality, chaos, and the human psyche. Furthermore, the interplay of sound, visuals, and dialogue in Churuli is explored as a medium for inducing a hypnotic, almost trance-like experience, mirroring the effect of surrealist art and poetry. This paper concludes that Churuli transcends conventional cinematic norms to function as a surrealist narrative that challenges the viewer’s perception of reality, mirroring Breton’s vision of art as a gateway to the unconscious.