Dulquer Salman plays the lead as Kasi, the engineering student in love with Assi (Surja Bala) a girl from the north east. A left-leaning individual, whose father claims to be progressive, Kasi is hardly prepared for the opposition he faces from his family and community to his marriage. To make matters worse, his girlfriend vanishes without so much as a goodbye.
On a whim, Kasi decides to go on a trip. Though he is not willing to admit it we realize that he wants answers. His friend, Suni, played by Sunny Wayne, an actor to watch out for, accompanies him. Their journey takes them to many interesting places like Bangalore, Orissa, Kolkata, and Nagaland.
On the way they also meet many interesting people like the young surfer, Ishita, (Paloma Monappa) who believes that there is one wave that every surfer is meant to ride, a leftist ideologue, Bimalda (Dhritiman Chatterjee), who works among the tribals with his young daughter, Gauri (Ena Saha), and Raghavan, a man from Kerala who works as a mechanic in a makeshift workshop along a highway in Kolkata.
The movie captures the spirit of youth and freedom in the first half. It sets the tone for the somber second half during which Kasi and Suni discover certain unpleasant realities of life in India, whether it is the economic exploitation of the poor by the rich or the ugly face of communalism.
In Assam, as he bears mute witness to a communal carnage, Kasi feels the pull of his religious identity-he is ready to give up Assi for his mother who had turned his lover out of his home in his absence.
But one of the most touching moments is when Kasi tells the mechanic, pointing to the broad highway that stretches below them, that they had come all the way from Kerala on that road and when the mechanic gazes at the road with new eyes, you sense that this man who has exiled himself from home to escape from the long arm of the law is experiencing an epiphany-home is not that far away after all.
The most preachy scenes involve the episode in Kolkata where Kasi gets involved with the tribals. Somehow it doesn’t ring genuine at all. Some loose ends have been left dangling like the people in the lorry who try to kill Suni.
The cinematography by Girish Gangadharan deserves special mention. It is a curious coincidence that the film released on the eve of India’s independence day. As we look back on the years of wasted potential and betrayed promises, the film opens our eyes to the truth that lies concealed under the debris of our dreams for our nation.
It ruthlessly nails the lie that we, as children and young men and women were told, in classrooms and colleges —India is a land of unity in diversity. But it also extends the hope that times are changing. If we can free young minds and let them soar above the constraints of caste, class, community and religion, then some day India will surely make that tryst with destiny just as Kasi does in the movie.