Futuristic love is often billed as something bold, as a redefinition of the concept of love itself. Love Insurance Kompany does not fulfill that ambition to the fullest. The concept of an app deciding on compatibility in 2040 is controversial, and at times it seems that the film does challenge the extent to which we are ready to put our trust in algorithms. Then it retreats. What starts as a collision between instinct and digital validation gradually evolves into a safe and too familiar beat. It has moments of intrigue, particularly in the differing growing-up of the protagonists, but the movie is reluctant to take its own premise. The idea remains even more than the experience.
The movie is set in the year 2040 and constructs a reality in which the romantic compatibility is determined by the LIK app which claims to be an impeccable system to select life partners. It is a concept that seems a logical continuation of the current, where algorithms already influence choices in minor ways. The story presents two characters which are very different. The heroine (Krithi Shetty) puts all her trust on the system, which is influenced by a mother who is engrossed in reels, confirmation, and projection on the screen. Instead, the hero (Pradeep Ranganathan) is raised in an environment that specifically avoids technology, his father making him avoid screens, applications, and even cell phones.
This conceptual separation must have been the emotional and intellectual heart of the movie. That potential is evident in its initial stages. Finding the heroine and falling in love with her at first sight, the conflict turns out to be greater than romantic. It is philosophical. To visit her, he must enter his own world of protection, purchase a phone and be a part of the system he is not so fond of. The arrangement begs to be explored more, yet the plot takes a less risky path, slowly drifting into the known.
The foreseeability is seen when the antagonist (SJ Suryah) comes in. The plot develops in the same way as it is anticipable, starting with the conflict and leading to the break up in between the interlude, and then to the reconciliation. Much effort is made to avoid expectations or mask the formula. It is a hoary head, which is no strength to the story.
More disappointing is the lack of emotional weight. The movie talks a lot about love and relationships but seldom makes them experienced. This is because the main love story does not ever truly develop onscreen, so there is no reason to invest in the intensity of it. The connection between the hero and his father that would have made the story emotionally based is underwritten. Likewise, the relationships of the heroine with her mother and the other characters are superficial, and they never turn into something substantial.
The juxtaposition of organic and digital upbringings is abundant and full of potential. It vows a subtle study of relationships in contemporary world, however, the movie ultimately turns to a traditional hero versus villain. This choice marginalizes its most attractive concept, and its philosophical depth is cut down to a typical storyline.
The 2040 description is also not developed. Although there are apparent efforts at world-building, in the form of CGI and stylised settings, the setting is not developed. It is more like an extension of the present and not a fully actualised future. The story at a few instances seems to be doing well without its futuristic setting, which devalues the existence of the futuristic setting.
The movie stands its own ground technically. The cinematography by Ravi Varman is a source of a smooth visual feel, which helps the film to be interesting even when the storyline is lacking. The frames are always beautiful and the CGI is moderated so that it does not overpower the images but complements them.
One of the strongest aspects of the film is music. The soundtrack provided by Anirudh Ravichander adds power to the story. The song of the theme, the Pattuma song, and a key note that leads to the climax are notable. The use of a robot character that is voice acted by Anirudh is charming and suitable to the tone of the film.
Pradeep Ranganathan is very understated, as he sheds off his more active character in favor of a more reflective, solemn character. He copes with the shift well, but the writing lacks the depth to make an impression. Krithi Shetty feels more confident and it is easy to believe in her characters belief system and support her with a relaxed attitude with the help of well-designed costumes. SJ Suryah is intense, yet the character is a familiar one, there is nothing new, although there are some standout moments. The other characters, such as Yogi Babu, are introduced and reintroduced seeming to make no profound impression. The comedy lacks cohesion as only a few instances work.
Comedy, emotion, both find it hard to strike a balance. The jokes are recycled, the emotional beats, such as the breakup and the reconciliation is not intense enough. The last stretch is a little better. It is more concentration-oriented in the last 25 to 30 minutes, and the notion of heart vs. app after a breakup adds a conceptually powerful layer. There is a short action sequence that gives it impetus, but not much to enhance the overall experience.
Thematically, the film lacks as well. It sometimes seems to exalt friendship, and sometimes to weaken it by some of the decisions of the characters. There is a subplot of a rehabilitation centre that poses interesting questions but does not give any answers, further contributing to the incompleteness.
At the end, all that is left is unrealised potential. The movie aims at investigating the effect of technology on human relationships yet finds itself content with a cliche and emotionally detached story. It has glimpses of brilliance in its conception, music and visual presentation, but not enough to get over the writing drawbacks.
Love Insurance Kompany is a technically good film but could have been better, a film that misses out on the depth and the boldness its premise promises.
Rating: 2.5/5
