Director Sivaranjini said in an interview that the idea for the film came from visiting a parlour in her hometown.
Published Nov 30, 2025 | 7:49 AM ⚊ Updated Nov 30, 2025 | 7:49 AM
Sivaranjini’s ‘Victoria' is a daring movie. (Supplied)
Sivaranjini’s Victoria is a celebration of sisterhood, featuring an exclusively female cast.
In a patriarchal society—and at a time when there was ongoing discussion about women not receiving equal screen space—this bold choice to exclude men from the film stands out.
Victoria is an exception in this regard, telling its story entirely through a female gaze.
The movie opens with the protagonist, Victoria, travelling by bus to her beauty parlour in Angamaly near Kochi. She carries a rooster with her—the only male presence in the entire film. Other male characters appear only through video calls or as disembodied voices. A sign outside the parlour reads “Men not allowed,” and inside is a lively all-women group.
Director Sivaranjini said in an interview that the idea for the film came from visiting a parlour in her hometown. That space reminded her of a men’s salon or a local Kerala tea shop, where people gossip and discuss anything under the sun.
The same atmosphere exists in the film’s parlour. Women from different walks of life come in. Jolly Chirayath’s character is visiting a parlour for the first time. Another woman is a regular but wants to keep her visit secret because her father-in-law is hospitalised. A daily-wage worker is also a frequent customer. Together, these characters show how the parlour functions and how women speak freely when there is no male gaze—something the female director captures well.
As the conversations happen among the women in the parlour owned by Jeena (Darshana Vikas), Victoria (Meenakshi Jayan) appears cheerful and friendly. However, she is struggling inside. She is in a relationship with a non-committal man from another religion, and her parents have just discovered the affair.
A poster of the film ‘Victoria’. (Supplied)
To release her emotions, she hides in the parlour washroom and cries, but steps out with a composed face. Meanwhile, the rooster in the parlour adds an interesting layer to the story.
The rooster is supposed to be sacrificed as part of a church ritual, yet it becomes a silent witness to everything happening in the parlour. Victoria protects it, which adds depth to her character.
Victoria represents many young women who enter relationships that later become painful because the partner refuses commitment. The story itself is simple, as interfaith romances often face pressure from families.
Victoria’s conversation with her pregnant friend, played by Sreeshma Chandran, is a key moment. Her friend offers meaningful advice, warning her not to make impulsive decisions. Victoria listens and changes her course.
Set entirely inside a beauty parlour, the film weaves in strong references to patriarchy, making the theme timely and relevant.
The movie is compelling because it captures Victoria’s emotions even when she keeps a smiling face for the customers. The performances by Meenakshi Jayan, Sreeshma Chandran, Jolly Chirayath, and the rest of the cast are impressive. Meenakshi Jayan, in particular, does full justice to her role.
She shines in the scene where she reveals her distress to her pregnant friend. Their conversation in the climax is one of the film’s strongest moments.
Overall, the movie is a celebration of womanhood and stands out as a powerful film with meaningful content.
The movie features some fine visuals by cinematographer Anand Ravi. Several single-shot sequences stand out. Since most of the film is set inside the beauty parlour, the room itself becomes a character. One impressive shot follows Victoria as she moves from one customer to another in a single take. Another memorable moment shows her interacting with school students practising their singing in the parlour.
The film also includes a strong visual reference involving a snake, followed by a sudden shift to a forest-like setting. These scenes effectively portray Victoria’s anxiety and panic attacks.
The art direction by Abdul Khader is excellent, especially in designing the parlour with a rooster placed inside the room. The editing, done by Sivaranjini, is sharp and well-paced, with no unnecessary lag.
Victoria competed in the Asian New Talent section at the 27th Shanghai International Film Festival, where Meenakshi Jayan won the Golden Goblet Award for Best Actress. The film has also been screened at international festivals in Busan, Tokyo, and Cairo, earning critical praise for its strong content.
