‘Ekam’ web series review: Prakash Raj, Raj Shetty’s anthology is a languid, lilting tribute to the idyllic Karavali region

Sandeep P.S. and Sumanth Bhat are storytellers with conviction and clarity. As creators of Ekam, the seven-episode web series co-produced by Rakshit Shetty’s Paramvah Studios, the duo leaves you in little doubt about what to expect as you dive into their maiden work.  

In the animated Munnudi (Prologue) to the series, the showrunners reinforce their commitment to stories; the ones you may have heard, the ones you could never imagine, the ones lived and bequeathed. So different, yet so similar. So many emotions and circumstances, all distilled down to the singular human experience.  

It is this universality of experience that propels the series, with the Karavali or coastal Karnataka region providing a lush backdrop of diverse communities and languages to set the myriad characters in. 

The series begins with a simple, almost straight-forward rom-com and grows in complexity, culminating with a metaphysical exploration of what it means to be a writer.  

In Haaraata (Flight), directed by Sankar Gangadharan and Vivek Vinod, a meet-cute between Manjula and Thomas must grapple with religious differences and patriarchy even before love can blossom.  

Shoonya (Void), shot in the Tulu language, traces the descent of Guruva (a stellar Basuma Kodagu) from a master hunter to a human scarecrow. His transformation from a sought-after tribal huntsman of exceptional prowess — who can spot wild boars in the distance using just his sharp senses — to a crazy, old nobody weighed down by a mighty rifle and running across the forest in desperation makes for a haunting visual. 

While Dombaraata (Masquerade) is buoyed by actor Raj B. Shetty’s unassuming performance as Dhanaraja, a gullible man who returns from Dubai to his hometown with hopes of setting up a dairy farm, Bhranti (Delusion) deals with a young girl’s accidental discovery that she may have been adopted.  

In Swattu (Legacy), an ageing movie star’s disclosure of his sexual escapades in an autobiography shakes up the lives of a fan-boy and his maid. The short opens with the young fan crooning to a song featuring his favourite actor. “I’m like your shadow, I’ll follow you till the end of the world,” it blares, setting up the premise for the episode’s chilling conclusion.  

“What’s a funeral without a dead person?” asks Poorvachara (Tradition), which stars Prakash Raj and Ujwal U.V. “Can there be an omen worse than death?” There can be, it seems to say, if a living person — accidentally believed to have died — must walk himself to the pyre, choosing tradition and family prestige over his desire to live.  

What happens to a story untold? Does it die a quiet death or does it lie in wait, festering within, until it becomes one with your memories and identity? In Asmite (Identity), a Malayalam short, an old writer must tackle these questions with an unexpected visitor.  

Episodes 2 to 5 have been directed by Sumanth Bhat, and seem more real and relatable of the lot, while the last two episodes, addressing deeper existential questions, have been directed by Sanal Aman and Swaroop Elamon. 

Ekam attempts to bring seven disjointed stories to life by experimenting with genre and language. With no single theme binding it, the show puts the verdant, idyllic Karavali region in the centre-stage as a constant character, relying on its moods, customs, dialects and soundscapes to support the writing. Much of the show’s pacing mimics the languid way of life in coastal Karnataka, and this does not always help the narration.  

In a nod to the tradition of bhootaaradhane (spirit worship) in the region, daivas (divine spirits) like Panjurli, Koragajja and Guliga are woven into the script. Yet, as with most anthologies, there are some links weaker than the others in Ekam.  

The series released on July 13 and can be accessed on the TVOD (Transactional Video-on-demand) platform ekamtheseries.com. The show, along with a host of bonus content, can be rented for ₹149