Set virtually completely over the course of a single graveyard shift, Ronth follows two policemen—an ageing, battle-worn civil police officer named Yohannan (Dileesh Pothan) and his newly posted accomplice Dinanath (Roshan Mathew). There’s no crime-of-the-century right here. No ticking clock. Simply males in uniform navigating city shadows and human unpredictability—one name at a time.
Whether or not it’s a street-side scuffle with a troubled youth, a confused aged man wandering with out ID, or a home squabble that spirals simply sufficient to shake each males—every encounter that the 2 policemen face isn’t only a case, it’s a check. For the system. For their very own convictions. It’s on this refusal to dramatise that Ronth finds its energy. The movie means that heroism isn’t solid in shootouts or chase sequences, however in hesitation, doubt, and restraint.
Dileesh Pothan’s Yohannan looks like a person carved out of years of drained compromises. He’s not cynical a lot as weary—each phrase he doesn’t say echoing louder than those he does. There’s a second the place he lingers too lengthy outdoors a locked gate, the pause heavy with unstated remorse. It’s good in its subtlety.
Roshan Mathew, alternatively, walks the tightrope of youthful ethical readability. His Dinanath is observant, idealistic, but additionally uneasy in his pores and skin. Because the evening wears on, Mathew permits tiny fractures to floor, suggesting a sluggish corrosion of perception. Their chemistry is fantastically understated; they by no means confront one another instantly, but are in fixed quiet negotiation.
Anil Johnson’s music, used sparingly, threads the scenes with an anxious heartbeat, whereas the enhancing by Praveen Mangalath resists urgency. As an alternative, it embraces the sluggish bleed—permitting every second to unfold and settle like fog over a windshield.
For all its deserves, Ronth doesn’t finish on an ideal word. The ultimate act, whereas tense, leans a contact too handy—just like the movie lastly giving in to its style’s calls for. However even that feels forgivable when the bigger expertise is so immersive. This isn’t a movie about fixing crimes. It’s about what they depart behind.
