One of the film’s most effective scenes involves an argument between Maria and Costao about his priorities and his frustrations. A silent coexistence follows. Unlike most thrillers, Costao‘s strength lies in its ability to appreciate the quieter moments – the anticlimactic, non-cathartic moments. The story doesn’t proceed as much as it unravels. Ajay Jayanthi’s background score helps the pacing even when the editing is inconsistent.
And that’s when the issue arises – the story forgets that Costao was meant to be a layered, flawed character. A character can be selfless and selfish at the same time – a man can be a selfless official and an absent father and husband. While the writing displays ample understanding of the consequences Costao faces, his family ends up becoming a footnote to his story – it’s almost ironic that the film ends up making the same mistakes as its protagonist.
Costao works best when it tries to dissect and flip the narrative of what a hero’s fight looks like, especially without a quick fix Bollywood masala solution. And by still trying to force Costao into a ‘he was a good man after all’ ending, the film forgets its own strengths.
