The Girls (Gehenu Lamai) Review: Like a Gentle Breeze

Beneath its sentimental, melodramatic surface, The Girls (Gehenu Lamai) is an engaging reflection on Sri Lankan classism and a moving story of heartbreak.

At the centre of this intoxicating drama is Chathurani’s Kusum, an innocent teenager who, via occasional voiceovers, ruefully reflects on her childhood. Peries, who also wrote the screenplay, introduces us to this world in a welcoming way, with warm textures and jovial tone embracing us slowly. Some jumpy editing and structuring decisions are jarring, but Peries adeptly sets the mood, notably aided by Nimal Mendis’ sumptuous music. Kusum meets Nimal (Ajith Jinadasa, of Amal Biso), a member of the higher class family whose house Kusum works at, and here The Girls transforms into something mesmerising. The opening is slowly sketched, but necessarily so; Peries is setting the world and characters up for the ensuing highs and lows.

The two teenagers fall in love—thankfully, the romance is completely believable—but the fact that Kusum is from a lower class than Nimal causes unavoidable issues. Peries spends considerable time showing the pair’s discussions. Their outlooks are influenced by their social standings and how they were raised; Nimal is naive, whilst Kusum is more realistic about the unlikelihood of their relationship developing, despite what she wants. The Girls is full of riveting dialogues such as these, but also just as stacked with longing glances and unspoken words. There is an intensity to certain scenes, with characters making eye contact and also avoiding it.

The earlier stages of The Girls can be overly melodramatic, and whilst their romance is believable, it can also feel simplistic at times. Nevertheless, the twist of societal expectation adds potency to an otherwise fairly standard setup, and ensures The Girls remains invigorating for its full runtime. Kusum notes the importance of wealth, money, and status in society—elements of such importance that they derail the happiness of two young people in love. In many ways, the earlier romanticism of the film is necessary in order to enhance the inevitable heartbreak that follows. For all its happiness, it doesn’t take much imagination to know that The Girls will not end with the couple sailing off into the sunset.

Supporting characters such as Padmini (Shyama Ananda), Kusum’s best friend, add depth to the world, and in general, it frequently feels like we’re watching real people going about their daily business. In large part this is down to the actors. In particular, Chathurani shines in what was her first feature film role as a 16-year-old, with a naturalistic presence enhancing the film’s core themes. Moreover, M. S. Ananda’s (Ranmuthu Duwa) expert cinematography utilises simple objects such as trees and windows to great effect, often forming barriers between characters. Slow zooms and obscured shots make the viewer feel as if they’re peeking into people’s private lives. This textured naturalism is vital, because whilst The Girls is a fictional film, it speaks volumes about real-life situations centring around wealth and class.

Now restored in 4K by the Film Heritage Foundation of India, and after its world premiere at the 2025 Cannes Film Festival and UK premiere at the BFI London Film Festival, The Girls (Gehenu Lamai) will be released in selected cinemas in the UK & Ireland on 10 July 2026.