In the cook (Siddharth Bharathan), the singer finds a partner to trauma-bond with. The cook seems to have been trapped in the same loop as the singer and they are successors to dozens of servants who lived and died in the service of the Potti. Given the sorcerer-like powers of the Potti, the singer’s entry into the manor isn’t as accidental as we might have felt. It might seem easy to enter but impossible to leave.
Part of this is because of the way Potti welcomes the singer into his house. He seems to be above notions of caste or creed when he allows the singer a plate full of food, also allowing him the “freedom” to be seated on the same level as him. It’s almost as though Potti lures his subjects with a false sense of equality and then goes on to trap them with his trickery. In Potti’s words, the age that they’re living in is beyond the forces of karma. They seem to exist in Bramayugam, an aberration within the Kaliyugam in which God remains absent.
It is in this context that we can look at Bramayugam as an allegory on power and how it can corrupt absolutely. The three central characters of the film feel like three classes that are constantly at loggerheads with each other. At once, we feel the two at the bottom of this tower can fight together against the power that be, but eventually, Bramayugam takes a cynical view in which it is just a matter of time before power takes over and corrupts everyone. And if the ending is anything to go by, it’s the beginning of several cycles of class struggle with only the masters changing over time.