• A look at ‘Housefull’ and changing comedy culture 

Comedy on the Sri Lankan screen has always been a bit of a tightrope act – one that often oscillates between brilliant absurdity and baffling inconsistency. 

Approaching a Sinhala comedy film can be a game of chance; it’s either a delightful surprise or a complete miss. But perhaps part of the challenge lies not with the films themselves, but with the expectations we bring to them. 

To truly appreciate local comedy, one must step in with an open mind, ready to suspend disbelief, embrace the quirks, and allow for a uniquely Sri Lankan flavour of humour to unfold.

Perhaps no recent film better demonstrates this complex relationship than ‘Housefull,’ a Sinhala-language comedy directed by Sri Lal Priyadeva and produced by Mohan Perera (co-produced by Sunil T. Fernando and Gihani Weerasinghe). 

Having premiered at PVR Cinemas on 28 May, the film stars Isuru Lokuhettiarachchi, Chulakshi Ranathunga, and Jeewan Kumaranatunga, and presents itself unabashedly as an all-out comedy – the perfect case study for exploring the nuances of Sri Lankan comedic cinema.

‘Housefull’ itself

At first glance, ‘Housefull’ revolves around a familiar trope: a small roadside shop owner facing off against a wealthy hotel magnate determined to force him out for the sake of expansion. 

Add to the mix a scheming daughter with her own agenda, a reluctant romance, and the predictable twists of a David vs. Goliath tale. Yes, the story is cliché – and that’s the point. The film leans into its conventions with full confidence, relying not on narrative originality but on how scenes are staged and performed to deliver its comedic punch.

And this is where the heart of Sri Lankan comedy lies – not necessarily in crafting entirely new stories, but in infusing familiar setups with layers of performance, absurdist humour, linguistic playfulness, and social satire. In the case of ‘Housefull,’ Sri Lal Priyadeva’s direction and the cast’s uninhibited performances create moments that are genuinely hilarious and undeniably entertaining.

Ultimately, a film like ‘Housefull’ serves as a reminder that in order to enjoy Sri Lankan comedy, one must meet it where it is: a genre rooted in cultural rhythms and popular storytelling traditions, rather than a pursuit of highbrow wit. 

If you walk into such a film expecting polished satire or clever wordplay of the Western variety, disappointment may follow. But if you come prepared to revel in its chaotic energy and embrace the uniquely local brand of humour – often absurd, physical, and delightfully exaggerated – you’re almost guaranteed to have a good time.

That being said, ‘Housefull’ is not without its shortcomings; there were elements that raised questions for us as viewers, particularly in terms of how certain themes were handled. 

One area of concern was the portrayal of Police interactions with civilians and alleged perpetrators. While it is understood that a comedy leans into exaggeration, there is always a line where humour can inadvertently spread misinformation. 

In this case, the way arrests and Police procedures were depicted might give audiences the wrong impression of civilians’ rights and due process. Of course, we don’t expect the public to take legal cues from a comedy film, but it is certainly possible to maintain the same level of absurdity while still portraying correct procedures in a more responsible manner.

Similarly, the film touched on the topic of corruption among State officials, which was a welcome and necessary layer even within a comedic framework. However, the representation leaned fully into slapstick and caricature, without offering much nuance. 

Given how well the film delivers in terms of entertainment, one can’t help but wish that it had also taken the opportunity to provide a sharper, more pointed commentary on issues like corruption – especially since satire thrives when comedy is used to reflect deeper truths about society.

One issue that was harder to ignore, however, was the film’s reliance on a very male gaze-oriented portrayal of women, laced with moments of raging misogyny. While it is sadly not a problem unique to ‘Housefull’ – cinemas around the world continue to wrestle with outdated portrayals of gender – this is an area where Sinhala cinema too must do better.

Comedy should not be an excuse to perpetuate lazy or harmful stereotypes. It was particularly frustrating because the film was otherwise highly engaging and had so much potential to bring nuanced humour into its gender dynamics as well. One hopes that going forward, Sri Lankan filmmakers take this as an opportunity for reflection and progress.

That said, none of these issues fully detract from the entertainment value of ‘Housefull.’ If the primary goal of the film is to make its audience laugh – and it very much succeeds in this regard – then it has done its job well.

The cultural core of comedy

Recognising that Sri Lankan comedy, particularly Sinhala-language comedy, is a unique entity which draws heavily on local idioms, cultural nuances, and traditional performance styles, The Sunday Morning Brunch spoke to a few of our readers for their perspectives on the broader nature of local humour.

An interesting observation that emerged was that comedy is often one of the most culturally specific forms of storytelling. Many of our readers noted that humour in Sinhala films often did not translate well for outsiders. If one were to watch ‘Housefull’ as a foreigner, many of the jokes, rooted in wordplay, cultural references, and local social dynamics, might not land as intended. 

Comedy is very much rooted in culture, and at times, you almost need to be part of that culture to truly understand and appreciate it.

Local context makes all the difference

This idea was echoed by Harini Budawatte, who reflected on how humour often struggled to transcend cultural boundaries. 

“I’m a big fan of Korean variety shows, and there are so many elements that don’t – or are not able to – translate to me as a viewer who enjoys purely them through subtitles,” she explained. “That’s a really good example of where we see that comedy is not entirely able to translate across cultures, because a lot of it is very much rooted in your experience as a person who is Korean in this case, or any other nationality or culture.”

Harini’s point hits close to home when thinking about Sinhala comedy as well. “I think that’s the big difference even with Sri Lankan comedy,” she added. “It is enjoyable for people who grew up here and have grown up watching Sinhala films.” 

Her perspective reinforces the notion that while certain comedic structures – such as physical humour, situational comedy – may have a degree of universality, much of what makes comedy resonate is deeply embedded in shared cultural experiences, linguistic nuances, and social references.

Misogyny doesn’t need to be the comedic norm

Ashini Wijetunga also reflected critically on the persistent gender portrayals in Sri Lankan comedies, including ‘Housefull.’ 

“Often, we still are very limited in our ability to write different genders,” she said. “In this film, you see the main actor openly thirsting over women, and still, we are supposed to find him charming. He is what we would call a creep; he leers at women and goes after every woman he comes in contact with. He objectifies the main lead actress openly, and she is responsive to his advances.”

Ashini argued that this was not a small flaw but one that fundamentally detracted from the experience of watching local comedies. 

“We can still be funny without this being the norm,” she said. “But I think it is not unique to Sinhala cinema. This is something that is rampant in all forms of cinema. The West has attempted to correct itself; however, the issue still remains in these films.”

Her remarks point to an important area of growth for local comedy: how to create humour that does not rely on outdated gender dynamics or harmful tropes.

It needs to be taken casually

Ashen Cooray added yet another perspective on how films like ‘Housefull’ fit within the larger landscape of Sri Lankan cinema. 

“To be perfectly honest, I don’t watch a lot of Sinhala films unless they are super hyped and feel really significant to the culture, like ‘Rani.’ Then there was ‘Nelum Kuluna,’ which I watched because everyone said it was very nuanced,” Ashen shared. “I wouldn’t fully agree, but it was different.”

He added that in recent years, more Sinhala-language films were reaching English-language speakers, which meant that these films needed to more carefully consider what worked and what did not work for different audiences. “I normally would never actually choose to watch a film like ‘Housefull.’”

Ashen described films like ‘Housefull’ as ‘jukebox entertainment’ – movies that get made, are enjoyed briefly, and are then largely forgotten. However, he acknowledged that they did have their place. 

“Sometimes you do need to be a casual viewer and sometimes you do need a film that is just there,” he said. “And I think that in a lot of Sinhala comedy – the mainstream ones – that is their intention.”

In Ashen’s view, the reason for this is that much of mainstream Sinhala comedy has not evolved to embrace deeper social commentary or become a tool for cultural critique. 

“It has not evolved to actually adopt any social commentary or to be a different tool than it used to be – instead, it is always a timepass for the general public,” he said. “But it still does serve its purpose and it has its role in life.”

Next in Sri Lankan comedy

At the end of the day, films like ‘Housefull’ remind us that Sri Lankan comedy – particularly in the Sinhala mainstream – exists unapologetically for mass entertainment. While there is much room for growth, especially in addressing issues like gender portrayal and evolving towards more nuanced humour, it remains a genre that resonates deeply with audiences who turn to it for laughter, familiarity, and cultural connection.

As several of the readers we spoke to pointed out, comedy is often one of the most culturally rooted forms of storytelling. Perhaps that is why Sinhala comedy continues to thrive in its own way, even when it doesn’t always align with modern sensibilities. 

The hope is that as local filmmakers continue to experiment and audiences grow more discerning, we will see Sri Lankan comedy evolve, holding onto its vibrant spirit, but embracing a fresher, more inclusive voice that speaks to both today’s Sri Lanka and the world beyond.