In 2014, Vanaprastham was screened retrospective at the 45th International Film Festival of India in the Celebrating Dance in Indian cinema section.

The story revolves around a male Kathakali artiste Kunjikuttan, an admirable and respected performer but a member of a lower caste.

More in love with the valiant, noble hero of the Mahabharata, than the lower-caste dancer Kunhikuttan, she rejects him and refuses to let him see their son.

Denied access to his son, and rejected by his father, Kunhikuttan returns to the stage, leaving behind his hero roles to play demonic characters, reaching within the dark corners of his mind, becoming increasingly resentful and full of anger, until one last dance which brings the feature to a stunning end.

[3] Writing for Variety, film critic Emanuel Levy said that "The Last Dance, which marks noted Indian cinematographer-director Shaji Karun's third appearance in Cannes, is an elaborately produced, exceedingly handsome period film about the art form of Kathakali, which combines dance, pantomime and theater [...] Through his meticulous mise-en-scene and well-crafted production, director Karun offers poignant commentary on the political and mythic role of artists in a rapidly changing society, and the fine line between the characters they play onstage and off".

[4] Prem Panickar of Rediff wrote, "From a viewer's point of view, it is interesting that after watching the film, you come away talking of the passionate 'virtual love story', of the stunning visuals, of Mohanlal's brilliance and Suhasini's surcharged performance -- but rarely, if ever, of the director.

[13] Impressed with his work in Vanaprastham, A. Sreekar Prasad was hired by Mani Ratnam for editing Alaipayuthey (their first collaboration), who later becomes his regular editor.