Who’s next? Review: Tamil Anthology delivers very different 3-star hits

Victim - Who's next?  Review: Tamil Anthology offers wildly different shots

A still of Victim – Who’s next? trailer. (courtesy: SonyLIV)

Cast: Guru Somasundaram, Amala Paul, Prassana, Priya Bhavani Shankar, Thambi Ramaiah

Directors: Pa. Ranjith, Venkat Prabhu, M. Rajesh, Chimbudevan

Evaluation: 3 stars (out of 5)

An anthology of Tamil short films streaming on SonyLIV, Victim – Who’s next?, offers extremely different shots. What we have here are four directors, four storytelling modes, and four distinct end results. The range of styles on display is certainly remarkable. The cumulative impact is, however, considerably compromised by a lack of qualitative consistency between the four films.

Dhammandirected by Pa. Ranjith

dhammam (Compassion), written by Pa. Ranjith, is a hammer blow, a microcosmic parable that lays bare the enduring reality of violence against Dalits in rural Tamil Nadu (and, needless to say, across India ).

Marginal farmer Guna (played by Guru Somasundaram) quietly takes care of the drudgery of preparing his tiny plot of land for the next harvest while his in-between daughter Kema (Poorvadharini) plays nearby oblivious to the surroundings. Next is an upper caste farmer Sekar (Kalaiyarasan), who owns large tracts of land around Guna’s plot.

A seemingly innocuous confrontation between the arrogant man dressed in white and the little girl over the right of way along a narrow path that separates the land of Guna from the next escalates into a dispute with unforeseen but terrible consequences.

Cinematographer Thamizh A. Azhagan’s fluid camera captures the chaos on the ground and, when detached from solid ground, rises freely to reveal the small, constricted blocks into which the land below has been divided. While dealing with the raw specifics of the situation, Ranjith crafts a story about the danger caste-derived arrogance poses to humanity as a whole.

Aided by the economy of means made possible by the 30-minute format and the freedom afforded by digital distribution, the writer-director is able to avoid his usual mass-focused approach to dramas of caste oppression and adopt a succinct and pointed narrative line of action. delivering a powerful, disconcerting film, destined to travel through time on its own.

The other three films that make up the quartet pale in comparison even though each of them has something or other to offer audiences.

Confessiondirected by Venkat Prabhu

The actor-director Venkat Prabhu, at the origin of this anthology, delivers a psychological thriller, Confessionstarring Amala Paul as a media professional who comes under fire from a sniper.

The twisted plot is not entirely convincing, Anjana lives in a posh condo in Adyar, Chennai. The soft-spoken shooter (Prassana), positioned in a building opposite Anjana, comes from a much less chic, strictly bourgeois address. But the socio-economic divide isn’t the reason “Remington Sniper” shoots Anjana.

The sniper gives the “cool girl” an ultimatum – confess your “misdemeanors” and I’ll spare you. It’s not instantly clear why she’s at the mercy of a random man – who, in turn, tells his unsuspecting wife that he’s asked his bosses to relieve him of night shifts. Gradually it comes to light that she is a target because of who she is – a girl with a mind of her own.

Both Amala Paul and Prassana give strong accounts of themselves, but the idea of ​​putting an independent, ambitious girl under a murky microscope due to the choices she’s made smacks of unacceptable gender bias.

MIRAGEdirected by Mr. Rajesh

The appearance of another damsel in distress, this one at Mr. Rajesh mirage, begs the question: isn’t it time to shed the stereotype for good? Pavithra (Priya Bhavani Shankar), a Bangalore-based IT professional, lands in Chennai for a client presentation and checks into a guesthouse on the outskirts of town for the night.

Lo and behold, another shot – a desolate house with horrible secrets – is thrown into the mix. To make matters worse for Pavithra, she has to contend with a deranged caretaker who dutifully informs her that she is the first guest at the heritage villa in six months.

At 24 minutes, mirage is the shortest of the four films but it quickly enters a loop which, despite a jump scare here and a shock twist there, forces the plot into a corner from which escape is only possible by a blow of desperate dice. The film moves away from the genre to deliver a pressing message.

mirage functions neither as a supernatural thriller about an evil force unleashed in the stillness of the night nor as a commentary on the demons that often plague the minds of human beings and must be fought before it’s too late.

Kottai Pakku Vathalum Mottai Maadi Sitharumdirected by Chimbudevan

In Kottai Pakku Vathalum Mottai Maadi Sitharum (Betel Nuts & Terrace Seer), a comedy conceived and directed by Chiimbudevan, is a man, a jaded journalist in his forties who is in a difficult situation. In the aftermath of “an auspicious day when the whole city suffered confinement in 2020”, Sikandar (Thambi Ramaiah), Kanda for his acquaintances, is on the verge of entrenchment.

The only way for Kanda to save his job is to locate and interview a legendary sage (Nasser) who is over 400 years old and returns to the mortal world once every half century. His next visit is scheduled amid the pandemic. The journalist falls on the clairvoyant. The latter agrees to ask his questions on two conditions, one of which could put the man’s life at stake.

The ensuing conversation between the two is neither witty nor philosophical. It takes the form of free-wheeling banter about the state of the world in general and Tamil Nadu in particular. The wise man tackles topics from the day’s news headlines and verbalizes fundamental truths, among them the realization that a pandemic is nature’s way of retaliating against humanity’s callous ways. Kanda has more mundane things in mind. He asks the sage to compare the Tamil cinema divas of fifty years ago – Saroja Devi and Savithri – with today’s queen bees Samantha and Nayanthara. He does not receive the expected response.

Four stories about four characters confronting questions of life or death form the core of Victim. The vehicles they use vary from the incredibly good dhammamwho would receive a five-star rating if one could rate the films individually, infinitely less touching miragewith the films Venkat Prabhu and Chimbudevan occupying the middle ground.

look dhammamif not the others, for the sharp and moving sampling it provides of what Pa. Ranjith can achieve if he is given the opportunity not to play by the rules of the commercial film industry and adopt an idiom artistically individualistic.

Source link

Denial of responsibility! newsnaveen.online is an automatic aggregator around the global media. All the content are available free on Internet. We have just arranged it in one platform for educational purpose only. In each content, the hyperlink to the primary source is specified. All trademarks belong to their rightful owners, all materials to their authors. If you are the owner of the content and do not want us to publish your materials on our website, please contact us by email – admin@newsnaveen.com. The content will be deleted within 24 hours.

Similar Articles

Most Popular