Thiagarajan Kumararaja’s ‘Super Deluxe’ is a riveting and dexterously observed noir piece that spawns a sense of unease on its viewers with an unnerving subtlety. Building on the terror further, it pulls open a wardrobe of disquieting truths – on gender roles, fidelity, faith, morality and several others – that tumble down in heaps and bundles all around us. A bolstering black comedy that is also a twitchy exploration of tormented human lives, it is an exciting and excruciating film that would leave you squirming in the best possible ways.
Brilliantly performed, visually striking and deftly structured, ‘Peranbu’ is an avowal of a fortune that we live with every day, and a prompt to remain forever thankful for the miracle called life. Beyond the personal odyssey of a dad and a daughter caught up in a whirlwind of existence, it is an exemplary exploration of faith, compassion and above everything else, acceptance.
Prem Kumar weaves together an intimate love tale that probably requires a certain leap of faith, which preserves a pristine purity in its narrative. Devastating and delightful by turns, it’s a tragic tale of a man and a woman hopelessly caught in a vortex of love, continually washed towards and away from each other, with not a leeway of redemption anywhere in sight.
Film maker Lokesh Kanagaraj adroitly places his characters in a sprawling city that engulfs anything and everything within, and let them be a part of a multi narrative plot that time and again overlaps and overruns itself.
Its not been long since Nayanthara earned rave reviews for her performance in the film ‘Maya’, that also went on to become a blockbuster. Directed by Ashwin Saravanan, the film released worldwide on 17 September 2015, simultaneously as Maya in Tamil and Mayuri in Telugu and went on to shatter the box office collections that year. Continue reading “Dora: Nayanthara’s New Tryst with Horror!”
(Pic courtesy: www.timesofap.com)
The transsexual politics in South Indian cinema has been solely one-dimensional, what with the transsexuals, largely occupying the fringes of the industry as extra artistes or makeup assistants. Even when they have been offered roles in films, they have often been relegated to comic images of gaudily attired, men-thirsty vampires. Continue reading “Anjali Ameer and the Changing Transsexual Politics in South India Cinema!”