This is a collective that offers three films in the increasing order of effectiveness, starting off with quite passable stuff at one end and ending with an engaging component at the other. As such, it does not spin off much in an interesting fresh direction, and for the most part makes do with some disposable stuff that tries to pass off as observations on gender equations.
‘Virus’ is an effectual ensemble piece that marvellously bonds together the pieces of a jigsaw, thereby rendering complete, a story of how fortitude eventually stamps over irrepressible fear. Emotionally pervasive and unnervingly real, It is also the kind of film that makes you go for a few extra dabs of your hand sanitizer, as you get all set to key down a review.
It’s been a phenomenal film year without doubt, that saw Mollywood rise up to several fresh talents that came its way, while the hardened stalwarts and the standout film makers got busy doing what they have always been best at – crafting glorious cinematic pieces out of their singular visions and laying them out before the world. Here are five amazing film makers who have astonished us this year with the overwhelming manner in which they have reshaped the medium that is cinema.
The year is about to draw to a close, and it’s that time of the year when you loll on the couch and recount the best cinematic experiences that you have had in the course of the past twelve months that had swiftly flitted by. It has been one eventful year for sure, that saw many an appealing and inventive film, making it to the theatres and readily being applauded and acknowledged as first-rate efforts. What follows is anything but a comprehensive list, and what it endeavors to do instead, is to lay out five films that I deem as movies that are certainly not to be missed, and which make it to my final December chart this year!
In ‘Mayanadhi, director Aashiq Abu, armed with a dexterously penned screenplay, settles down to sensitively sketch a doomed tale of love. An impeccable reconstruction of an age-old narrative in an untested realistic setting, ‘Mayanadhi’ is the kind of film that holds a depth of meanings in those abstract gazes, a profundity of emotions in those unuttered words, and which leaves an inexplicable, seething sting at the upshot of it all.
‘Parava’ is a charming coming-of-age tale with a liberal dose of backtales thrown in. It does gallantly buck time-honoured storytelling strategies with innovative modes of its own, and yet leaves you with that faint regret that despite all its artistry and ambition, it’s not that absolute, flawless piece of cinema that would have left you in a daze.