Victim – Who Is Next? Review: Tamil Anthology Delivers Wildl…



A nonetheless from Victim – Who Is Next? trailer. (courtesy: SonyLIV)

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

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

Rating: 3 stars (out of five)

An anthology of Tamil quick movies streaming on SonyLIV, Victim – Who is Next?, delivers wildly other strokes. What we’ve got listed here are 4 administrators, 4 storytelling modes and 4 distinct finish effects. The vary of kinds on display is certainly noteworthy. The cumulative affect is, then again, undermined considerably by way of a loss of qualitative consistency around the 4 movies.

Dhamman, directed by way of Pa. Ranjith

Dhammam (Compassion), written by way of Pa. Ranjith, is a sledgehammer blow, a microcosmic parable that lays naked the unchanging truth of violence towards Dalits in rural Tamil Nadu (and, remember that, all of India).

Marginal farmer Guna (performed by way of Guru Somasundaram) quietly is going concerning the chore of getting ready his minuscule patch of land for the following crop whilst his tween daughter Kema (Poorvadharini) performs within sight unmindful of atmosphere. Along comes an higher caste farmer Sekar (Kalaiyarasan), who owns massive tracts of land round Guna’s plot.

A reputedly risk free war of words between the cocky white-attired guy and the little woman over the appropriate of passage alongside a slim pathway that separates Guna’s land from the following escalates right into a dispute that has accidental however horrible penalties.

Director of pictures Thamizh A. Azhagan’s fluid digicam captures the chaos at the flooring and, when unyoked from terra firma, soars loose to show the little constricted blocks that the land under has been cut up into. While coping with the uncooked specifics of the location, Ranjith crafts a story concerning the imperilment that caste-derived conceitedness poses to humanity at massive.

Helped by way of the financial system of manner made conceivable by way of the 30-minute structure and the liberty presented by way of virtual distribution, the writer-director is in a position to eschew his standard mass-oriented option to caste oppression dramas and embody a succinct, pointed line of narrative motion to ship a formidable, disconcerting movie this is destined to face the check of time by itself steam.

The different 3 movies that represent the quartet faded when compared even if each and every of them has one thing or different to supply the target audience.

Confession, directed by way of Venkat Prabhu

Actor-director Venkat Prabhu, whose brainchild this anthology is, delivers a mental mystery, Confession, starring Amala Paul as a media professional who reveals herself within the line of a sniper’s hearth.

The twisted plot is not completely convincing, Anjana lives in a swanky rental in Adyar, Chennai. The smooth-talking gunman (Prassana), situated in a development reverse Anjana’s, is from a miles much less fancy, strictly middle-class cope with. But the socioeconomic divide is not the explanation why “Remington Sniper” is gunning for Anjana.

The sniper provides the ‘cool woman’ an ultimatum – confess for your ‘misdemeanours’ and I can spare you. It is not right away transparent why she is on the mercy of a random guy – who, on his section, tells his unsuspecting spouse that he has asked his bosses to alleviate him of night time shifts. By and by way of, it emerges that she is a goal on account of who she is – a woman with a thoughts of her personal.

Both Amala Paul and Prassana give cast accounts of themselves, however the concept to place an unbiased, formidable woman underneath a murky microscope on account of the decisions that she has made smacks of unacceptable gender prejudice.

MIRRAGE, directed by way of M. Rajesh

The look of every other damsel in misery, this one in M. Rajesh’s Mirrage, begs the query: is not it time to junk the stereotype for just right? Pavithra (Priya Bhavani Shankar), a Bangalore-based IT skilled, lands in Chennai for a consumer presentation and exams right into a guesthouse within the town’s outskirts for the night time.

There you cross, every other cliche – a desolate space with horrific secrets and techniques – is thrown into the combo. To make issues worse for Pavithra, she has to reckon with a deranged caretaker who dutifully informs her that she is the primary visitor within the heritage villa in six months.

At 24 mins, Mirrage is the shortest of the 4 movies nevertheless it briefly will get right into a loop that, in spite of a bounce scare right here and surprise twist there, forces the plot right into a nook from the place get away is conceivable handiest by means of a determined throw of the cube. The movie veers clear of the style with the intention to ship a urgent message.

Mirrage does now not paintings both as a supernatural mystery a couple of malign power unleashed within the nonetheless of night time nor as a statement at the demons that continuously gnaw on the minds of human beings and want to be addressed prior to it’s too overdue.

Kottai Pakku Vathalum Mottai Maadi Sitharum, directed by way of Chimbudevan

In Kottai Pakku Vathalum Mottai Maadi Sitharum (Betel Nuts & Terrace Seer), a comedy conceived and accomplished by way of Chimbudevan, this is a guy, a jaded journo in his 40s at that, who’s in a significant spot of trouble. In the aftermath of “an auspicious day when all of the town suffered a lockdown in 2020,” Sikandar (Thambi Ramaiah), Kanda to his acquaintances, is at the verge of retrenchment.

The handiest method Kanda can save his task is by way of finding and interviewing a fabled sage (Nasser) who’s over 400 years previous and who returns to the sector of mortals as soon as in part a century. His subsequent visitation is due in the midst of the pandemic. The journalist stumbles upon the seer. The latter is of the same opinion to box his questions about two prerequisites, one in every of which might put the person’s lifestyles at the line.

The resulting dialog between the 2 is neither non secular nor philosophical. It takes the type of freewheeling banter over the state of the sector at massive and Tamil Nadu specifically. The sage touches upon issues drawn from the scoop headlines of the day and verbalizes house truths, amongst which is the conclusion that a virulent disease is Nature’s method of hanging again at mankind’s callous tactics. Kanda has extra mundane issues on his thoughts. He asks the sage to match Tamil cinema divas from fifty years in the past – Saroja Devi and Savithri – with lately’s queen bees Samantha and Nayanthara. He does now not obtain the anticipated reaction.

Four tales about 4 characters confronted with life-and-death questions represent the core of Victim. The cars they make use of range from the staggeringly just right Dhammam, which might obtain a five-star score if one may grade the flicks for my part, to the infinitely much less affecting Mirrage, with the Venkat Prabhu and Chimbudevan movies occupying the center flooring.

Watch Dhammam, if now not the others, for the pointy and stirring sampling it supplies of what Pa. Ranjith can succeed in if he’s allowed the choice to not play by way of the principles of the industrial film business and undertake an artistically individualistic idiom.

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