Bharath Vijayakumar
Before getting into my favourites of the year, here is a list of films that worked in parts for me or films that had something important to say or films that I don’t agree with but were well made (haven’t watched few notables films like Jama yet).
Raayan
Intense world building and some mass moments ensure that Raayan crosses the finishing line. The violence towards the end becomes monotonous and mind numbing though. The stakes too become diluted. But Dhanush shines both as an actor and a director.
Nalla Perai Vaanga Vendum Pillaigale
This indie road movie makes a lot of important points about gender disparity and hypocrisy, particularly when it comes to sex.
Vettaiyan
For the importance of the topic, it speaks about. The mix of heroism and messaging though suffers in the later half
Warning
Convincing performances and the emotional sequences work big time.
Maharaja
Engaging and has enough ‘twists’. But I found both the violence and the way the reason for the violence is depicted to be repulsive, exploitative and maybe even perverse at times. A very engaging and competent film, nevertheless.
Raghu Take it
A lighthearted satire that takes a dig at patriarchy, any kind of imposition and other regressive practices. An easy watch with Keerthy Suresh in fine form!
Thangalaan
The last leg of the film that is rushed & chaotic, dampens the overall effect to a great extent. This is the kind of film that has a lot going for it – great ideas, some interesting world building, commendable performances & of course Ranjith’s social commentary. But then the blending isn’t seamless and what we get is a definitely watchable fare that probably could have been so much more. Barring a few impactful scenes, the lack of emotional connect with most of the characters is the film’s Achilles’ heel!
J Baby
The emotions really work & make up for other issues J Baby might have. This is an affecting emotional drama that ensures we care for the characters & these are interesting characters who make the lives of others difficult not because they want to but because they can’t help it.
Sorgavaasal
Sorgavaasal is grim and gripping. Measured performances, emotional connect and the atmospherics ensure this is a compelling watch!
Favourite films
6) Viduthalai 2
Given that the primary intention seems to be to be informative and educative, the drama isn’t always gripping but Viduthalai 2 is sufficiently engaging and comes together nicely towards the end. Viduthalai 1 might be the better made film, but I liked this one more.
5) Vaazhai
Mari Selvaraj paints a poetry, the vivid colours of which captures the innocence of childhood and has us beaming with a smile for the most part. But the takeaway from the poetry/painting in itself is about the inequalities and injustices of the adult world through the lens of a child!
4) Meiyazhagan
I have some reservations about the portions that were later trimmed from the film. For a film that opens with a quote about how love is everything, isn’t it contradictory to ask us to feel proud about kings who fought in the battlefields. I understand that they might be two completely different aspects but come to think of it and isn’t war actually about killing people. And about the need to be proud of our lineage. I find it quite dicey. Being aware and even loving the lineage or whatever is fine. But seriously what is there to be proud about something you did not even choose? And in a way isn’t this feeling, one of the reasons that has people trying to gatekeep the lineage or whatever name you give it, and then use the same to prevent two people in love from getting together. While this reading may seem far-fetched to a lot, I do think that this is quite a valid perspective. With this question out of the equation, this is such a soothing film that talks about the goodness of just being good. The biggest takeaway from Meiyazhagan is that you need not lose your innocence and inherent goodness just because others around you aren’t the same.
3) Lover
An affecting relationship drama that keeps you emotionally invested with some fine performances! The film isn’t trying to paint people as problematic characters. It is more concerned about showcasing problematic traits of people who aren’t inherently bad. A very important film that shows how toxicity and control are easily mistaken for love. When the lead character says he loves the girl so much, another character responds that he wouldn’t be behaving the way he does if he actually does love her. Amidst films that glorify/normalize unhealthy relationship dynamics, Lover is such an important film.
2) Lubber Guide
A film that shows ‘Anbu’ is the real ‘Gethu’. This cricket centered drama that beautifully integrates the subjects of casteism and male ego and misogyny and bats for inclusivity is PITCH – PERFECT! It is the most entertaining mainstream Tamil film of the year.
1) Cabbage
Kottukaali is a terrific documentation of absurdity, superstition, casteism, patriarchy and misogyny. It is unfortunate that what might feel like a satire at times, is actually just an accurate depiction of everyday life of some (or more?) women! The film doesn’t preach you and acts like a mirror and lets you feel what you want to feel, be it anger or shame or whatever. This adamant girl is a showcase of how everyone except the woman herself has a say and agency over her and her body. That stretch where a famous Tamil rural song glorifying families (maternal uncle in particular), caste and what not, plays in a procession and then leads to the maternal uncle unleashing violence on a girl (or ‘his’ girl as he assumes), is one of the most telling stretches in recent memory. It exposes the sheer hypocrisy of all this glorification. Also, it is the only place in the film where we see violence in its physical form. But the invisible violence on the girl is spread over the entire runtime of Kottukaali!
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