Realities and Facts

Having watched Dhurander 1, I already felt it carried a subtle but consistent Islamophobic undertone — not loud, but present enough to shape perception. In today’s sensitive social climate, such “slow poison” narratives can have real impact. Dhurander 2 improves technically. The cinematography, performances, and background score are all commendable. The pacing is better, and the film keeps you engaged. On pure filmmaking grounds, it works. Length wise, it extended unnecessarily. However, the deeper issue lies in its narrative construction and messaging. An emotional priming is set in the beginning to hate muslims by killing a Sikh family in Pakistan with takbeer. Red Flags in narratives & representation of already malignant figures are casted effectively. The film repeatedly uses religious symbols , masjid, Quran, and Islamic references , as indicators of suspicion or threat. This pattern is not incidental; it builds a subconscious association between Islam and criminality. That is...

  In modern geopolitics, religion, identity, and power are often deeply intertwined. Across many regions of the world, debates continue about how political actors use historical narratives, religious symbolism, and media influence to justify policies, conflicts, or territorial claims. Few issues illustrate this more clearly than the long-running conflict involving Israel , the Palestinians, and the wider Middle East. Supporters of Israel often frame their position partly through historical and biblical narratives tied to ancient kingdoms such as that of King Solomon , alongside modern legal and security arguments. Critics argue that these narratives are sometimes invoked alongside political interests and military power, particularly in the context of disputes over land in places such as Gaza Strip and the West Bank . Human rights organizations and journalists have documented cycles of violence in which civilians on both sides suffer, leading to global debate over proportionality...

 സിനിമാറ്റിക് അല്ലാത്ത ഒരു സിനിമയ്ക്കു ഹൈപ്പും അവാർഡും കൊടുക്കുന്നതിൽ വിവേക രാഹിത്യത്തെ ചോദ്യം ചെയ്യാവുന്നതാണ്. അതെ അതാണ് "ഫെമിനിച്ചി  ഫാത്തിമ"യുടെ ഒരു ഏറ്റവും കുറഞ്ഞ അവലോകനം. എം ടി പറഞ്ഞ പോലെ ചാരു കസേരയിൽ ഇരിക്കുമ്പോൾ കഥയുടെ ബീജം ഉണ്ടാകുന്നത് ... ചെറിയ ഒരു ബീജം ഉണ്ടായതു( ഉണ്ടാക്കിയതോ?), അതിൽ നിന്നും ഒരു കഥ പരുവപ്പെടുത്തി, അതിനു പുതിയ കലാകാരന്മാരെ കൊണ്ട് ജീവൻ വെയ്പ്പിച്ചു. അത് ഒരു ഇത്തിരി പഴയ കാലഘട്ടത്തിനോട് ചേർത്ത് വെച്ചാൽ, ഏറെ കുറെ മനുഷ്യർക്കിടയിൽ ഉണ്ടായിരുന്നതാകണം ഈ കഥയ്ക്ക് ആധാരമായ സംഭവത്തിലെ ചില സൂചനകൾ. ചെറിയ ചില തുന്നലുകൾ  ഒഴിവാക്കിയാൽ, അതിനെ മികച്ചതാക്കാമായിരുന്നു.  പറയാതെ തരമില്ല - എന്തോ മാർക്കെറ്റിങ്ങിനു ഇത്തിരി മതവും, ചിഹ്നങ്ങളും ദുരുപയോഗം ചെയ്യുന്നതിൽ തെറ്റില്ലെന്നായിരിക്കുന്നു! നമ്മുടെ മുന്നിൽ ജീവിച്ചിരുന്ന ചിലരെ സ്‌ക്രീനിൽ എത്തിച്ചിട്ടുണ്ട്. കാലഘട്ടം തീരെ യോചിക്കുന്നില്ല, പ്രേത്യേകിച്ചു ഇന്നത്തെ സമൂഹത്തിൽ വലിയ സന്ദേശമോ മാറ്റമോ സാധിപ്പിക്കാനല്ല, "അന്നമാണ് ഉന്നം" ഇതിന്റെ പിന്നിലും, വളരെ ചെലവ് കുറച്ചെടുത്ത, ഒരു പഴയ ഹോം സിനിമ പോലെ.    എല്ലാ സമൂഹത്ത...

Dhurrendar is a big budget action and political drama that mixes national security themes with personal sacrifice and grand visuals. On the surface it is an exciting thriller that works well in theatres. But when you look deeper some of the story choices feel uncomfortable and need closer thought. The film tries to show patriotism by using familiar locations like Kandahar and Mumbai and by linking different terror incidents. However this often feels exaggerated rather than genuine. What weakens the film most is how Islam is repeatedly shown alongside illegal activities. Scenes where people are shown praying and at the same time involved in black money alcohol or crime create a pattern that feels biased. When religious words like takbeer are used during violent scenes it crosses from criticism into prejudice and can quietly spread misunderstanding instead of awareness. In this part (the second part has already been announced), the story shows how Operation Dhurrendar sent an infiltrati...

At last yesterday watched the movie "idli kadai", by Dhanush. “Idli Kadai” beautifully captures the peace, purity, and rootedness of village life - the calmness of one’s own land and the genuineness of simple living. It carries messages of parenting, honesty, and pure love, though it sometimes fails to connect emotionally or frame those themes deeply. The hero’s affection for the “idli kadai” symbolizes his bond with roots and values, but the film misses emotional depth in moments like his silent rejection of the boss’s daughter. Still, it reminds us that real strength lies in goodness and forgiveness - that ahimsa can silence ego and violence. But it has the reflections, avoiding the cinematic experience. Yes beyond the film, it reflects today’s world — where money and power dominate, and the poor or minorities are the most vulnerable. Escaping such systems is a struggle. The movie subtly reminds us that one’s village, parents, and birthplace - the soil that made us huma...

 Indian authorities the bjp far right wing under hindutwa model, polarize the nation and communalism to the extent that people kills the other. 

  Santosh isn’t just a film — it’s a mirror to the harsh truths of our society. It quietly but powerfully shows how caste, power, and gender work in everyday life, not just in villages but even in so-called modern India. It starts small — a widow gets her husband’s police job.  But step by step, we see how this system slowly corrupts her. Power never comes loudly — it seeps in quietly. At first, it feels like survival. Then it becomes habit. And soon, even good people start justifying wrongs, without even knowing they have crossed the line. One strong line hit me hard :  “Some we can't touch, some are untouchables.” That one dialogue says everything about our society. This film doesn't shout. It shows. In the silence, in the cramped police stations, in how Dalit voices go unheard, and how women in uniform are still controlled by men. Even when we want to raise our voice, we end up sitting in a corner — quietly watching the hatred grow. Sadly, today’s narrative is bec...