Realities and Facts

 I watched Jana Nayakan, starring Vijay, and I felt it was a complete commercial entertainer packed with action, heroism, emotions, and political messaging. Whether one agrees with its views or not, it is evident that the film also strengthens Vijay's political image and aligns with his transition into public life. What stood out to me was that the movie openly challenges Hindutva politics and the politics of hatred that, in my opinion, have become prominent in today's political landscape. Prakash Raj, who has consistently spoken against the BJP and Sangh Parivar in real life, plays the antagonist, adding another interesting layer to the film. Many people believe the movie's release was delayed by the Central Government or its agencies to minimise any political advantage for Vijay's party. Whether that is true or not is open to debate, but the party still achieved electoral success even before the film's release. I believe this is a movie that North Indians, as well...

I recently watched Thaai Kizhavi, and it truly left a deep impact on me. Set in a raw rural backdrop, the film revolves around Pavunuthaayi , a strong, unapologetic old woman whose life reflects power, struggle, and survival in its purest form. When she falls critically ill, the return of her estranged children, driven more by greed than love, unfolds a brutally honest picture of family, society, and human nature.  What makes this movie special is how real it feels. It doesn’t try to impress, it simply shows life as it is. The struggles of a single mother, the harsh realities of rural living, and the subtle yet powerful commentary on healthcare, education, and old-age vulnerability are portrayed with honesty. The film also carries a quiet but strong feminist voice, presenting a woman who lives life on her own terms, with dignity and resilience.  At the same time, it beautifully balances emotion with moments of humor and satire, especially through the family dynamics revolving ...

Watched My Lord (Tamil),  truly amazing how it reflects a common man’s life so honestly. In a time where big-budget propaganda movies, larger-than-life narratives dominate, this kind of grounded storytelling feels rare and important. The film works as cinema too , strong performances from the lead actors, especially the protagonist who carries the emotional weight with subtlety, and solid supporting roles that feel real rather than staged. The direction keeps it engaging without losing its rawness. Beyond being a cinematic drama, it touches real issues , our infrastructure gaps, corruption, political power plays, and caste oppression. These aren’t shown as loud statements, but as lived realities, which makes it hit harder. What I liked most is that it doesn’t try to preach,  it simply shows. And that honesty is what makes it powerful. Kudos to the Tamil film industry for continuing to bring such heartfelt, realistic stories to the screen. Movies like this deserve more attentio...

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. India is now parted into pieces and this polarization is fueled by right wing media and influencers. North vs south. East vs west. Caste, ethnicity, religion, language, and government is simply milking it with their political propaganda. 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 effec...

  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...