Mayandi (Nallandi), the village's solitary farmer, is asked by his residents to produce grains on his farmland as a sacrifice to their deity. Mayandi agrees and starts the procedure. However, things do not go as planned. Mayandi is wrongly accused of a crime, and the police file a case against him, making it difficult for him to continue farming. The plot revolves around what happened to the last remaining farmer.

Manikandan, the filmmaker, puts forth a valiant effort in Kadaisi Vivasayi, and he ensures that the film remains as authentic as possible. The title card depicts the formation of the village and its landscape, which is nicely accompanied with a devotional Murugan song, and you know that Kadaisi Vivasayi is a film that has been done without sacrifice. The writing is clean, and the scenes are well-crafted. The premise dealing with farmer's troubles has been pounded to death in tamil cinema, but in Kadaisi Vivasayi, we never see a single theatrical sequence to force-fit the emotions.

Mayandi never asks for help, even when he is in serious difficulty, because he feels he hasn't done anything wrong and is following his conscience. When the film could have ended on a melancholy note, Manikandan chooses to conclude it on a happy note, and here are some of the scenes when you can see that his purpose is not to make you feel sorry for the farmers, but to greet them with love. The movie also deals with spirituality and devotion, and the moments depicting these themes are powerful, particularly the scene in which vijay sethupathi visits a saint; keep an eye out for that.

Kadaisi Vivasayi has the feel and treatment of an art-house film, but Manikandan injects enough of humour to appeal to a wider audience. One of the film's flaws is its sluggish pacing. The film takes its sweet time getting into the tale, and the drama unfolds slowly as well. With a little time, you'll be able to adapt to the film's mood and enjoy a stunning work of filmmaking.

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