Manikandan's social concern, which begins with the representation of a simple hamlet free of violence and continues uninterrupted until the end of the film, stands in stark contrast to the film industry's inclination to portray villages as abodes of violence. The truth is that in any other film, the virtues of oppressed individuals do not come across as well or naturally. Despite the fact that they were all village guys, none of them said anything negative. No one chooses violence as a solution when circumstances require it; no one picks foul words as a solution when circumstances compel it; women are not disrespected in any way. The majority of the time, they are not participating in alcohol-related riots.

Thunder claps against a big tree that represents the community. The elders think that this is the result of the Kula Sami not having a festival. The panchayat of the village meets and resolves to organise the event. The Kula Sami entrust Nalandi with the task of cultivating paddy. He also works on his land. The peacocks were found dead along the ground one day. He buried them with the utmost reverence in his property. He is, however, accused of slaughtering and burying peacocks.

Despite the fact that the judge discovers that he did not murder the peacocks, he is sentenced to prison. The officer who apprehended him is tasked with managing the paddy field that was cultivated for the Ur festival. The rest of the movie is a voyage in search of answers to questions like whether paddy was harvested, if Nalandi was freed, and if the festival was held. The voyage is presented in a way that is both realistic and unobtrusive. That is also one of the film's distinguishing features. Manikandan has created a masterpiece about a little village with limited amenities and only a few humble residents.
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vijay sethupathi

G GOWTHAM

30/03/2022 12:30 AM