If JFW set out to prove once again that women aren’t a category but the core of cinema, the night delivered loudly, proudly and unapologetically.

Presented by Title Sponsor Twin Birds, Powered by Mrithu Towels by Ramraj Cotton and Sakthi Masala, with Strength Partner Kaaveri TMT Bars & Structural and Wardrobe Partner Ramyyam Sarees, the JFW Movie Awards 2026 celebrated excellence across 24 award categories in Tamil and Malayalam cinema.

Leading the evening were JFW’s co-founders Bina Sujit and Sujit Kumar. Bina made a striking appearance at the JFW Movie Awards 2026, dressed in a Suresh Menon creation, a deep red ensemble paired with a matching coat. The look exuded elegance and grace, perfectly complementing the scale and splendour of the night.

Holding the evening together with warmth, wit, and effortless flow were anchors Azhar, Archana Chandoke, and Diya Menon, whose chemistry became one of the night’s highlights. Azhar’s sharp humour and spot-on mimicry brought bursts of laughter, Archana Chandoke balanced the energy with her trademark spontaneity and crowd connect, while Diya Menon added poise and grace, guiding the evening smoothly across languages and moments.

The mood was set early with Simran’s win for Best Actress in a Lead Role for Tourist Family. As a live band performed a musical tribute, the hall leaned in. When Shalini Ajith walked on stage the award, it became more than a win. It became a conversation between two women who have quietly inspired each other for decades. Their words of mutual admiration struck a chord, earning one of the evening’s warmest ovations.

Then came Bison, and it came as a team. Winning Best Film, the entire case and crew took over the stage, with Dhruv Vikram and Anupama Parameshwaran front and centre. Dhruv also collected the Most Impactful Performer Award, charming the audience with his ease, sincerity and unmistakable star presence.

And because no JFW night is complete without music doing the storytelling, Sai Abhyankar lit up the stage with his Dude hits, instantly turning the auditorium into a sing-along. The energy peaked when Mamita Baiju won Best Actress Tamil (Critics) for Dude. The cheers only grew louder when she broke into her viral dance move right there on stage, spontaneous, endearing and utterly unforgettable.

Strong women-led narratives continued to take centre stage with Kalyani Priyadarshan winning Best Actress in a Woman-led Malayalam film for Lokah, a performance celebrated for its quiet strength and emotional depth.

But JFW also reminded everyone that meaningful cinema thrives on allyship. That spirit was embodied perfectly when Nivin Pauly was named Man of the Year for Sarvam Maya. Dapper, witty, and effortlessly cool, he had the crowd laughing and listening in equal measure, proof that support, when genuine, shines just as brightly.The evening wasn’t only about looking back. The team of the upcoming film Pookie took the stage, offering a glimpse into what lies ahead, before Vijay Antony cranked up the tempo with a power-packed musical performance that kept the energy soaring.

The emotional high point arrived with Radhika Sarathkumar’s win for Best Actress in a supporting role for Revolver Rita. Joined by her sister Nirosha, the moment grew even more poignant when anchor Azhar paid tribute to their late father, legendary actor M.R. Radha, drawing smiles, laughter, and misty eyes in equal measure.

As the lights dimmed and the applause faded, one thing remained clear: this wasn’t just an awards night. It was a reminder that when women lead the narrative and when everyone shows up to support it, cinema becomes more than entertainment. it becomes memory, movement and magic.

The JFW Movie Awards 2026 are here, and this one’s shaping up to be the most exciting edition yet. Rooted in a proudly women-centric vision, JFW once again turns the spotlight on powerful female voices, women-led narratives, and performances that redefined Tamil and Malayalam cinema over the past year.

If you’ve followed JFW over the years, you know this already. This is an awards platform that does things differently…

Here, women aren’t confined to a category; they are the story. From commanding lead performances and breakout debuts to women-driven films and creative leadership behind the camera, JFW celebrates cinema with purpose, intent, and representation.

But wait, don’t worry, we didn’t leave the men out!

This year too JFW’s iconic Man of the Year Award is sure to make for a memorable moment. Because meaningful cinema thrives on allyship, this special category recognises male actors who didn’t just deliver standout performances, but actively supported, championed, and elevated women-centric storytelling. After all, the strongest stories are told when everyone shows up.

Presented by Title Sponsor Twin Birds, Powered by Mrithu Towels by Ramraj Cotton and Sakthi Masala, with Strength Partner Kaaveri TMT Bars & Structural, and Wardrobe Partner Ramyyam Sarees, the JFW Movie Awards 2026 will celebrate excellence across 24 award categories spanning Tamil and Malayalam cinema.

And if you thought the buzz stops there, think again!

The nominations have already set the industry abuzz. Who will take home Best Actress in a Lead Role when powerhouses like Nithya Menen, Pooja Hegde, Simran, Trisha, Anupama Parameswaran, and Mamitha Baiju go head-to-head? In the ever-defining Best Actress in a Woman-Led Film category, performances by Keerthy Suresh, Lijomol Jose, Anjali Sivaraman, and Geetha Kailasam remind us why JFW continues to set the gold standard.

New faces, big futures, the Best Debutante category brings fresh energy with talents like Rukmini Vasanth, Kayadu Lohar, Bhagyashri Borse, Anishma Anilkumar, and Grace Antony. Meanwhile, seasoned performers Abhirami, Radikaa Sarathkumar, and Regina Cassandra reinforce the depth, complexity, and range women’s roles embraced this year.

But let’s be honest, it’s not just about the trophies.
It’s also about who you’ll spot when the lights come on!

Expect the red carpet to dazzle as Dhruv Vikram, Nivin Pauly, Simran, Sasikumar, Keerthy Suresh, and many more industry favourites make their presence felt. With Dhruv Vikram in the race for Most Impactful Performer of the Year and Nivin Pauly drawing attention in the newly introduced Man of the Year category, anticipation couldn’t be higher!

And music lovers, you’re in for a treat!

From Shruti Haasan and Chinmayi to Charulatha Mani, Sharanya Srinivas, and Shakthishree Gopalan, the Best Singer category proves once again that women’s voices didn’t just complement cinema this year, they defined it.

And as whispers grow louder around Best Film of the Year and Best Director of a Woman-Led Film, titles like Tourist Family, Bad Girl, Bison, Paranthu Po, Lokah, and Ponman continue to dominate conversations, each representing cinema that chose substance alongside scale.

So what can you expect from the JFW Movie Awards 2026?
Stars. Stories. Allyship. And moments that matter!

The nominees are revealed.
The stars are on their way.
And the spotlight is warming up.

So stay tuned, the awards night is just getting started!

Chennai, Feb. 5: On February 3, 2026, the Tamil Nadu government discussed with and unofficially assured the Multipurpose Government Hospital Staff Association, a salary hike, effective upon the issuance of a Government Order (G.O.). 

This follows the 15-day-long protest held by staff, seeking permanent postings and salary revisions.

“As the G.O. is expected to take at least two days to process, the staff have postponed their protest for four days. Additionally, the government pledged to fulfill three further demands: a 31-day salary month, the provision of uniforms, and coverage for accident or death benefits, all of which remain contingent on the formal passing of the G.O.,” stated K. Ganesan, President, Multipurpose Government Hospital Staff Association.

Nearly 1,000 multipurpose government hospital workers have been protesting for permanent status since January 20, 2026. The workers fulfill five different roles, including cleaning, compounding, and sanitation. Despite being recruited through a formal process, they have remained on contract and daily-wage status for 13 years with the promise of future permanence. Their daily pay ranges from ₹650 to ₹750, depending on the district. 

The protesters have gathered from 38 districts across Tamil Nadu, including Madurai, Krishnagiri, Dindigul, Kanchipuram, Trichy, Nagapattinam, and Pudukottai.

However, the 15-day protest did not take place in a single location. Instead, protesters were moved to different sites each day and granted limited time—often just 30 minutes to an hour, typically from 10:00am to 10:30am or 11:00am—following which, they were detained in halls and released by 7:00pm. 

Several workers travelled from across Tamil Nadu and struggled to find affordable accommodation, due to which they often spent nights on the floors of the Egmore or Chennai Central railway stations.

“Using approximately 12 buses, they shifted us to various nearby marriage halls. Some of us are at the Arunattu Vellalar Sangam in George Town, Chennai, and I have been detained in one of the halls in Washermenpet,” said Shyamala Palani, a protestor from Kanchipuram.

They were paid for only 26 days a month, as their weekly days off were unpaid. Despite this, they were frequently called in on those days due to emergencies or staff shortages, receiving no additional compensation. 

“During COVID-19, we handled everything from blood donations to transporting units to wards. We still do that today. Even as women, we unload heavy boxes from vehicles ourselves because there are so few workers. From pharmacy assistance to cleaning and mopping, we do it all. Yet, we are not offered the most fundamental facilities,” Shyamala added.

Additionally, Ganesan stated that while the association awaits the process of the legal order, protests are likely to resume if the government fails to pass the G.O. in the stipulated time.

At its core, the verdict reflects urban fatigue rather than saffronisation. Kerala’s cities have long oscillated between the LDF and the UDF, often with limited visible improvement in everyday civic concerns such as waste management, housing shortages, traffic congestion, and basic infrastructure. In Thiruvananthapuram, the electorate’s message appears to be one of rejection, not of secular politics or Left ideology per se, but of a familiar and unresponsive municipal status quo. The BJP benefited as the most credible vehicle for change in that moment.

A crucial factor behind the BJP’s success was the conversion of vote share into power, something it has historically failed to do in Kerala. This time, the anti-LDF vote did not consolidate behind the Congress-led UDF. Instead, opposition fragmentation allowed the BJP to emerge as the single largest party in several wards, translating pluralities into control of the corporation. The result was as much arithmetic as enthusiasm, a three-cornered contest finally producing a winner.

The symbolism of the breakthrough in Thiruvananthapuram, the home turf of Congress MP Shashi Tharoor, has added to the political impact. However, this does not necessarily signal a collapse of the Congress in the capital. Rather, it exposes a gap between national visibility and local organisational strength. While the Congress remains electorally competitive across Kerala, its urban grassroots machinery appears weaker than both the CPI(M)’s cadre-based structure and the BJP’s increasingly disciplined ward-level mobilisation.

For the BJP, the significance of the win lies less in dominance and more in legitimacy. Controlling major civic bodies punctures the long-standing perception that the party cannot govern in Kerala. This psychological breakthrough, the ability to claim administrative experience in the state’s cities — may prove more valuable ahead of the 2026 Assembly elections than the municipal numbers themselves.

The Left Democratic Front, meanwhile, faces a warning rather than a verdict of decline. The CPI(M) continues to enjoy deep support in rural and semi-urban Kerala, but the urban losses highlight a growing impatience among city voters with bureaucratic inertia and ageing leadership models. If these results are dismissed as an aberration, the erosion in urban centres could accelerate.

Ultimately, the 2025 local body elections do not signal a wholesale ideological realignment in Kerala. They reveal a state capital and key municipalities grappling with governance fatigue and a desire for disruption. The BJP stepped into a political opening created by anti-incumbency, opposition fragmentation, and unmet urban aspirations. Whether this opening widens into a durable pathway in 2026 will depend not on national narratives, but on a far simpler test: whether the BJP can deliver visibly better urban governance in the cities it now controls.

To book an appointment with Dr Subhashini, scan the QR code:

During the teenage years, girls face a lot of self-esteem issues, period-related issues, skin issues, polycystic ovaries, etc. The next stage is in your 20s, when women are usually dealing with stress-related issues, acne and hair-related issues. A very important issue is that of their sexual health, and whether they have taken the vaccination against cervical cancer. 

Women in their 30s are very busy with their family and children while also focusing on their careers, and tend to overlook their health. Because of a lack of physical activity and a lack of sleep, they tend to gain weight, and that gives rise to health-related problems. For women in their 40s, menopause is a concern and also reduced sexual drive, in addition to weak muscle strength. In your 50s and 60s, your bone strength becomes a cause for concern. 

Breast cancer screening is very important for all women above the age of 40. But if you have a family history of breast cancer, 35 would be the right age to go for testing. 

Dr Subhashini talks about the importance of sleep and how vital it is for our body to function at its best. Sedentary work patterns, irregular sleep, processed food consumption, and chronic stress are major contributors to most lifestyle-related diseases like diabetes and hypertension. Additionally, habits such as drinking and smoking, which were once uncommon among women, have now become more frequent, adding to long-term health risks.

Women often balance multiple roles—career, household responsibilities, caregiving, and emotional labour. This dual burden has a silent yet significant impact on mental wellness. Dr Subhashini explains that early signs of emotional strain include persistent fatigue, irritability, sleep disturbances, loss of interest, and difficulty concentrating.

In the end, she reiterates the importance of mental health and how we should practice prioritising it. Being grateful for what you have, planning your day and your week and practising any form of meditation, whether it is listening to music or doing art, helps you de-stress and de-compress.

This episode serves as a powerful reminder that women’s health is holistic—physical, emotional, and lifestyle-driven. Women care for everyone. It’s time they start caring for themselves, too.

To book an appointment with Dr. Rajeshwari Nayak, scan the QR code below.

Unlike earlier times, cardiologists are now seeing younger people — even those in their 20s and 30s — develop heart issues.

The good news is that many heart problems can be prevented with the right choices. Following a consistent and healthy lifestyle is key to ensuring that your heart works at its optimum. However, genetics also play a role in determining the condition of your heart. If there’s a strong family history, preventive care and early screening become even more vital.

Doctors suggest 150 minutes of moderate exercise per week — this could be brisk walking, cycling, swimming, or even dance. There have been many instances where people have suffered a heart attack following a marathon. It’s imperative to get a health check-up before participating in a marathon to ensure your heart is healthy.

When it comes to food, your diet should be rich in fibre, with plenty of fruits, vegetables, and protein. Your plate should contain a smaller portion of carbohydrates, a moderate amount of protein, and a generous serving of fruits and vegetables. Avoiding fried and processed food is the way to a healthy heart. Women also tend to lose iron during menstruation, so they should be mindful of consuming foods that are fortified with iron.

A person’s mental well-being plays a vital role in maintaining good heart health. In India, where many women juggle demanding jobs, household responsibilities, and caregiving, stress management isn’t a luxury — it’s survival. Yoga or meditation is a great way to relax the mind and body and helps in regulating stress effectively.

If someone has a family history of heart disease, they should start regular check-ups from the age of 20. Preventive health check-ups are truly a game changer.

Another important aspect Dr. Rajeshwari spoke about was the importance of administering CPR in a heart emergency. When someone collapses or becomes unresponsive, knowing how to perform CPR can make the difference between life and death. It helps keep blood and oxygen flowing until the ambulance arrives. Dr. Rajeshwari emphasizes that it’s not just doctors or healthcare professionals who should know CPR — everyone should learn it. You don’t need to be a doctor to save a life — you just need to act fast.

Your heart beats for everyone you love — it’s time to make sure it stays strong for you too.

To book an appointment with Dr Meenakshi, scan the QR code.

The first topic to be discussed was the difference between PCOD and PCOS, two terms that are extremely commonly used today. How the Poly Cystic Ovarian disease progresses into a syndrome and what causes these hormonal imbalances are discussed in the podcast.

So what really causes these conditions? Is it in our genes, or is it our lifestyle habits? According to Dr. Meenakshi, it’s a mix of both. “There is a definite genetic predisposition, but lifestyle is the trigger. The kind of food we eat, how sedentary we’ve become, our stress levels, and our sleep patterns — all of it adds up.” 

Naturally, myths and misconceptions follow any condition that becomes as common as this. One of the most persistent myths, Dr. Meenakshi says that PCOS automatically means infertility. In her experience, many women have conceived naturally in spite of their diagnosis of PCOS. It just requires major lifestyle regulation and there is a possibility that it takes longer. 

Another common area of confusion comes from symptoms that overlap with other gynaecological conditions, particularly fibroids. Fibroids are benign growths that develop in or around the uterus. They’re very common in women of reproductive age and can cause symptoms like heavy periods, bloating, or pelvic discomfort. 

The conversation also touched upon how fibroids affect fertility. Depending on their size and position, fibroids can interfere with conception or pregnancy, but not always. 

When it comes to treatment, Dr. Meenakshi emphasizes that it’s not a one-size-fits-all approach. She recommends a change in lifestyle first and foremost which includes a nutritious diet, exercising regularly and managing stress and hygiene. 

Anchors Archana Chandhoke and Azhar set the perfect tone for the event, bringing warmth, wit, and vibrancy to the stage. Their effortless chemistry and engaging presence not only kept the audience entertained but also created a space where awardees and presenters could truly shine.

THE AWARDEES

Swathi Kondhe – Favourite Actor in Television- Female

At JFW Favourites of Tamil Nadu 2025, Swathi Konde took home the award for Favourite Actor in Television – Female, presented by Dhiraviam Rajakumaran and Kkumaran Thangarajan.

Sublashini – Most Popular Voice- Female

The spotlight was on Sublahshini at JFW Favourites of Tamil Nadu 2025 as she won the title of Most Popular Voice – Female, with the award presented by Nnivas K Prasanna.

Aravinth Seiju & Madhumitha – Favourite Couple – Television

Representing their hit serial Ayyanar Thunai, Aravinth Seiju & Madhumitha bagged the award for Favourite Couple – Television at JFW Favourites of Tamil Nadu 2025.

Heartbeat – Favourite Series – OTT

Recognised as Favourite Series – OTT, Heart Beat won big at JFW Favourites of Tamil Nadu 2025, with the award presented by Rio Raj. Deepa Balu, Anumol , Charukesh , Karthik Kumar, Yoga Lakshmi and director  Deepak Sundarrajan came together to collect the award.

Sa Re Ga Ma Pa – Favourite Show – Television

The Sa Re Ga Ma Pa team took home the Favourite Show – Television award at JFW Favourites of Tamil Nadu 2025, with the honour presented by Gangai Amaran.

NRFM – People’s Favourite Digital Entertainment Channel

The NRFM team, known for their engaging digital content, was presented with the People’s Favourite Digital Entertainment Channel award at JFW Favourites of Tamil Nadu 2025. The award was presented by Srinivas.

Amir & Pavani – Most Celebrated Couple in Digital Entertainment

Amir & Pavani were presented with the Most Celebrated Couple in Digital Entertainment award at JFW Favourites of Tamil Nadu 2025, presented by actress Viji Chandrashekar.

Arjun Das-  Most Loved Performer of Tamil Cinema

Arjun Das, one of Tamil cinema’s most adored actors, was recognised with the Most Loved Performer of Tamil Cinema award at JFW Favourites of Tamil Nadu 2025. The award was presented by Ponram and Ramya Pandian.

Pearle Maaney- Favourite Anchor- Digital

Beloved content creator, interviewer, and anchor Pearle Maaney was honoured with the Favourite Anchor – Digital award at JFW Favourites of Tamil Nadu 2025, presented by Arjun Das.

Aryan & Shabana- Most Loved Real Life Couple

Aryan & Shabana, celebrated as a real-life favourite couple, were honoured with the Most Loved Real Life Couple award at JFW Favourites of Tamil Nadu 2025, presented by Chef Koushik.

Asal Kolaar – Favourite Voice of Tamil Cinema

Recognised for his iconic voice, Asal Kolaar received the Favourite Voice of Tamil Cinema award at JFW Favourites of Tamil Nadu 2025, presented by Velmurugan.

Paal Dabba – Most Popular Voice – Male

Paal Dabba was the Most Popular Voice – Male at JFW Favourites of Tamil Nadu 2025, presented by Pushpavanam Kuppusamy.

Sivaangi Krishnakumar- Favourite Television Sensation

Sivaangi Krishnakumar, the beloved television personality, was presented with the Favourite Television Sensation award at JFW Favourites of Tamil Nadu 2025. The award was presented by Music Director Sirpy and Ravoofa H.K , founder of Media Masons.

Manimegalai – Favourite Anchor – Television

Manimegalai, a favourite face on television, was awarded Favourite Anchor – Television at JFW Favourites of Tamil Nadu 2025, presented by Mr. Krishna (Kaaveri TMT Bars & Structural) and Music Director James Vasanthan.

Rangaraj Pandey – Most Powerful Voice – Digital

Recognised for his impactful presence online, Rangaraj Pandey received the Most Powerful Voice – Digital award at JFW Favourites of Tamil Nadu 2025, presented by Tamilisai Soundararajan.

Manikandan – Favourite Actor – Male

Manikandan, celebrated for his stellar performances, was presented with the Favourite Actor – Male award at JFW Favourites of Tamil Nadu 2025 by Director TJ Gnanavel and Guru Somasundaram.

M.S. Bhaskar – Legendary Performer of Tamil Cinema

M.S. Bhaskar, celebrated for his iconic contributions to Tamil cinema, was honoured with the Legendary Performer of Tamil Cinema award at JFW Favourites of Tamil Nadu 2025. The award was presented by Mr. K.R. Nagarajan, Founder and Chairman of Ramraj Cotton, and actress Vadivukkarasi.

Saranya Ponvannan – Favourite Mom of Tamil Cinema

Saranya Ponvannan, adored as the quintessential screen mom, was awarded the Favourite Mom of Tamil Cinema at JFW Favourites of Tamil Nadu 2025 by Bharath, her on-screen son from Emtan Magan. 

Malavika Mohanan- Favourite Star of the Year

Malavika Mohanan looked absolutely stunning as she took the stage to receive her award from Saranya Ponvannan at JFW Favourites of Tamil Nadu 2025.

Yogi Babu – Favourite Comedian of Tamil Cinema

Yogi Babu, one of Tamil cinema’s most loved comedians, was awarded the Favourite Comedian of Tamil Cinema at JFW Favourites of Tamil Nadu 2025.

Gobinath – Most Inspiring Personality – Television

Gobinath, admired for his impactful work on television, was awarded the Most Inspiring Personality – Television at JFW Favourites of Tamil Nadu 2025, with Director Vetrimaaran presenting the honour.

Vetrimaaran – Favourite Director

A memorable moment on stage as Vetrimaaran received the Favourite Director award at JFW Favourites of Tamil Nadu 2025, presented by Mysskin—two of Tamil cinema’s legendary directors together!

Alya Manasa & Sanjeev – Most Favourite Couple

Fan-favourite couple Alya Manasa & Sanjeev Karthick were recognised as the Most Favourite Couple at JFW Favourites of Tamil Nadu 2025, receiving the award from Gobinath.

The Supreme Court on Monday, 13 October, directed the Central Bureau of Investigation (CBI) to take over the probe into the Karur stampede in Tamil Nadu, which occurred during a political rally organised by Tamilaga Vettri Kazhagam (TVK) chief Vijay. To ensure transparency, the court appointed a three-member monitoring committee headed by retired Supreme Court judge Justice Ajay Rastogi, along with two IPS officers from the Tamil Nadu cadre who are not native to the state.

A bench of Justices JK Maheshwari and NV Anjaria said the committee will oversee every stage of the CBI’s inquiry. “It may undertake the enquiry of any matter incidental to the stampede and devise its own procedure as per the directions of the judge. The CBI is directed to submit monthly status reports before the committee,” the bench observed.

Displeasure Over Petition Filings

The order came after the court was informed that multiple petitions had been filed in the names of victims’ families without their knowledge or consent. During the hearing, several family members joined virtually to allege misuse of their identities.

Among them, the wife of Panneerselvam Pitchaimuthu, who lost his child in the tragedy, said her name was used in a petition without her consent. Another petitioner, who lost his partner, alleged a local AIADMK leader made him sign papers under the promise of a government job. Similarly, the mother of a 13-year-old victim said her estranged husband filed a petition despite having no contact with the family for decades.

Taking note of these claims, the bench said, “If that is the situation, we will take cognisance.”

Criticism of High Court Handling

The Supreme Court also raised concerns about how the Madras High Court handled the matter. It noted that a single judge had taken suo motu cognisance of the stampede, ordered the constitution of a Special Investigation Team (SIT), and made observations about TVK without including the party as a respondent.

The apex court criticised this approach, pointing out that Karur falls under the jurisdiction of the Madurai Bench of the Madras High Court, and therefore, the principal bench had no grounds to entertain the case. It also questioned why the single judge expanded the scope of the petitions and referred the matter to an SIT without adequate material.

“This recourse ignores propriety,” the bench remarked, directing the Registrar General of the Madras High Court to explain how the matter was registered as a criminal writ petition and to place the order before the Chief Justice of the High Court.

Pending Issues and SOP for Political Rallies

In addition to the probe, the Supreme Court said petitions seeking the formulation of a Standard Operating Procedure (SOP) for political rallies would be assigned to a division bench for further hearing. The judges emphasised that all facts about the tragedy must come to light: “Once the probe is completed, it will clearly reveal who was at fault.”

Background of the Case

The Tamil Nadu government had earlier set up a one-member commission under retired High Court judge Aruna Jagadeesan to investigate the stampede. Meanwhile, the Madras High Court ordered an SIT inquiry and made sharp observations against TVK and its leader Vijay.

TVK challenged these remarks in the Supreme Court and opposed the SIT probe, while victims’ families and BJP lawyer GS Mani sought a CBI investigation. Last week, the apex court reserved its order after hearing five connected petitions.

Next Steps

The Supreme Court has now adjourned the case, allowing the Tamil Nadu government more time to respond to allegations over unauthorised petition filings. Deadlines for related submissions have also been extended. Hearings on pending issues, including SOP guidelines for rallies, will continue.

To book an appointment with Dr Nithyashree, scan the QR code.

The conversation takes us through the common myths and misconceptions around kidney functions, the effect of pain killers, the importance of a balanced diet and lifestyle with medical insights on the subject. 

We all have learned that the kidney is our body’s natural purification system. It acts as a sieve and removes waste from our body. But kidney diseases are termed as ‘silent killers’ as the symptoms might show up late. Especially if you are a patient of diabetes or suffer from hypertension, the chances of the kidney function getting hampered is high. 

Most of our lifestyle habits are directly impacting the kidneys, from drinking the right amount of water to eating protein, the kidney is the organ that over works to keep the body healthy. Did you know one of the biggest culprits could be  self medication? Over the counter  pain killers like ibuprofen and diclofenac are commonly used for headaches or menstrual cramps, but in excess or long term, can hamper the kidney. Dr. Nithyashree also iterates that  Paracetamol is a comparatively safer pain killer to have if not overused.

The video also sheds light on High-protein diets and their rising popularity among fitness enthusiasts and the general public. While safe for healthy kidneys, they can accelerate decline in women who already have reduced kidney function.

Hydration is another topic full of misconceptions. What is the right amount of water? Can too much water cause damage? “Yes — even water needs balance,” explains Dr. Nithyashree. Energy drinks, diet sodas, and excess caffeine also raise concern. 3 cups of black coffee are considered a great alternative to regular coffee that’s often laden with sugar. 

With wellness trends booming, supplements and protein powders are widely used. According to the doctor, “Many protein powders contain hidden additives that put extra load on the kidneys. They should only be taken with medical or nutritional guidance, especially for people with undiagnosed kidney issues.

And when kidney disease becomes severe? That’s when dialysis or transplantation comes into play. Simple lifestyle changes can greatly reduce the risk of kidney diseases later in life. A balanced diet, regular exercise, avoiding smoking and excess alcohol, and routine checkups all go a long way. Women with diabetes or hypertension should take special care with regular kidney function tests. As Dr. Nithyashree emphasizes, caring for your kidneys isn’t complicated—it’s about consistency. Protect them early, and they will protect your overall health for a lifetime.

Our host, Shilpa Menon sat down with Dr Meera Raghavan, Senior Consultant Uro-Gynaecology at Apollo Hospitals, Greams Lane, Chennai, to discuss the connection between our hormones and bladder function.

Compared to men, women are more prone to urinary issues largely because of anatomy: a shorter urethra makes it easier for bacteria to travel into the bladder. To add to that, hormonal changes add another layer of vulnerability. 

To book an appointment with Dr Meera Raghavan, scan the QR code.

It’s common knowledge that women tend to pee more when they are pregnant, as there is pressure put on the bladder. Even as women go through menopause, incontinence seems to be a common problem. 

Dr Meera also sets the record straight about UTI’s , the common culprits and the precautionary measures we can take. Hydration plays a key role in preventing UTIs. When we dismiss these warning signs from our bladder, ignoring them can lead to bigger problems. She also points out that products marketed as “feminine hygiene essentials” often do more harm than good, by disrupting the natural pH balance and leading to irritation

The discussion also highlighted menopause: the physical and emotional changes women face, how to distinguish normal symptoms from concerning ones, and practical advice on do’s and don’ts. During menopause, the drop in estrogen levels makes women more vulnerable to urinary tract infections and bladder control issues such as urgency, frequency, or leakage while coughing and sneezing. To prevent complications, women are advised to avoid lifting heavy weights, excessive weight gain, and straining during bowel movements. The average age of menopause in women is between 47 and 52 years, though lifestyle factors today may be causing this transition to occur earlier.

Common myths around UTIs and bladder health often mislead women — from believing only poor hygiene causes infections to thinking incontinence is an inevitable part of aging. In reality, factors like anatomy, hormones, and lifestyle play a bigger role, and most issues can be prevented or managed with the right care.

With proper hydration, hygiene, awareness, and medical guidance, women can prevent many urinary issues and improve their quality of life.

Watch the full video here.

According to the Greater Chennai Corporation’s (GCC) latest data, Chennai’s street dog population has surged to 1.8 lakh in 2024, a steep jump from 57,366 in 2021. This figure comes from a sight survey conducted by the Worldwide Veterinary Service (WVS) earlier this year. The same report highlights that sterilisation rates among adult street dogs remain worryingly low, with less than half of the population covered.

Statewide, the Animal Husbandry Department estimates Tamil Nadu’s street dog population to be over 6 lakh. In Chennai alone, the Corporation’s Health Department recorded more than 7,000 dog bite cases in 2023, a figure experts say underlines the urgency of effective intervention.

Currently, Tamil Nadu follows the Animal Birth Control (ABC) programme, which focuses on sterilisation and vaccination to control street dog numbers. However, civic officials admit that coverage remains below 50% in many districts due to inadequate infrastructure, limited trained personnel, and irregular funding.

Animal rights activists warn that without scaling up sterilisation drives, the state could face a situation similar to Delhi’s. “We need greater sterilisation efforts in Tamil Nadu to prevent what happened in Delhi,” says Usha Kamath, a Chennai-based animal welfare advocate. “A shelter-only approach can strain resources, cause welfare issues, and may not be sustainable in the long run.”

The Delhi ruling has divided opinion nationwide. While some view shelters as a humane step, others argue it risks overcrowding facilities and removing dogs from their familiar territories, which can de-stabilise local ecosystems.

Urban planners and public health experts suggest Tamil Nadu should use the Delhi case as a trigger to review its policies, balancing public safety, animal welfare, and environmental concerns.

The hospital’s team has treated children with both congenital and acquired heart diseases, including some of the most complex and high-risk cases in newborns and infants. Pediatric heart disease is considered one of the most challenging areas of medicine. In India, nearly eight out of every 1,000 children are born with congenital heart defects, amounting to around 300,000 affected children every year.

Apollo Children’s Hospitals addresses this health challenge through a multidisciplinary approach, providing advanced, individualised surgical and interventional care to infants, children, and young adults.

The paediatric cardiac unit is led by Senior Consultant Paediatric Cardiac Surgeon Dr. Neville Solomon and Senior Consultant Interventional Cardiologist Dr. C. S. Muthukumaran. Procedures carried out include arterial switch operations and Total Anomalous Pulmonary Venous Connection (TAPVC) surgeries in newborns, complex aortic arch reconstructions, valve repairs, surgeries for tetralogy of Fallot and pulmonary atresia, single ventricle palliation, and complex redo surgeries. The youngest baby operated on was three hours old, while the smallest weighed 650 grams.

In an official statement, Dr. Solomon highlighted, “Pediatric cardiac surgery requires precision, timing, and a deep understanding of congenital heart defects. At Apollo Children’s Hospitals, our approach integrates high-resolution diagnostics, evidence-based protocols, and real-time decision-making.”

Parallelly, Dr. Muthukumaran emphasised that paediatric interventional cardiology has evolved to allow the treatment of many congenital heart defects through minimally invasive techniques, reducing the need for open-heart surgery and shortening recovery times.

According to hospital officials, the milestone also includes more than 3,000 complex neonatal cardiac surgeries, 40 ECMO procedures, and paediatric heart transplants carried out in collaboration with Apollo’s transplant team. The team has also performed 1,500 additional surgeries at other Apollo branches and during international medical missions in Iraq and Nigeria.

Apollo Children’s Hospital has also been the site of other complex paediatric surgeries, including the successful separation of conjoined twins. The facility is equipped with advanced diagnostic tools, paediatric cardiac catheterisation laboratories, state-of-the-art operating theatres, and dedicated paediatric intensive care units.

Dr. Ilankumaran Kaliamoorthy, Chief Executive Officer (Chennai Region), said the achievement reflects Apollo’s commitment to paediatric care and the impact of saving a child’s heart on the future of a family.

Apollo Hospitals was founded in 1983 by Dr. Prathap C. Reddy as India’s first corporate hospital. Today, the group has over 12,000 beds across 72 hospitals, 5,000 pharmacies, more than 400 primary care clinics, 1,228 diagnostic centres, 700-plus teleclinics, over 15 medical education centres, and a research foundation focused on global clinical trials. Its facilities include South East Asia’s first Proton Therapy Centre in Chennai.

The group says it touches a million lives every four days and has been recognised with a commemorative stamp by the Government of India. Dr. Reddy was awarded the Padma Vibhushan in 2010.

For four decades, Apollo Hospitals has been ranked among the best hospitals in the country for advanced medical services, with a focus on innovation, clinical expertise, and technology.

Mass template fatigue

Take a quick glance at the recent filmographies of Tamil cinema’s top-tier male stars. Vijay’s Leo (2023), directed by Lokesh Kanagaraj, was a box office monster, but it also checked every box of the “mass hero” template: a tortured man with a violent past, a relentless saviour complex, and a world that bends around his fists. Ajith’s Thunivu (2023), a heist-action film, had him playing a mastermind who justifies violence with vigilante righteousness. Both films have their commercial merits, but they echo the same tired cinematic masculinity: men as larger-than-life saviours whose flaws are glorified, not interrogated.

Even Suriya, arguably the most versatile of the lot, made a detour into this trope with his cameo in Vikram (2022) as Rolex, a psychopathic, hyper-violent antagonist whose menace is celebrated in fan circles more than critiqued. His National Award-winning Soorarai Pottru (2020) was a welcome departure, but the larger trend even in his trajectory is clear: intense, dominant, often violent men on a mission.

More recently, Kamal Haasan’s Thug Life (2025) may have had grandeur, but it reaffirmed muscular mythology, not evolution. Rajinikanth’s Coolie seems poised to continue that tradition.

The rise of the vulnerable man onscreen

Contrast this with what actors like Ashok Selvan, Kavin, Arjun Das, or even Soori in his recent avatar, are doing.

Ashok Selvan’s Por Thozhil (2023), a slow-burn psychological thriller, had him play a rookie cop battling his own vulnerabilities. Far from a massy alpha male, his character was awkward, anxious, and methodical, and that gentleness was his strength, not weakness. His earlier film Oh My Kadavule (2020) saw him play a confused, flawed husband navigating the quiet discomforts of modern relationships, a man more likely to apologise than punch his way through conflict.

Kavin, the Bigg Boss alumnus, turned heads with Dada (2023), where he played a young, single father, a role rarely imagined for young male leads in Tamil cinema. His portrayal of responsible, emotionally vulnerable fatherhood was refreshing not only for its sincerity but also for how it eschewed machismo altogether.

And who would have expected Soori, known for years as a comedy sidekick, to deliver such emotional depth in Viduthalai Part 1 (2023)? As a sincere cop witnessing state violence, Soori’s performance was grounded in empathy, not ego. The film, directed by Vetrimaaran, challenged state-sanctioned brutality and put an ordinary, morally struggling man at its center, a far cry from the bulletproof heroes of mainstream action films.

Arjun Das, though often cast in intense roles, brings a quiet restraint and interiority to his performances, especially in films like Andhaghaaram (2020) and Putham Pudhu Kaalai Vidiyadha (2022), where emotional complexity takes centre stage.

Even in films like Good Night (2023), Manikandan’s portrayal of a man with a snoring problem, and the tender ways it affects his marriage and self-worth, created space for vulnerability, intimacy, and male softness in Tamil cinema.

Why this divide matters

Films like Leo, Vikram, Thunivu, Jailer or Thug Life glorify violence as essential masculinity, justice is personal, anger is righteous, and empathy is rare. When these films dominate screens, they shape cultural expectations: strength is external, emotional nuance is optional. Society internalises these depictions, reinforcing patriarchal norms and valourising aggression over introspection.

On the other hand, films centered on vulnerability, parenting, anxiety, emotional labour, challenge the blueprint. They model alternative masculinity: listening, apologizing, accepting imperfection. Though these films may not win blockbuster openings, their moral architecture seeps into the cultural conversation, offering visible templates of men who cope through empathy, not force.

Cinematic representation matters, especially in deeply patriarchal societies. When leading men consistently embody aggression and infallibility, audiences internalise that as aspirational. When impassioned storytelling puts neurological fragility, emotional labor, and relational tenderness on screen, it expands what young men can imagine for themselves.

So why the disconnect?

The answer lies partly in the economics of stardom. In Tamil cinema, the bigger the star, the higher the stakes. When producers pour hundreds of crores into a film headlined by a bankable hero, they can’t afford unpredictability. That means sticking to a fan-service checklist: entry shots, slow-motion walks, punch dialogues, gravity-defying stunts, and moral monologues delivered with absolute conviction. These aren’t just creative choices; they are contractual obligations to massive fan bases who expect nothing less than myth-making on screen.

This risk-aversion limits the kind of stories that can be told. Directors working with superstars often have to dilute complex narratives in service of “mass moments.” Even actors who might want to experiment, like Suriya, who has dabbled in more grounded cinema, tend to return to familiar formats under pressure from fans or box office expectations. The result is that the biggest stars in Tamil cinema are often playing the same larger-than-life version of themselves, film after film, locked into a loop of worship, violence, and moral clarity.

In contrast, smaller stars and mid-budget films operate with more creative freedom. With fewer eyes and crores riding on them, these projects can afford to be vulnerable, messy, and introspective. They show men who cry, who change their minds, who grow slowly rather than “roar” to redemption. These films reflect the emotional realities of the men sitting in the audience, not just their aspirational fantasies. And in doing so, they’re pushing the cinematic language forward in a way mass films rarely can.

Are mass action films redundant? Not really…

Before you come at us with “People go to the theatre to have fun!”, we get it! Mass films have their place, and they always will. There’s something undeniably electric about watching a star like Vijay or Rajinikanth make a grand entry on the big screen, set to thumping music and surrounded by cheering fans. It’s theatre as celebration, a communal high that transcends plot or logic.

But celebration and substance don’t have to be opposites. A hero can make an explosive entry and feel deeply. The adrenaline rush doesn’t cancel out emotional complexity. In fact, when done well, it only adds weight to the spectacle. Audiences are evolving, and so are their expectations. They cheer for punchlines, yes. But they also resonate with vulnerability when it feels honest.

Tamil cinema isn’t short of progressive ideas. The audience isn’t either. What it lacks is for its biggest stars to trust that showing softness doesn’t dim their shine. That men who cry, falter, cook, parent, and question, are just as powerful, if not more.

These films tap into emotion, nostalgia, and adrenaline in ways that few others can. For many, it’s not about dissecting the politics. It’s about catharsis, spectacle, and sheer entertainment. These stories often channel real frustrations into heroic victories, offering relief and fantasy in a world that feels increasingly chaotic. So yes, mass films are fun. They’re cultural events. They bring people together. But even so, fun doesn’t have to come at the cost of progress, and that’s where the conversation gets interesting.

Her critique extended beyond her own award. She questioned how veterans like Kuttettan aka actor Vijayraghavan, who delivered a career-best performance in Pookkaalam, was also demoted to the supporting category. And why, she asked, did Shah Rukh Khan win a Best Actor award for Jawan, a high-octane commercial entertainer with little nuance in performance?

These aren’t rhetorical questions. They’re rooted in observable patterns that have come to define the National Film Awards in recent years. Patterns of opacity, inconsistency, and uneven representation.

A History of excellence, now undermined?

Traditionally, the National Film Awards were regarded as one of India’s most credible recognitions, where artistic merit trumped market forces, and regional cinema could stand on equal footing with the Hindi film industry. Malayalam and Bengali cinema, in particular, have historically punched above their weight, winning a disproportionate share of the Best Feature Film awards over the decades. That’s not bias. It’s simply a reflection of their consistent creative excellence.

But the 71st edition of the awards seems to mark a turning point. While Malayalam cinema did earn a few accolades, Ullozhukku for Best Malayalam Feature, Pookkaalam for Best Editing, films like Aadujeevitham (The Goat Life) and Kaathal—The Core, both critically acclaimed and widely considered among the year’s best, were entirely ignored. Instead, The Kerala Story, a film mired in controversy and political messaging, walked away with an award, sparking condemnation from Kerala’s Chief Minister.

Where does merit end and ideology begin?

The credibility question: It’s not about Shah Rukh Khan winning. It’s about how he won. The awards jury has not provided any breakdown of criteria, scoring, or even reasoning. There is no clarity on what constitutes a “supporting” versus a “lead” role. There is no public documentation of the jury process. There is no way for audiences, critics, or even fellow filmmakers to understand what values the awards are upholding.

That vacuum of transparency is what breeds suspicion: In a country as diverse as India, where films are made in over 20 languages, representation isn’t just a box to check. It’s a commitment. And it cannot be limited to technical categories. When performances like Urvashi’s, or films like Aadujeevitham, are pushed to the side while mainstream Hindi cinema claims the spotlight, it sends a clear message: visibility matters more than substance.

Are the awards still relevant?

It’s a question no one wants to ask outright, but Urvashi just did. With streaming platforms giving regional films a broader audience, and international festivals increasingly recognising Indian content, many filmmakers no longer see the National Film Awards as the highest honour. What good is a title when it’s handed out with little explanation and questionable logic?

Prestige is built not just on history, but on trust. Right now, that trust is eroding.

What needs to change?

Transparency: Publish jury criteria, scoring mechanisms, and category justifications.
Clarity in classification: Define what separates a lead from a supporting role, and stick to it.
Diverse representation: Ensure every regional industry is evaluated fairly and meaningfully.
Public accountability: When controversies arise, address them, not with silence, but with clarity.

Urvashi’s courage to speak out isn’t just a protest, it’s a demand for reform. And it’s one many in the film industry silently echo. If the National Film Awards are to remain relevant in an evolving cinematic landscape, they must shed their bureaucratic opacity and reclaim their moral compass.

Otherwise, we must ask: If these are India’s “National” Film Awards, then whose nation are they really representing?

The visionaries behind it all

Heading the show were JFW’s co-founders, Bina Sujit and Sujit Kumar, complementing each other in coordinated hues of grey, black, and blue. Bina looked radiant in a deep grey high-neck Anarkali, while Sujit opted for a sleek semi-formal look.

Speaking about this year’s lineup of awardees, Bina stated:

“Each year we take a lot of effort and care to choose our awardees. The JFW Achievers Awards has not only been a platform to celebrate the journey of successful women, but the awards also inspire millions of other women and give them hope to dream big. This year there was a special focus on inclusivity as we feel even in today’s evolved times there is a lack of sensitivity for the transgender community.”

Sujit reflected on JFW’s evolution since its inception in 2008:

“It was in 2008 that we hosted the very first edition of the JFW Achievers Awards. At that time, conversations around women empowerment and equal opportunity were almost non-existent in mainstream media or public forums. But Bina and I believed strongly that this initiative would spark a much-needed shift in how society views women and their achievements.

Today, as we step into the 15th year, JFW has grown into South India’s leading digital platform for women. With a digital reach of 70 million, 72% of whom are women, and an audience base where 80% fall between the age group of 18–44, our content continues to inspire and empower. With close to 100 million video views, we take pride in telling untold stories from across South India — stories of strength, resilience, and success.”

The dynamic hosts

Anchors Archana Chandoke and Mohamed Kuraishi brought unmatched energy to the evening, effortlessly keeping the momentum high from start to finish. With their impeccable comic timing, quick-witted banter, and genuine camaraderie, the duo laced the ceremony with humour, spontaneity, and heart. Whether it was playfully engaging with the audience, improvising between segments, or bringing out the personalities of the awardees during interactions, Archana and Kuraishi ensured there was never a dull moment.

THE AWARDEES

Swati Jagdish – Digital Changemaker Award

Honoured for transforming conversations around sex education in India, Swati Jagdish received the Digital Changemaker Award for her inclusive, value-based approach blending science, storytelling, and empathy. She was presented the award by Mana Anandavel, a 79 year old athlete and a past JFW awardee. Her segment, featuring her daughter asking her questions on stage, had the audience in collective adoration.

Kalki Subramaniam – Excellence in Social Service Award

Trailblazing activist and artist Kalki Subramaniam was celebrated for her relentless work in uplifting India’s transgender community through advocacy, education, and creativity. Presented the award by actress Pavithra Lakshmi and Kameela Nasser, Kalki delivered a stirring speech that shed light on the harsh realities faced by the trans community, urging continued action and awareness.

Lalith Renu (Kutty Trekker) – Young Achiever Award

At just 6 years old, S. Lalith Renu has completed over 30 treks across India, including Everest Base Camp. Her courage and curiosity were celebrated with the Young Achiever Award, presented by Anupama Vriksham, a previous JFW Awardee. Known for her trekking feats, Lalith charmed the audience by also sharing her fascination for different herbs in a fun chat with her family and the anchors.

Aishwarya Lekshmi – Powerhouse Performer Award

Recognised for her fearless performances and unwavering commitment to meaningful, female-led storytelling, Aishwarya Lekshmi received the Powerhouse Performer Award. Presented by iconic actor Nasser and Sky Sundaraj (on behalf of Ramraj Cotton) Aishwarya stunned in a white satin gown with a mesh overlay and emerald drop earrings, lighting up the JFW stage.

Kumari Sachu – Lifetime Achievement Award

Kumari Sachu

A legend in Indian cinema, Kumari Sachu was honoured for her illustrious seven-decade-long career across film, theatre, and television. The award was presented by Anand Babu and actress Vadivukarasi, who reflected on her enduring charm and legacy. The audience was moved by an AI-generated video message from the late actress Saroja Devi congratulating Sachu. A fun segment followed, with Khureshi mimicking yesteryear stars like MGR and Sivaji Ganesan as Sachu guessed the impersonations. She later joined Anand Babu for a short but delightful dance number.

Saindhavi – Excellence in Music Award

Saindhavi

For her soulful contributions across genres in South Indian music, Saindhavi was presented the Excellence in Music Award. Her unique ability to balance classical and playback singing with timeless grace was rightfully applauded. Along with presenter and singer Srinivas and actor and playback singer Yugendran, Saindhavi captivated the audience with her sweet voice as she performed live on stage.

Loyola College – Special Recognition Award

Loyola College

A bold step in the direction of inclusivity, Loyola College was honoured with the Special Recognition Award for appointing Tamil Nadu’s first transwoman professor—an inspiring milestone in Indian academia. The award was presented by film director and screenwriter Mohan Raja, followed by speeches from Principal Rev. Dr. Louis Arockiaraj, trans professor Dr. N. Jency, and Head of the English Department Dr. Mary Vidya. They spoke about the need for inclusivity and the upliftment of the transgender community through education, expressing hope that more legacy institutions will follow suit in becoming changemakers.

Deepa Venkat – Excellence in Dubbing Award

Deepa Venkat

Deepa Venkat was awarded for her remarkable work in dubbing, giving voice to some of South Indian cinema’s most memorable female characters. Actress Simran and Adissia Developers CMD M.V. Manikandan presented the award. In a lively on-stage moment, Deepa dubbed a scene live as Simran lip-synced one of her iconic film dialogues. Dressed in the same elegant blue silk saree she wore at her wedding, Deepa’s presence was both nostalgic and iconic.

Devayani – Excellence in Entertainment Award

Devayani

With a career filled with unforgettable performances, Devayani was honoured for portraying strong, emotionally resonant women in both film and television. Her longtime friend and director Tiruselvam Velusamy presented the award. A touching surprise followed when Devayani’s daughter, Iniyaa Kumaran, joined her on stage, creating a heartwarming family moment.

Bharathi Baskar – Excellence in Public Speaking Award

Bharathi Baskar

Celebrated orator Bharathi Baskar was recognised for revolutionising Tamil public speaking with her intelligence, humour, and fearless voice. Journalist Rangaraj Pandey presented the award and engaged in a spirited discussion about the 2026 state elections:

“The DMK might have strong chances to come back, but it is yet to be seen how the other parties perform. Anything can happen even in the last minute,” he said.

Priyanka Deshpande – Excellence in Television Entertainment Award

Priyanka Deshpande

The grand finale of the evening featured the ever-vivacious Priyanka Deshpande receiving the Excellence in Television Entertainment Award from her two closest friends, food blogger Irfan and DJ Black. The surprise presentation was filled with love and gratitude, as the duo spoke about how Priyanka had supported and uplifted them through thick and thin.

A Night to Remember

The 15th JFW Achievers Awards not only celebrated success, it spotlighted strength, amplified voices, and broke new ground in inclusivity and storytelling. With each winner, the message was clear: South India’s women (and allies) are not just shaping the future, they’re leading it.

Gopinath, who joined the IMF in 2019 as its first female Chief Economist, quickly became a central figure in shaping the institution’s response to some of the most significant global crises in recent history. Her tenure included navigating the fallout of the COVID-19 pandemic, steering conversations around inflation, debt distress in developing countries, and the macroeconomic implications of the war in Ukraine. In January 2022, she was elevated to the IMF’s second-highest post, marking yet another historic first for the organization.

Her decision to return to academia, while not entirely unexpected, marks a major transition in global economic leadership. In a personal statement, Gopinath said she was “grateful for the extraordinary experience at the IMF” but felt it was time to return to her roots in teaching and research. “I now look forward to continuing to push the research frontier and to training the next generation of economists,” she wrote in a post on social media.

The IMF has acknowledged her departure with deep appreciation. Managing Director Kristalina Georgieva called Gopinath “an exceptional leader who brought intellectual rigor, empathy, and commitment to global economic stability.” Under Gopinath’s guidance, the IMF expanded its policy toolkit, communicated clearly with member nations during volatile periods, and became more accessible to lower-income countries facing pandemic-driven fiscal strain.

Gopinath’s return to Harvard also marks a full-circle moment. Before joining the IMF, she was the John Zwaanstra Professor of International Studies and Economics at the university. Her academic journey spans an undergraduate degree at Lady Shri Ram College in Delhi, a master’s at Delhi School of Economics, another at the University of Washington, and a PhD in economics from Princeton University. Over the years, she built a reputation not only as a leading scholar in international finance but also as a mentor to students navigating complex global economic systems.

At Harvard, she will now occupy a new professorship named in honor of Gregory and Ania Coffey, designed to further thought leadership in economics and international policy. Her return is being welcomed widely by the academic community, with many noting that her hands-on experience in global governance will bring fresh insights into economic teaching and scholarship.

While Gopinath has not ruled out future roles in public policy, her immediate focus, she said, will be on research and teaching. The IMF, meanwhile, has yet to announce a successor, though speculation has already begun, particularly given the tradition of the U.S. nominating a candidate for the Deputy Managing Director position.

Gopinath’s departure leaves behind a significant legacy, one of clarity, courage, and commitment in an era marked by uncertainty. For an economist who straddled the worlds of theory and high-stakes policy-making with equal ease, the return to the classroom is not a step back, but a continuation of a career defined by influence, intellect, and impact.

The order, passed by 10th Additional City Civil and Sessions Judge Vijaya Kumar Rai, came in response to a defamation suit filed by Harshendra Kumar D, the secretary of the institutions run by the Shri Manjunathaswamy Temple.

The case first came to public attention earlier this month when a former sanitation worker, employed at the temple between 1995 and 2014, gave a sworn testimony alleging that he had been forced to bury or burn hundreds of bodies, many of them women and minors, under orders from temple supervisors. In his statement before a magistrate, he claimed the bodies showed signs of rape, acid burns, mutilation, and strangulation. He submitted photographs and skeletal remains as evidence, triggering a wave of public outcry and reviving questions about several long-unsolved cases in the region.

Among the cases now back in the spotlight is that of Sowjanya, a 17-year-old girl who was raped and murdered in 2012, a case long believed by activists to have been mishandled or covered up. The disappearance of Ananya Bhat, a medical student who vanished during a college trip to Dharmasthala in 2003, has also resurfaced, with her mother recently filing a new complaint fearing her daughter may be among the unidentified victims the whistleblower referred to.

The gravity of the allegations and the scale of the supposed cover-up prompted the Karnataka government to form a Special Investigation Team (SIT) on July 21, led by DGP Pronab Mohanty. The SIT has been tasked with verifying the whistleblower’s claims, examining the remains, re-investigating past complaints, and determining whether there was institutional involvement in any criminal activity. The Dharmasthala temple administration, which had initially remained silent, later released a statement welcoming the SIT probe while strongly denying the allegations as baseless and defamatory.

Even as the investigation was set in motion, the legal system took an unexpected turn. On July 18, the Bengaluru court granted an ex-parte ad-interim mandatory injunction against 332 defendants, including prominent media houses, YouTubers, and social media accounts. The judge stated that the case presented “exceptional circumstances” warranting immediate relief to prevent further reputational damage. The URLs listed in the suit include news stories, social media posts on platforms like Instagram and X, and videos from independent journalists and influencers. The injunction effectively restricts any further publication of similar content until further notice, drawing serious concerns from civil liberties groups and press freedom advocates.

Several media organisations and digital rights activists have criticised the gag order as an act of judicial censorship. They argue that the sweeping nature of the injunction—targeting verified reportage, commentary, and independent investigation—sets a dangerous precedent. On July 21, a petition was filed in the Supreme Court challenging the order, asserting that it violates constitutional guarantees of free speech and public interest reporting. The petitioners called the order an “unprecedented suppression” of matters that are crucial to public awareness, especially when they involve allegations of violence and systemic abuse.

At the heart of the case lies the power imbalance that has long defined the socio-religious dynamics of Dharmasthala. The temple, one of Karnataka’s most prominent pilgrimage sites, is run privately by the Heggade family. D. Veerendra Heggade, the Dharmadhikari, holds immense cultural influence and has been widely respected for his philanthropic work. His brother, Harshendra Kumar, who filed the defamation suit, is a key figure in the administration. The whistleblower, by contrast, is a Dalit man who claims he was coerced into silence for years while being forced to participate in acts he describes as deeply traumatic and criminal.

The legal and political stakes are high. The SIT must now navigate a labyrinth of past crimes, caste dynamics, religious influence, and institutional opacity, while working under the scrutiny of a public that is both outraged and wary. The upcoming hearing on August 5, where the court will review the takedown order, is expected to draw significant national attention. Meanwhile, the Supreme Court’s decision on the petition challenging the gag order could set a defining precedent for digital journalism and media accountability in India.

As forensic testing begins, and as families of past victims wait anxiously for answers, the Dharmasthala case is no longer just about one man’s testimony. It has become a test of the justice system’s ability to confront entrenched power, a reckoning with the silence surrounding caste and gender violence, and a battle for the very right to report.

An all-court player with a 74% win rate (as per ITF stats dated July 7), Maaya picked up a racket at eight and set her sights on a professional career by the time she was ten. Her early promise caught the attention of the Rafa Nadal Academy, which offered her a scholarship in the early stages of her journey, a pivotal moment that launched her into global tennis circuits.

By 13, Maaya had begun competing in International Tennis Federation (ITF) events, securing victories in Chennai and Hyderabad at 14. She soon began appearing in junior Grand Slam qualifiers, laying the groundwork for her Wimbledon debut.

Her rise was further bolstered when the Rafa Nadal Academy extended her initial one-year contract after Infosys stepped in to sponsor her training for an additional two years. In January 2024, she also received a $50,000 grant from the Grand Slam Player Development Programme, a boost that helped fuel her pursuit of excellence.

With support from her parents, Rajeshwaran and Revathi, and coach Manoj Kumar, Maaya’s trajectory has been steady and sharp. Earlier this year, she made an impact at the Mumbai Open WTA 125, earning her first WTA point, becoming the youngest Indian to do so. She stunned seasoned players like Iryna Shymanovich, Mei Yamaguchi, and former World No. 31 Zarina Diyas, with the WTA calling her “the first player born in 2009 to reach this stage of a main draw at this level.”

Her current WTA ranking stands at 653 (career-high: 642, as of May 19, 2025), while she is ranked 57 on the ITF Junior charts (career-high: 56, as of January 20).

At Wimbledon Juniors 2025, Maaya powered through a thrilling first-round match against China’s Shiyu Ye but fell in the final qualifying round to Spain’s Eugenia Zozaya Menendez.

Yet, the loss hasn’t slowed her down. Within hours, Maaya was back on court at the Rafa Nadal Academy by Movistar, continuing her grind, a clear sign that this young athlete is just getting started.

The crack, which measures 70 metres in length, is situated on a busy road travelled by School vans, heavy trucks and buses, office-goers and others throughout the day. No individual or vehicles suffered any harm but residents on an apartment complex situated at the street were alarmed and sought immediate intervention.

As per the GCC, the construction took place on black cotton soil which is unsafe for buildings to stand on. “While digging, machines may have hit the rock situated beneath the soil, giving rise to reverberations that may have in turn lead to the opening up of the road,” the official said.

While a thorough investigation on the construction site will ensue, members from the Indian Institute of Technology-Madras (IIT-M) and Anna University inspected the area, collected samples and are said to submit their results soon.

EV Buses and a Cleaner Commute

The city’s public transport fleet is undergoing a green makeover. The Metropolitan Transport Corporation (MTC) has begun inducting electric buses—many of them air-conditioned—as part of its zero-emission goals. Commuters can already spot them on key routes, offering a quieter and smoother ride. Supporting this shift, charging stations are being installed at major depots and transit points like Koyambedu and Broadway.

The Chennai Metro Rail Limited (CMRL) has also joined the EV movement, piloting electric feeder buses to bridge the crucial last-mile gap between metro stations and nearby residential pockets.

Upgrades on the Rails

For those who rely on suburban trains, there’s good news: AC EMU (Electric Multiple Unit) trains have been rolled out on routes like Tambaram–Chengalpattu. With enhanced comfort and modern passenger display systems, these trains aim to make local travel more appealing.

Major railway hubs like Egmore and Chennai Central are also being modernised under the Amrit Bharat scheme, with improved infrastructure, better accessibility, and digital display systems in the pipeline.

Metro Expansion: Phase II and Beyond

Chennai Metro’s Phase II, a massive 118.9 km expansion, is currently underway. Once operational, it promises to connect underserved areas such as Poonamallee, Sholinganallur, and beyond. The new lines aim to integrate the city’s IT corridors, the airport, and outer suburbs into a more cohesive public transport map.

Efforts are also being made to link metro stations with share autos, cycles, and EV scooters—nudging the city toward a more seamless multimodal commute.

A Boost for Pedestrians and Cyclists

Beyond buses and rails, the city is investing in infrastructure for those who walk and cycle. The Greater Chennai Corporation (GCC) has already redesigned streets in T. Nagar, Adyar, and Besant Nagar with broader footpaths and pedestrian-friendly zones. Initiatives like SmartBike cycle-sharing are being scaled up, and new cycling lanes are in the works, especially around educational and commercial hubs.

Private EV Surge and Policy Backing

Electric mobility isn’t just a public sector story. Chennai’s roads are seeing a rise in private EVs, especially two-wheelers and autos. Battery-swapping stations and fast-charging points are being set up in collaboration with private companies. The Tamil Nadu Electric Vehicles Policy 2023 further positions the state as a manufacturing hub for EVs, encouraging both infrastructure development and job creation.

Digital integration is gaining traction. A ‘Chennai Smart Card’, enabling travel across metro, MTC buses, and suburban trains, is in the trial phase. Meanwhile, live-tracking apps like ‘Chalo’ are helping commuters know bus arrival times in real-time, cutting down wait times and uncertainty.

But Gaps Remain

Despite the momentum, challenges persist. Seamless integration across different modes remains elusive. A commuter switching from bus to metro still needs separate tickets, a frustrating gap in an otherwise ambitious transformation.

Affordability is another concern. With the rise of premium services like AC buses and metro expansions, some fear that lower-income users may be priced out unless fare structures are made more inclusive.

And last-mile connectivity continues to be a sticking point, particularly in outer zones where autos are expensive and feeder services inconsistent.

Is It for Everyone?

As Chennai reimagines mobility, inclusivity must remain central. Are these changes benefiting women, the elderly, and disabled commuters? Are heatwaves and climate resilience being factored into the city’s planning? These questions will determine whether the “new dawn” becomes a shared sunrise, or a segmented one.

From EVs to metro tunnels, Chennai’s transport ecosystem is clearly in transition. The city is taking steps — bold ones — toward sustainability, efficiency, and tech-led convenience. But the real test will lie in execution and equity. Because good transport is not just about speed or style. It’s about access — for everyone, everywhere.

Ajith Kumar, employed as a temple guard at the Madapuram Kaliamman temple in Thirupuvanam, Sivaganga district, was taken into police custody for questioning in connection with a theft at the temple. He later died while in custody, prompting allegations of custodial torture from his family.

According to the autopsy, Kumar had numerous abrasions and contusions on his forehead, arms, knee, foot, and gluteal region. The report also highlighted signs of cerebral congestion—an accumulation of blood in the brain’s vessels—often associated with blunt force trauma to the head.

Henri Tiphagne, a human rights activist and executive director of People’s Watch, condemned the incident as torture. Tiphagne further criticised the misuse of police vehicles and praised the Madurai Government Hospital dean for documenting the injuries thoroughly in the autopsy. He noted that the police department has still not acknowledged the possibility of torture. “India does not have an anti-torture law and has yet to ratify the UN Convention Against Torture, despite repeated reminders since 1997,” he told NDTV. Calling for legislative action, Tiphagne urged the state to introduce what he called the “Ajith Kumar Anti-Torture Law”.

The case has become a flashpoint in Tamil Nadu politics. Chief Minister M.K. Stalin, responding to the growing pressure, announced on July 1 that the investigation will be handed over to the Central Bureau of Investigation (CBI). “Given that five police personnel have been named as accused, and in order to avoid any suspicion about the investigation, I have ordered a CBI probe. The Tamil Nadu government will fully cooperate,” Stalin said.

All five accused officers have been arrested. The Deputy Superintendent of Police has been suspended, and the Sivaganga Superintendent of Police has been placed under compulsory wait.

Tamil Nadu BJP President Nainar Nagendran has announced plans to visit Ajith Kumar’s family in Thirupuvanam on July 6 to offer his condolences.

A bench comprising Justices M.M. Sundresh and K. Vinod Chandran heard the matter and stayed the execution of the sentence handed down by the trial court, effectively paving the way for Kumar’s release from custody. The order comes more than two years after Vismaya was found hanging in the bathroom of her marital home in Sasthamkotta, Kollam, on June 21, 2021, just over a year after her marriage.

Kiran Kumar, a former Assistant Motor Vehicle Inspector, was convicted in May 2022 under Section 304B of the Indian Penal Code, which deals with dowry deaths. He was also found guilty of abetment to suicide and subjecting his wife to cruelty in connection with dowry demands. Following his conviction, Kumar was dismissed from his government post.

The Kerala High Court had earlier refused to suspend his sentence, citing the seriousness of the charges and their wider social implications. “This is not a fit case for sentence suspension,” the High Court had ruled, stressing that dowry deaths need to be dealt with sternly in the interest of societal reform.

Undeterred, Kumar approached the Supreme Court. His legal counsel argued that he was a victim of a “media trial” and that no direct evidence proved he had demanded dowry. They claimed the conviction was based largely on circumstantial material and public outrage, rather than hard evidence.

However, prosecutors have maintained that the evidence against Kumar is strong and deeply disturbing. Before her death, Vismaya had sent her family several WhatsApp messages, voice notes, and photographs of injuries on her body, allegedly inflicted by Kumar during fights over dowry. These messages later became key evidence during the trial.

The tragic case sparked outrage across Kerala and the country, bringing renewed attention to the deep-rooted problem of dowry harassment and domestic violence. Widespread protests and social media campaigns followed Vismaya’s death, with women’s rights groups demanding swift and strict action against dowry-related abuse.

Reacting to the Supreme Court’s latest order, Vismaya’s family expressed disappointment, calling it a “setback” in their long legal fight for justice. “The evidence is all there…photos, messages, everything. It hurts to see the man responsible for her death walk free on bail,” said a family member.

Legal experts note that the Supreme Court’s decision does not amount to acquittal but is a procedural relief that allows Kumar to remain out of jail while his appeal is heard. The apex court has not commented on the merits of the conviction itself.

Still, the move has reignited public debate on how the judiciary handles gender-based violence and dowry-related cases. “This is more than just a legal issue. Dowry is a social crime, and suspending the sentence of a convict sends the wrong signal,” said Advocate Rekha Sharma, a legal activist working with domestic violence survivors.

Vismaya, a young Ayurveda medical student, had reportedly received a car and gold as part of her wedding arrangement with Kumar. But shortly after marriage, her family alleged, Kumar began harassing her, dissatisfied with the car’s model and performance.

Her final days, documented through messages and photos sent to her relatives, painted a harrowing picture of isolation, injury, and fear, one that, tragically, ended in death.

As the case moves forward in the appellate court, Vismaya’s story continues to stand as a grim reminder of how deeply embedded dowry culture remains, and how urgently both society and the legal system must respond to protect women from its deadly consequences.

On June 29, she was found unconscious inside a parked car in Avinashi, having consumed pesticide. She was rushed to a government hospital but declared dead on arrival. Before she took the extreme step, she had sent seven voice messages to her father, in which she described the abuse she had faced at the hands of her husband and in-laws, who had allegedly begun harassing her over the remaining dowry that was yet to be delivered.

Her husband Kavin Kumar, along with his mother and other family members, was arrested shortly after her death. They now face charges including dowry harassment and abetment of suicide. Speaking to the police, Ridhanya’s father admitted, “She came home just two weeks into the marriage. I told her to adjust. I didn’t know it would cost her life.” His words reflect a tragic, all-too-familiar sentiment: a father hoping for peace in his daughter’s marriage, unwilling or unable to foresee the danger beneath the surface.

Though illegal for over six decades, dowry continues to be an entrenched part of Indian weddings, transcending religion, caste, and class. According to the National Crime Records Bureau, 6,450 dowry-related deaths were reported across India in 2022. Tamil Nadu recorded 29 such deaths and over 220 cases filed under the Dowry Prohibition Act that year. But experts believe these numbers only represent a fraction of the reality, as many cases go unreported, buried under silence, stigma, and societal pressure.

In modern times, dowry often wears the mask of “gifts” or “support” for the newlyweds. Lavish gold jewellery, luxury vehicles, expensive household appliances—all are exchanged in full view of wedding guests and even captured proudly in social media reels. The word “dowry” may no longer be spoken aloud, but its presence is unmistakable. This reframing allows families to bypass the Dowry Prohibition Act, which clearly defines dowry as any property or valuable security given or agreed to be given directly or indirectly at or before a marriage.

The problem isn’t just legal; it’s deeply cultural. At wedding halls, guests clap while trays of gold are displayed, and gifts are stacked like trophies. Few question the motivations or the transactions taking place. This public endorsement of wealth as a measure of worth places enormous pressure on families of brides, especially when such exchanges are expected—and later used as leverage. The line between celebration and coercion is blurred.

Ridhanya’s case is not an isolated tragedy. Just days after her death, a similar incident was reported in Tiruvallur district. A young woman, just four days into her marriage, allegedly died by suicide after facing harassment from her in-laws. The complaint? Her family had given four sovereigns of gold instead of five, as initially agreed. In other recent cases—Kanagavalli from Ariyalur, Sindhuja from Madurai, Nageswary from Salem—women have died under suspicious circumstances shortly after marriage, with dowry demands emerging as a common thread.

The legal framework to address dowry exists but is riddled with challenges. Proving dowry harassment in court requires evidence—messages, audio recordings, or witnesses. Without such proof, many cases collapse. In addition, many families are reluctant to file cases, fearing social ostracism or further harm to their daughters. Often, women are told to “adjust” or “give it time,” as Ridhanya herself was advised.

Lawyers and women’s rights activists argue that the issue can’t be resolved by law alone. What’s needed is a cultural shift—one that makes dowry socially unacceptable, not just legally punishable. But that shift remains elusive. Today, weddings are increasingly extravagant, and the gold-to-love ratio seems to be climbing steadily. The applause is louder, the silence deeper.

At the heart of this tragedy lies a question we rarely ask: what are we really celebrating at weddings? When families gather to trade gold and cars under the banner of tradition, are they honoring love—or brokering a deal? The spectacle may be masked in rituals and framed in festive photographs, but its consequences can be deadly.

Ridhanya’s voice, captured in those last messages to her father, now joins a chorus of women whose lives were cut short by greed disguised as custom. Each time such a case makes headlines, the nation mourns—but how many pause to reflect on their own complicity? How many weddings will go on where trays of gold are exchanged while everyone looks away?

Until we start questioning what we’re applauding, this will not be the last such death.

If you or someone you know is facing domestic abuse or suicidal thoughts, help is available.
Women’s Helpline: 181
Suicide Prevention Helpline: 9152987821
Dowry is a punishable offense under the Dowry Prohibition Act, 1961.

According to sources, Ajith was subjected to severe physical assault while being held in illegal custody. His younger brother, Naveen Kumar, witnessed the torture firsthand. Post-mortem results from the Government Rajaji Hospital in Madurai, where the examination lasted over five hours, revealed extensive injuries—both external and internal.

Judicial sub-magistrate Venkatesh Prasad recorded statements confirming that Ajith was beaten in Naveen’s presence during an unofficial interrogation conducted at multiple locations, not a police station.

Ajith was first picked up by police on June 27, after two women, Sivakami and her daughter Nikita, alleged that ten sovereigns of gold jewellery had gone missing from their car. The women reportedly asked Ajith to park their vehicle. As he didn’t know how to drive, he sought help and returned the keys to them.

Following this, Ajith, his brother, and three others were detained by the special team and interrogated at different spots in Tirupuvanam, rather than through official procedures. All five were reportedly assaulted, and Ajith eventually lost consciousness during the ordeal.

Naveen’s detailed testimony was submitted to the magistrate. He recounted that on the night of June 27, the five men were taken into custody again by a six-member special unit. In the early hours of June 28, Naveen was also picked up. He stated that they were not brought to any police station but were driven to remote areas including a lake, the premises behind the Madapuram school hostel, and the area near the Thirupuvanam Veterinary Hospital.

At one such location, Ajith was tied up and severely beaten in an attempt to extract a confession. Under duress, Ajith falsely claimed he could help recover the missing jewellery if taken to a cow shed behind the Assistant Commissioner’s office. Once there, he confessed he had fabricated the story, saying he could no longer endure the torture. He collapsed soon after.

Naveen was later informed that his brother had been taken to a private hospital where doctors declared him ‘brought dead’. Ajith’s body was subsequently shifted to the Government Rajaji Hospital for post-mortem.

In response to the incident, six policemen from the special unit—Prabhu, Kannan, Sankara Manikandan, Raja, Anand, and Ramachandran—have been suspended. A preliminary FIR has been filed under Section 176 of the Bharatiya Nagarik Suraksha Sanhita (BNSS), which addresses deaths occurring in custody. However, no charges of assault or homicide have been brought against the officers so far.

The incident sparked protests in Madapuram village, with locals demanding criminal action against the personnel involved. Adding to the controversy, AIADMK members and villagers clashed with local DMK functionaries who arrived at Ajith’s residence. Tensions rose when Ajith’s family was seen being escorted in a vehicle marked with the DMK flag, with accusations that the ruling party was attempting to manage public response.

Residents allege that such political interventions have become common in custodial violence cases and that families are often pressured to avoid pursuing legal remedies.

The family has reportedly been offered Rs 5 lakh in compensation and a government job, a promise allegedly made by Cooperation Minister Periyakarupan, who represents Sivaganga. However, there has been no official confirmation from the minister’s office.

According to Kotturpuram Police, the incident occurred around 7:30 p.m. while the woman was walking alone on campus. The accused, identified as Roshan Kumar, reportedly approached her carrying a stick and pulled her hair. The intern raised an alarm and fled the scene. Security personnel stationed nearby responded quickly, but the man managed to escape.

Police from Kotturpuram station arrived shortly after receiving information and launched an investigation. Based on the woman’s description, the suspect was traced and identified as Roshan Kumar, a contractual worker employed at one of the food court outlets on campus. He is a native of Maharashtra.

Roshan Kumar was arrested on June 26 and remanded to custody. Police have booked him under relevant sections of the law, and further investigation is underway, said a senior officer.

Following the incident, several students demanded heightened security measures around campus, including the employment of more security personnel, installation of cameras around secluded stretches and their regular maintenance and better lighting. “It is a shame that women ate unsafe even within the campus of one of India’s most prestigious institutes,” a PhD student said.

Institute’s Statement

In an official statement, IIT-Madras said: “An unfortunate incident occurred on June 25 within the IIT-Madras campus, where a contractual employee of a vendor misbehaved with a woman student visiting from another institute. The student raised an alarm, following which institute security personnel intervened and handed the individual over to local police.”

The institute reiterated its stance on safety, stating, “IITM has a zero-tolerance policy towards sexual harassment and remains committed to providing a safe and secure environment for all.”

The admission letter was officially handed over to Shivin by college chairman V.M. Muralidharan, in the presence of principal Dr. S. Uma Gowrie and other faculty members.

Shivin’s path to higher education has been marked by resilience and determination. “Completing school in Theni itself was a major struggle. I received support from a few trans persons in Chennai who helped me apply to Ethiraj, and I’m deeply grateful for this opportunity,” she said.

Having lost her parents years ago and with minimal support from her siblings, Shivin hopes to pursue a career in the IT sector. “I want to be financially independent and be a source of inspiration to others in the transgender community,” she added.

Chairman Muralidharan described the moment as a significant milestone for the institution. “Admitting a transgender student for the first time reflects our commitment to inclusivity and building a more equitable society,” he said.

The incident which occurred on June 23 morning (Monday), drew severe flak from opposition members including TN BJP state president Naina Nagentthran, the AIADMK and the PMK, who sought immediate action against the perpetrator.

The constable, identified as Raman, assaulted the women and yelled at them when they arrived at the police station to follow-up on sexual assault charges they had filed against a man. But after listening to their explanation of the case, the constable is said to have sided with the man and assaulted the women.

The police stated that once investigations conclude, action will be taken against the constable.

The film, starring BJP Union Minister of State Suresh Gopi in a lead role, is scheduled for worldwide release on June 27, 2025. With only two days to go, the production house, Cosmos Entertainment, approached the Kerala High Court on Wednesday, June 25, seeking urgent directions to the Central Board of Film Certification (CBFC) to issue clearance without further delay.

According to Live Law, the petitioner informed the court that the film had been submitted through the CBFC’s e-cinemapramaan portal on June 12, and the censor screening was completed by June 18. No formal objections have been communicated to date, the producers said, yet the certification process remains stalled.

The production company has argued that such objections have no legal standing, and that the continued delay in certification, without official explanation, violates the board’s procedural norms. The court is now expected to decide whether the film can proceed with its scheduled release later this week.

The argument, though not the primary legal concern in the case, reveals an unsettling sentiment: that a survivor of sexual violence “sullies” a name associated with religious reverence. That her trauma somehow makes her unworthy of sharing that name.

It’s a belief steeped in centuries of patriarchal dogma: the idea that women’s worth is tied to purity, and that sexual violence leaves not the perpetrator, but the survivor, tainted.

This moment deserves attention not because it is legally binding (the court did not issue an order mandating the name change) but because it shows how deep these social fault lines run, even in spaces that are meant to uphold justice.

The problem isn’t the name, it’s the stigma

Indian law rightly mandates the anonymity of sexual assault survivors (Section 228A of the Indian Penal Code). But anonymity is not the same as erasure. Protecting a survivor’s identity does not require replacing it with a name that is sanitized for the comfort of others. Choosing Janaki as a pseudonym should be unremarkable. That it has become controversial is what demands scrutiny.

What we are seeing here is not the safeguarding of survivor dignity, but the preservation of religious sentiment, at the survivor’s expense. This inversion of priorities is dangerous. It signals that collective notions of “sacredness” override the lived trauma of real people.

Worse, it implies that the survivor, by virtue of her abuse, is now too “impure” to carry the name of a goddess. The name becomes sacred. The girl becomes disposable.

Purity politics in popular culture

This isn’t a one-off event. The politics of naming, especially through a religious lense, is playing out across cultural mediums, especially in cinema, in ways that mirror and reinforce these regressive ideas.

In the 2024 Tamil film Token No., the protagonist’s name was originally Janaki, until the filmmakers decided to rename her Jayanthi in post-production. Why? Because her character was in a romantic relationship with a man named Abraham. The idea that Janaki, a quintessentially “Hindu” name, should not be associated with interfaith romance is a subtle but telling act of cultural gatekeeping.

Similarly, in Imaikkaa Nodigal, the antagonist is named Martin Roy, a name coded as Christian. In Psycho (2020), the serial killer is shown to have studied in a convent. These may seem like isolated creative choices, but together they reflect a pattern: Christian or Muslim identifiers are disproportionately used for morally ambiguous or villainous characters, while Hindu names are protected, idealized, and kept above narrative contamination.

Such portrayals reinforce the notion that virtue and morality are the domain of one religion, while deviation and danger belong to others. It is a form of communal subtext that subtly indoctrinates viewers over time.

In this ecosystem, a name like Janaki must remain pristine, untouched by desire, defilement, or deviation. Even in fiction, the name cannot fall in love across faiths. Even in a court pseudonym, it cannot be linked to a survivor of violence. This is not artistic discretion. It is systemic sanitization.

The Real Violence is Erasure

At the core of all this lies the same impulse: to treat survivors as symbols of shame rather than as people. To remove their names from public view, not to protect them, but to protect cultural pride.

It is an impulse that masquerades as reverence, but it is rooted in fear: the fear that trauma, impurity, or interfaith relationships somehow taint our carefully constructed identities.

But the idea that survivors should give up their names, their stories, or their humanity to preserve societal sanctity is both ethically and constitutionally indefensible. It reinforces what feminists have long critiqued: that women’s bodies are treated as vessels of honor, and that violence against them is seen not as a crime against the individual, but as a stain on the collective.

The onus then falls absurdly on the survivor, to be silent, invisible and even renamed.

A broader crisis of pluralism

What’s playing out in this moment is not only about gender or cinema. It is also about India’s eroding comfort with religious plurality and individual freedom.

When Hindu names must be protected at all costs, while Christian or Muslim names are typecast as villainous, the issue is not merely creative or cultural. It’s political. It’s about what kind of nation we want to be, one where all identities are treated with equal dignity, or one where names are policed to fit a dominant narrative.

The court did not mandate the name change, but the fact that such an objection was even raised, and considered, signals a dangerous drift. It shows that even the judicial imagination is not immune to purity politics.

What justice actually looks like

Justice, in its truest sense, should prioritize the person over the symbol. It should care less about preserving the “honour” of a name and more about the rights, autonomy, and healing of the person who bears it.

If we are truly committed to a just and plural society, then we must challenge the idea that names, or women, need to be sanitized to be acceptable.

Let Janaki remain Janaki. Not because her name deserves protection, but because she does. Because what happened to her should not diminish her, and it should not give anyone else the right to rewrite her identity.

Let us protect survivors, not symbols. Let us value justice, not discomfort. And let us stop pretending that trauma makes people unworthy of their own names.

A name is not a stain. But silence is.

The young woman, who hails from a tier-2 town in Karnataka and now lives in the city, recounted a recent encounter that left her shaken. While boarding a BMTC bus and speaking on the phone, she tapped lightly on the door, prompting the conductor to mock her in Kannada: “Stylish agi phone hold maadi door knock maadthidiya?”—a sarcastic jab loosely translating to, “Oh, so you’re stylishly knocking while flaunting your phone?”

“It was demeaning and unnecessary,” she wrote in her post, adding that this wasn’t a one-off incident. “It’s like many of them are constantly seething, waiting for someone to snap at.”

The post has since gained traction online, sparking heated conversations among longtime Bengaluru dwellers and newcomers alike. Several users shared similar experiences, pointing to a growing hostility in public interactions, especially when individuals appear more ‘urban,’ speak English, or dress a certain way.

“There’s a visible edge in the way some auto drivers or metro staff respond,” one commenter noted. “It becomes worse if you look like you belong to a different class or region.”

Another echoed the sentiment: “I used to love this city. Now it feels like it’s turning bitter. You sense resentment simmering under the surface everywhere you go.”

What seems to have touched a nerve is not just the comment itself, but what it symbolises, a city caught in transition. As Bengaluru continues to expand, drawing talent and aspirations from across the country, its infrastructure strains and civic systems lag behind. That growing dysfunction appears to be wearing people down.

“It’s like everyone’s patience is running on fumes,” a user remarked. “Instead of channeling anger at the collapsing roads, the flooding, or the lack of basic amenities, we’re turning on each other.”

Several users also weighed in on the emotional toll the city’s changing character is having on its residents. “There’s this strange cocktail of pride, exhaustion, and silent rage,” one person commented. “It’s not just about one rude bus conductor, it’s about everything this city once promised and now fails to deliver.”

Despite the post being deeply personal, its ripple effect has reignited an ongoing debate: Has Bengaluru lost its warmth? And in the race to become a global tech hub, is it leaving its soul behind?

As one commenter put it, “This isn’t just about class or Kannada vs English. It’s about people tired of being overlooked, overworked, and under-listened to. And it’s starting to show.”

More recently, Jahnavi has been selected as an astronaut candidate for a private orbital mission scheduled for 2029. If successful, she will spend several hours in low-Earth orbit, witnessing multiple sunrises and sunsets in a single day, something most can only dream of.

 

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A post shared by Jahnavi Dangeti (@mystic_galaxia)

Tracing back, Jahnavi’s fascination with space began early. As a child, her grandmother would tell her stories about a kind moon lady who gave children toys and sweets. What began as innocent wonder turned into a lifelong passion. “I used to think the moon followed me wherever I went,” Jahnavi recalls. “Now, I’m working to follow it instead.”

She pursued a degree in Electronics and Communication Engineering at Lovely Professional University (LPU) in Punjab. It was there that her ambitions took flight. In 2021, she became the first Indian to attend NASA’s International Air and Space Program at the Kennedy Space Center in Alabama. Over a week, she underwent intensive astronaut training: zero-gravity simulations, multi-axis simulations, underwater rocket launches, and even flying a Cessna aircraft. She was appointed Mission Director of her team and successfully led a 16-member international crew through a mock rocket mission.

But that was only the beginning. Jahnavi soon participated in analog astronaut missions in Poland, living in isolation and simulating conditions akin to a lunar base. She later traveled to Iceland for geology training, preparing for the kind of terrain astronauts might face on the Moon or Mars.

Despite her impressive resume, Jahnavi’s path hasn’t been easy. She comes from a modest middle-class family, with both her parents working in Kuwait. Funding her training, travel, and education has required immense effort, including government support, scholarships, and outreach. “My journey is not just about space, it’s about proving that no dream is too big if you come from a small place,” she says.

Jahnavi’s work has not gone unnoticed. She has been featured in the Indian Book of Records, won the NASA Space Apps Challenge People’s Choice Award, and delivered motivational talks at ISRO events and engineering colleges across India. She also participated in asteroid hunting campaigns using Pan-STARRS data and contributed to the identification of celestial objects.

Her ultimate goal? To become a full-fledged astronaut, earn her pilot’s license, and one day step onto the Moon or Mars. Until then, she remains grounded but determined, an inspiration to millions of young Indians who dare to look up and dream.

“Many think space is out of reach,” she says. “But if a girl from Palakollu can reach for the stars, so can they.”

“I was told it’s standard procedure,” she says. “But when I asked for them back, they said I’d have to resign first. When I did resign, they demanded I complete the entire academic year. I was stuck.” She subsequently missed her brother’s wedding and had to stay on at work till April 2025.

But Aparna’s case is not isolated. Across Chennai, scores of teachers employed in private schools, particularly unaided matriculation and CBSE institutions, allege that managements routinely retain their original degree certificates. The practice, while unofficial and largely unspoken, functions as an unrelenting leash: restricting mobility, personal growth, and even access to government services that require identity or qualification proof.

It’s unethical, and illegal

The act of retaining original educational certificates is not supported by Indian labour law. The University Grants Commission (UGC), Ministry of Education, and even Madras High Court have reiterated in several cases that employers cannot withhold original documents of employees under any circumstances.

In a recent article, Times of India reported that: “The Directorate of Private Schools is cracking down on educational institutes that illegally retain original certificates of teachers an unofficial yet widespread tactic used to block exits…However, this directive does not apply to schools where teachers submitted their certificates as part of a legal bond, signed with informed consent.”

“This is a clear case of coercion,” says Chennai-based Advocate R. Vignesh, who specialises in labour and education law. “Unless the employee voluntarily deposits their certificates and is free to retrieve them at any time, such retention is illegal. It’s a form of bonded labour, cleverly disguised as policy.”

Yet, enforcement remains lax.

Fear of retaliation keeps many silent

Teachers who have tried to speak up say they’ve been threatened with poor experience certificates, deliberate delays in relieving letters, and even blacklisting among private schools in the city, all of which make it hard to find new employment.

“When I asked for my certificates back, the principal said they’d mention ‘disciplinary concerns’ in my experience letter if I left mid-year,” says Sujatha (named changed), who taught Social Science at a matriculation school in T Nagar. “It felt like blackmail. I had no option but to wait until March, even though I had a better job offer.”

Another teacher, Kiran, who quit his school in Avadi after five years of working there, recalls being made to “run from pillar to post” for weeks. “They wanted me to pay two months’ salary in lieu of notice even though I hadn’t signed any such contract. My certificates were with them, so I had to cave in.”

In WhatsApp groups and staff rooms, such stories are often shared in whispers. There is no formal union support or grievance redressal mechanism that private school teachers can rely on. Most fear being labeled “troublemakers” and losing future opportunities. “We’re stuck between wanting to fight and needing a livelihood,” says Sujatha. “And schools take advantage of that silence.”

Small wins, long road

There have been isolated victories. In 2023, a group of teachers from a private school in Tambaram collectively approached the district education office. After weeks of follow-up and media attention, the school was pressured to return the certificates. “It was empowering, but exhausting,” said one of the teachers, who requested anonymity. “Not everyone has the strength or support to fight like that.”

Legal aid groups have begun offering pro bono support to teachers willing to file official complaints. “Even one FIR can shake the confidence of these managements,” says Vignesh. “But fear and dependency keep many from taking that step.”

The human cost

Beyond legality, the deeper issue is one of dignity and autonomy. Many teachers interviewed for this report spoke of feeling powerless, infantilised, and trapped. The inability to even apply for a loan, passport, or new job without pleading with school administrators has taken a psychological toll.

“I teach my students to stand up for themselves,” says Aparna. “And then I go to the principal’s office and beg for my own degree. What message are we sending, that educators should not have agency over their own lives?”

Towards accountability

Experts argue that the School Education Department needs to issue a public circular warning institutions against the retention of original certificates and set up a whistleblower-friendly redressal mechanism.

“We talk about the National Education Policy, about empowering teachers, about digital classrooms,” says Jothi. “But what about the basic right to leave a job without being held hostage?”

Several teachers have also been advocating for the formation of a union solely for the purpose of protecting the rights of teachers working in private schools. “Withholding degree certificates is just one of the many ways schools harass teachers. A lot more goes on in school campuses. Today, private schools have turned into corporations and businesses, leaving little to no room for teachers to thrive. Everyone remains silent either out of fear of retaliation by the management or to avoid causing any disruptions to classes for children. But if we are continued to be treated this way, there will be no other option left,” explained Aparna.

However, until then, for thousands of private school teachers across Tamil Nadu, their greatest qualification, their degree, remains just out of reach.

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If you’re a private school teacher facing similar or other issues and would like to share your story, write to us at avantika@optionsmediagroup.in or DM us at JFWDigital on Instagram.

The news has garnered praise across the state, with Chief Minister M.K. Stalin lauding Jency’s accomplishment. In a post on X (formerly Twitter), he wrote, “Your dedication will inspire many to persevere through adversity. Let education be their path to empowerment and triumph.”

வாழ்த்துகள் Dr. ஜென்சி!

உங்களது உழைப்பின் ஒளியால் இன்னும் பலநூறு பேர் கல்விக்கரை சேரட்டும்!

தடைகளையும் புறக்கணிப்புகளையும் கல்வி எனும் பேராற்றலால் வெல்லட்டும்! https://t.co/3kUJR3mc8L

— M.K.Stalin (@mkstalin) June 22, 2025

Jency’s academic journey is rooted in resilience. A native of Tiruttani, she navigated numerous challenges, both societal and institutional, to chase her dreams. She completed her undergraduate and postgraduate studies at Dr Ambedkar College of Arts and Science before earning her PhD at Loyola College itself.

Currently appointed on a contractual basis, Jency is hopeful about transitioning into a permanent position. “This moment isn’t just about me. It’s about what it symbolizes for the transgender community, the right to be seen, to be educated, and to belong,” she said.

Despite competing with five other candidates during the recruitment process, Jency was selected purely on merit. Having lost both her parents, she has carved her path independently, often working part-time as a tutor, emcee, and radio announcer during her MPhil to save for her gender-affirming surgery. It was during this period that she came out to her mother and sister. “They were initially shocked,” she recalls, “but they never doubted my future.”

Today, she uses her voice to advocate for education within the transgender community. “Education can be a powerful equaliser. I urge other trans persons to focus on learning, it has the power to reshape lives.”

Dr. P Mary Vidya Porselvi, Head of the English Department at Loyola, emphasized the impact of Jency’s appointment. “Her academic record and commitment are outstanding. She teaches general and spoken English to undergraduates, and students have responded positively. Her presence adds a valuable dimension to our institution.”

Jency’s entry into academia marks a meaningful shift, not just in policy, but in perception, towards a more inclusive and equitable educational space in Tamil Nadu.

Born in Paris in 1923, Charlotte discovered yoga later in life, when most might believe the body has already said its goodbyes to flexibility. “I liked it right away,” she once said in an interview. “It brought me peace.” At the time, she was in her 50s. Yoga, to her, wasn’t about becoming younger. It was about becoming more aware.

On a day when the world marks International Yoga Day with mass demonstrations, digital challenges, and celebrity sessions, Charlotte Chopin reminds us of something quietly profound, that yoga is not a performance, but a way of life. At 101, she continues her daily practice not for show, but for soul.

Charlotte first came to India in the early 1970s, drawn by a deepening curiosity about consciousness and a search for spiritual grounding. She settled in Auroville, the experimental city founded by Mirra Alfassa, where yoga was a way of daily life and inner exploration. Over the decades, she quietly became a mentor, guiding hundreds through yoga, especially elderly residents and those in recovery.

In 2022, the Government of India awarded her the Padma Shri, the fourth-highest civilian honour. “During the last three years, I did not seek or plan anything,” she reflected. “Media and honours came to me.”

The recognition took many by surprise, not because she wasn’t deserving, but because Charlotte had never run a yoga school, authored books, or pursued fame. Her work was local, deeply personal, and profoundly impactful. For her, yoga was about mindfulness, breath, and stillness. “It is not only about doing postures,” she told a media person. “It is about being present, about how we live each day.”

Prime Minister Narendra Modi even acknowledged her in his Mann Ki Baat address, saying, “She is a yoga teacher and is over 100 years old… She credits her health and long life to yoga.”

Indeed, longevity seems to have followed Charlotte quietly, not as a goal, but as a side effect of gentle living. She avoids rich foods, prefers silence over noise, and believes in walking barefoot on the earth. Auroville residents often see her cycling through the quiet lanes or meditating beneath trees. “She has the energy of someone half her age,” says Pranav, a long-time Auroville resident. “But more importantly, she radiates peace.”

Her approach to yoga is inclusive and accessible. “Start where you are,” she has often told her students. “Even if you only breathe mindfully for ten minutes a day, that is yoga.” There are no advanced poses, no acrobatics, and no pressure to perform. “Yoga is listening to your body,” she once said. “And through it, listening to life.”

This year, on International Yoga Day, Charlotte Chopin won’t be speaking at a mega yoga camp or appearing on television panels. “I’ll be in my garden,” she smiled when asked. “That’s enough for me.”

In an age of noise and display, Charlotte’s story is a whisper, and yet, one that stays with you long after it’s told. A century lived, not in haste, but in breath. As the world bends and stretches in celebration today, perhaps the most meaningful tribute to yoga lies in simply sitting still.

And breathing.
Just as Charlotte Chopin has done, for over 50 years.

The arrests were carried out across multiple districts including Hyderabad, Cyberabad, Warangal, Karimnagar, and Jagtial. According to TGCSB Director Shikha Goel, those arrested were not first-time offenders. “These individuals were involved in browsing, forwarding, and distributing child sexual abuse content. Many were repeat offenders flagged in at least 57 separate tip line complaints,” she said during a press briefing.

The tip-offs were routed through the Ministry of Home Affairs via Interpol, reflecting international collaboration in the fight against online child abuse. A total of 34 criminal cases have been filed under relevant sections of the Information Technology Act and the Protection of Children from Sexual Offences (POCSO) Act. Seventeen of these were registered at TGCSB’s cybercrime stations.

The arrested individuals, aged between 19 and 50, largely belonged to middle-income households. “Many were in their twenties. One was even an IIT Kharagpur graduate. It just goes to show that no socioeconomic class is immune to this deeply disturbing behavior,” Goel noted.

Disturbingly, preliminary investigations revealed that the victims depicted in the seized content appeared to be girls between the ages of six and fourteen, primarily from outside India.

The TGCSB’s child protection unit, which was established in February 2025, has intensified its monitoring of such digital crimes. In just four months, the unit has registered 294 FIRs and arrested 110 individuals in similar cases.

“We focused on repeat offenders this time — those who had consistent digital footprints indicating habitual viewing of this material,” Goel said, reaffirming the Bureau’s commitment to child safety online.

Authorities have urged citizens to report any instances of online child exploitation material they may come across and warned that consumption alone, even without distribution, constitutes a punishable offence under Indian law.

The Bureau has also reiterated that parents, schools, and tech platforms must play an active role in creating safer online spaces for children.

Launched under the Union Government’s Namo Drone Didi scheme, this initiative aims to empower rural women by placing them at the heart of the agricultural supply chain, not as labourers, but as technology-enabled entrepreneurs. In Tamil Nadu, the first cohort is already operational, flying high above the expectations that once confined them to domestic roles.

Nandhini now spends her mornings navigating the skies above one-acre plots, spraying fertilizers and pesticides for local farmers at ₹400 per acre. “What takes a man an entire day, my drone and I can finish in seven minutes,” she says with a soft smile, her eyes scanning the next field. Most of her clients are small-scale farmers with holdings of 1 to 4 acres and many, like her, are seeing farming in a new light.

The journey began with five days of intensive training in Chennai, conducted by Garuda Aerospace Private Ltd. From drone mechanics to maintenance, and from GPS calibration to safe pesticide handling, the women were taught to treat the drone, a 30 kg machine with twin tanks and powerful rotors, not as intimidating tech, but as a partner in progress.

Each trainee left the program with a drone worth ₹7 lakh, provided free of cost. Equipped with a battery pack and sprayers, these machines are powerful but not without their challenges. The battery lasts only about one acre, meaning frequent recharging is required. Transport is another hurdle, carrying the fully loaded drone across rural terrain often requires a second pair of hands.

And then there’s the human challenge: trust.

“At first, farmers were hesitant,” Nandhini admits. “They didn’t believe a woman, let alone a drone, could do this job better than the traditional way. But now, they call me before the planting season begins.”

The results speak for themselves. Uniform spraying, reduced pesticide exposure for workers, and major time savings are winning farmers over, one acre at a time. What’s more, the model offers rural women an alternate income stream in areas where opportunities are scarce and seasonal.

Yet, the success of ‘Drone Didis’ isn’t just about agriculture. It’s about identity.

“These women are no longer just wives, daughters, or farmhands. They are certified pilots. Entrepreneurs. Providers,” says a trainer at Garuda Aerospace. The initiative is also nudging policymakers to think beyond training: affordable batteries, lighter drone models, and better transport infrastructure are now the next step in scaling impact.

In a country where farming and technology often seem to exist in parallel worlds, the women of Tamil Nadu are proving otherwise. By blending ancient soils with cutting-edge machines, they’re not just growing crops. They’re growing futures.

The instruction follows Tamil Nadu Chief Minister M.K. Stalin’s formal request to Prime Minister Narendra Modi during a recent NITI Aayog meeting, where the merger was presented as a priority agenda item. In response, the PMO has asked the Railway Board to speed up the process, which has been entangled in bureaucratic delays for nearly a decade.

The merger, which aims to bring the suburban MRTS corridor under the operational and administrative ambit of CMRL, is expected to enhance urban mobility by enabling unified ticketing, better infrastructure, and smoother intermodal connectivity across the city. Commuters have long voiced concerns over the state of MRTS stations, which are often poorly maintained, underutilised, and lack basic amenities. In contrast, the Metro system has earned praise for its efficiency, cleanliness, and user-friendly design.

According to officials, the Chennai Unified Metropolitan Transport Authority (CUMTA) had already submitted a proposal to the Railway Board in early 2024. Although the Board had raised certain queries, Southern Railway has reportedly addressed them, clearing the path for final approvals. The proposal includes a revenue-sharing model and outlines the framework for operational integration.

MRTS currently suffers annual losses of around ₹104 crore, while generating only about ₹50 crore in revenue. The merger is expected to rationalise costs and allow CMRL to unlock the commercial potential of MRTS infrastructure through better management and development.

While no specific timeline has been announced, the PMO’s intervention has injected fresh momentum into the long-stalled project. With central and state authorities now aligned, Chennai’s commuters may finally see progress toward a truly integrated urban rail network.

The five-screen PVR INOX multiplex at Chennai Airport’s Aerohub is staring at a potential shutdown amid a legal dispute with the Airports Authority of India (AAI), which claims cinema operations violate provisions of the AAI Act, 1994.

The Madras High Court has intervened for now. Justice N. Anand Venkatesh has directed AAI to maintain status quo until it considers a formal representation from PVR INOX seeking permission to continue operating at the site, according to a report by The Hindu.

The order came after Additional Solicitor General A.R.L. Sundaresan and AAI’s standing counsel Ramaswamy Meyyappan told the court that the authority would respond in line with Articles 41 and 42 of the multi-level car park (MLCP) development agreement. The directive was issued while disposing of a writ petition filed by PVR INOX to prevent AAI from halting its operations.

A Long-Running Dispute

The row stems from a 2017 AAI tender inviting private players to develop an MLCP with integrated commercial infrastructure at the airport. Olympia Tech Park (Chennai) Private Limited won the bid and created Meenambakkam Realty Private Limited, which entered into a development agreement with AAI in 2018.

The multiplex was part of this project and was later sub-licensed to PVR INOX in November 2022. However, AAI issued a notice in July 2023 directing the shutdown of the cinema, arguing that cinema operations were not legally permissible under its governing Act.

Meenambakkam Realty challenged this decision in the Delhi High Court and an arbitral tribunal was formed to address the matter. In February 2024, the tribunal stayed AAI’s shutdown order, offering interim relief to the developer.

PVR INOX Seeks Permission to Continue

In May 2025, Meenambakkam Realty informed PVR INOX that AAI had prematurely terminated the 2018 agreement and had decided to take over maintenance of the entire 4.5-acre complex.

Despite the termination, PVR INOX has appealed to AAI to allow the multiplex to function, citing Article 42 of the development agreement. The clause permits AAI to let sub-licensees continue operations under revised, mutually agreed terms.

For now, the fate of the airport multiplex hangs in the balance, pending AAI’s decision and further legal developments.

The restriction came into force after the Karnataka High Court on June 13 declined to stay a lower-court order and upheld an April 2 directive that suspended bike-taxi operations until the state government formulated rules under Section 93 of the Motor Vehicles Act, 1988. The High Court had mandated that such regulations be in place by June 15, and when the government missed this deadline, the ban automatically kicked in.

Two-wheeler ride-hailing had become a game-changer for Bengaluru’s congested commute, offering budget-friendly, flexible, and fast first- and last-mile connectivity. The ban has now forced commuters to pivot to costlier modes like autos and cabs, or to endure overcrowded BMTC buses and limited metro services.

“I live in Yelahanka and need to reach my college in J. P. Nagar by 8:30 a.m. A bike taxi cost me around ₹150–₹200 one way…it was already steep, but manageable. Now I’m paying nearly double for autos. I tried buses, but at peak hours they’re packed. I’m left with no option,” said Sumeda Hemant, a student.

“Navigating narrow lanes and one-way streets was so much easier on a bike taxi,” added S. Bijoy, who works at Bagmane Tech Park in C.V. Raman Nagar. “Now, I have to drive a car in traffic. Public transport is not always reliable.”

Another ripple effect of the ban has been the loss of part-time employment opportunities for college students and working professionals who relied on bike taxi platforms like Rapido and Uber Moto to earn extra income. For many, especially those juggling classes or entry-level jobs, the flexibility of logging in during their free hours and making quick trips around the city offered a much-needed financial cushion.

“I used to work for a couple of hours in the evenings after class, especially on weekends. It helped me cover my expenses without having to rely on my parents all the time,” said Kishore N, a student of commerce at a private college in Koramangala. “Now that option is gone, and it’s hard to find another job that pays this decently for just a few hours of work.”

Several young professionals, too, had turned to these platforms to supplement their income amidst rising living costs in the city. For them, the sudden halt has not only affected mobility but also impacted their monthly budgets.

This is not the first time bike taxis have faced regulatory hurdles in Karnataka. The issue has long been contentious, with arguments surrounding legality, safety, and competition with auto unions. The government’s primary justification for the ban is that two-wheeler taxis are not legally covered under the existing motor vehicle laws, and there are concerns over passenger safety and insurance coverage in case of accidents.

However, mobility experts say that banning them altogether is not a sustainable solution. “Bike taxis were solving a real urban mobility problem, especially first and last-mile connectivity. Instead of banning them, the state should work towards creating a regulatory framework that ensures both safety and affordability,” said Sangeetha Rao, an urban planner and transport researcher.

Indeed, companies like Rapido and Uber Moto had been widely popular in the city due to their affordability and the ease with which they could zip through narrow lanes and congested areas. For many users, particularly those in areas not well connected by BMTC buses or the Namma Metro, these services were a lifeline.

“I work night shifts and live in a PG in Indiranagar. Taking a cab at 4 a.m. is just not safe or affordable for me. A bike taxi would drop me home in 15 minutes. Now, I have to plan two hours ahead and rely on friends to drop me,” said Amrutha K, a BPO employee.

Bike taxi drivers, too, are among the worst hit. Many of them are daily wage earners who invested in bikes just to work on ride-hailing platforms. “I took a loan to buy a bike for Rapido. Now I have no job. We should have been given time or another option,” said Syed Rafiq, who had been working as a full-time Rapido driver for over two years.

While the state government has stated that it is working on creating a legal framework to eventually regularise such services, it remains unclear how long that process will take. Meanwhile, thousands of users and drivers are caught in a lurch—struggling to find affordable, fast, and safe transport options in a city already infamous for its snarling traffic.

Until then, commuters in Bengaluru will have to depend on overburdened public transport or shell out significantly more for daily rides—unless a timely intervention or legal review provides them relief.

Why Gold Is Soaring

As per Retail Jeweller‘s his steady climb is not isolated to Tamil Nadu. It’s part of a global gold rally triggered by a confluence of economic factors:

Global safe-haven demand: Amid persistent fears of a global economic slowdown, rising geopolitical tensions, and volatile stock markets, investors across the world are turning to gold, a traditional safe-haven asset. In April 2025, global gold prices crossed $3,500 per ounce, and analysts expect it to inch toward $4,000 in the coming months.

Rupee depreciation: The Indian rupee has weakened significantly against the US dollar in recent months, making gold imports more expensive. Since India imports most of its gold, this currency movement directly translates to higher prices domestically.

Domestic festive and wedding demand: In Tamil Nadu, seasonal buying around Akshaya Tritiya and an extended wedding season have added fuel to the price momentum. Though volumes have slowed compared to previous years, the cultural centrality of gold means demand has not dried up.

Local Reactions: Tradition Meets Caution

In Chennai’s T. Nagar, one of the largest gold retail hubs in South India, footfall has remained steady but cautious.

“Customers are asking more questions. They’re comparing rates across showrooms, using apps to monitor daily price movements, and many are buying gold coins instead of jewellery,” says Gopalakrishnan, manager at a local jewellery store. “People still want to buy gold, but they’re being strategic.”

Interestingly, several jewellers in Tamil Nadu report a shift from ornamental gold toward bullion investments and digital gold, especially among younger buyers and middle-income investors. Sovereign Gold Bonds (SGBs) and Gold ETFs have seen increased traction, signaling an evolution in consumer behavior.

What Experts Are Saying:

Financial analysts agree that the momentum is likely to continue, though short-term corrections may occur.

Goldman Sachs has forecasted that global gold could reach $3,880/oz by the end of 2025, driven by anticipated interest rate cuts by the US Federal Reserve and heightened recession fears.

Citi recently raised its 3-month gold price target to $3,500/oz, citing the metal’s resilience despite record highs.

Domestic brokerage firms like HDFC Securities and Motilal Oswal expect Indian gold prices to consolidate in the Rs. 9,800–10,200 range in the near term, with potential to breach Rs. 11,000 per gram by early 2026 if global trends hold and the rupee remains weak.

Short-Term Traders vs. Long-Term Investors

According to experts, Tamil Nadu’s retail investors are now broadly divided into two camps:

Short-term traders: Booking profits at peaks, buying on dips (around Rs. 9,800/gm), and using stop-loss tools for intraday volatility.

Long-term investors: Opting for systematic gold investment plans (G-SIPs), diversifying portfolios with SGBs and Gold ETFs.

Experts advise that investors keep 10–15% of their portfolio in gold to hedge against inflation and currency depreciation, especially in uncertain economic climates.

Unique to Tamil Nadu: Emotion, Ritual, and Now, Algorithms.

In Tamil Nadu, gold isn’t just a commodity; it’s emotional capital. It marks weddings, births, and festivals. But what’s unique about the current surge is how emotional buying is merging with digital strategy.

Many retail consumers are now using apps that send real-time alerts when gold drops even by Rs. 10. Local WhatsApp groups and Telegram channels run by jewellers are offering flash deals and technical charts. In Coimbatore, a leading retailer has even launched a “Buy-the-Dip” loyalty program that gives cashback for staggered purchases made during market corrections.

“This blend of tradition and tech-savvy behavior is unique to Tamil Nadu,” says Meena Somanathan, an independent financial advisor based in Madurai. “It’s not just a gold rush. It’s a gold evolution.”

Looking Ahead: What’s in Store?

In the coming months, gold prices are expected to remain volatile but elevated:

Next 1–2 months: Analysts expect a consolidation phase in the Rs. 9,800–10,200/gm range.
Medium term (3–6 months): If global prices move to $3,700/oz, domestic prices could cross Rs. 10,500/gm.
By early 2026: With persistent inflation fears and election-year spending in the U.S., gold could hit Rs. 11,000/gm or higher in Tamil Nadu.

Conclusion

The surge in gold prices over the past three months in Tamil Nadu is both a reflection of global financial anxieties and the region’s deep-rooted relationship with the metal. As investors and families alike recalibrate their buying behavior, a new pattern is emerging, one that honors tradition but thinks with data.

In Tamil Nadu today, gold is no longer just a purchase, it’s a portfolio decision.

The incident occurred near the Magudanchavadi railway station in Salem district at around 9.45pm, after the metal object was dragged for 300 meters before the train came to a full halt. The first passenger coach after the engine also tilted off track but all passengers have been reported to be safe.

Upon inspections, the locomotive pilots on the train identified the object to be a metal fragment of the railway track, raising a suspicion of sabotage. The Railway Protection Force (RPF) was informed and aid was sent. Due to severe damage to the engine, a new one was brought from Erode to ferry the train to Chennai. Following this, the train departed at 11.45pm, causing delays to several other trains en-route.

“Initially we thought the halt was due to a red signal but later we were told there was an accident. Thankfully the ACs were working but we were worried because the halt occurred for over two hours,” said Lavanya Ramasamy, a passenger. The train, which was initially scheduled to arrive in Chennai at 3.40am, reached the station at 7.30am instead.

The police stated that investigations have commenced to find the miscreants and apprehend them for the “attempted derailment”.

Coming from a modest background, Yogeshwari’s father runs a tea stall while her mother works at a local fireworks unit. Despite severe financial constraints, the family prioritised education, ensuring that Yogeshwari and her two elder brothers could attend college.

Yogeshwari’s interest in aerospace engineering was sparked in Class VII, though she wasn’t seen as a top-performing student at the time. Her determination took shape in Class XII, when she attended ‘Kalloori Kanavu’, a career guidance session under the Tamil Nadu government’s ‘Naan Mudhalvan’ scheme. It was there that she first learned about the JEE exam and the opportunities offered by the Indian Institutes of Technology (IITs).

Without access to expensive private coaching, Yogeshwari relied entirely on government-backed initiatives for her preparation. She was among 230 students selected from government schools across Tamil Nadu for specialised JEE coaching under the Naan Mudhalvan programme, which aims to support Class 11, 12, and college students in their pursuit of higher education and employment opportunities.

Today, Yogeshwari stands as a shining example of how government support, community encouragement, and individual willpower can transform lives. As she gets ready to start her journey at IIT Bombay, her story is inspiring countless others in rural Tamil Nadu to reach for the stars—literally.

The tournament, which will be held on outdoor hard courts, will feature a 32-player singles draw and a 16-team doubles competition, promising a week of high-octane tennis action for fans. The previous edition in 2022 saw Czech teenager Linda Fruhvirtova lift the singles title, while the doubles crown was claimed by Gabriela Dabrowski and Luisa Stefani.

Celebrating the return of the event, Tamil Nadu Tennis Association (TNTA) president Vijay Amritraj expressed gratitude to the Tamil Nadu government and the Sports Development Authority of Tamil Nadu (SDAT) for their unwavering support.

“Our efforts to bring world-class tennis to Chennai have finally materialised,” Amritraj told media persons. “With the enthusiasm of fans, Chennai will offer a memorable experience for players worldwide.”

As part of the WTA 250 series, the tournament is expected to draw an exciting mix of rising stars and seasoned pros, adding further depth and competition to the tour. It is also expected to give Indian players an opportunity to showcase their talent on home turf.

The matches will be broadcast live on major sports networks, allowing nationwide audiences to follow the action.

With a strong tennis culture and a passionate sporting crowd, Chennai’s re-entry into the WTA calendar is being seen as a positive step for Indian tennis development, inspiring both young athletes and fans alike.

The countdown to October begins, as Chennai gears up to host yet another thrilling chapter in world tennis.

Justice P. Velmurugan ordered the immediate arrest of H. M. Jayaram, a 1996-batch IPS officer, after hearing revelations linking him to the May 10 kidnapping of the boy, Indrachand, from Kalambakkam. The case stems from an inter-caste marriage that has triggered political and social ripples across the state.

Jayaram, who was allegedly involved in orchestrating the abduction, was remanded in judicial custody on the spot, a rare moment in Tamil Nadu’s judicial history, underscoring the severity of the court’s stance against abuse of power.

Meanwhile, K. V. Kuppam MLA Poovai Jagan Moorthy, who also appeared in court as per summons, was spared arrest but was harshly reprimanded for obstructing the investigation. The judge directed him to appear before the investigating officer alone and fully cooperate. “The court cannot extend the privilege accorded to an elected representative to a public servant like an ADGP,” the judge said sternly. “All public servants must understand the consequences of aiding a crime.”

Inter-caste marriage sparks retaliation plot

The abduction is believed to be the fallout of a defiant love story. Indrachand’s older brother, Dhanush (23), had married Vijaya Sri (21), reportedly against the wishes of her family. The couple had met on social media and eloped, marrying on April 15. Her relatives, unable to locate the couple, allegedly sought the help of politically connected figures, including Jagan Moorthy, to track them down.

According to the investigation, Jayaram lent his official police vehicle for the abduction mission. He was reportedly accompanied by Maheshwari, a former police inspector who had recently resigned, and Sarath, an advocate. Together with Vijaya Sri’s relatives, they visited Dhanush’s residence and forcibly took away his younger brother, claiming they only wanted to “question” him.

Both the ex-inspector and the lawyer have already been arrested along with Vijaya Sri’s family members. However, it was confessions from two of the arrested accused that directly implicated Jayaram, prompting the court to take action.

A Courtroom Turns Battlefield

What followed in the courtroom was high-stakes legal theatre. While the MLA sought anticipatory bail, the judge didn’t mince words. He accused the politician of blocking the police with a crowd of party cadres, instead of cooperating with the probe. “You are an MLA. Why are you afraid to go alone to the inquiry?” Justice Velmurugan asked pointedly.

In a rare moment of judicial restraint coupled with critique, the judge allowed Jagan Moorthy to avoid arrest but warned that the public’s trust in elected representatives must not be eroded by acts of obstruction. “It is out of respect for the people who voted you to power that we have not ordered your arrest,” he said.

As Jayaram was led away from the court in custody, the symbolic weight of the moment—an officer of his rank being arrested on court premises—was not lost on those present. This case, already charged with caste tension, political influence, and power misuse, now stands as a stunning reminder of how deeply rooted interests can collide with the rule of law.

The court will resume hearing the case in the coming days.

Perungudi, Chennai – Residents and commuters in Nehru Nagar, located in Ward 182 of Chennai’s Perungudi (South zone), have been grappling with traffic congestion, twisted roads and waterlogging in recent weeks due to ongoing stormwater drainage work.

The ward, which pre-dominantly consists of narrow by-lanes which are vital connectors between the OMR-IT Expressway in the North and the Velachery-Tambaram Main Road, where heavy traffic flows.

The Greater Chennai Corporation’s project, aimed at preventing flooding during the monsoon, has led to partial road closures and diversions. However, complications emerged after a metro water pipeline was accidentally punctured at the 1st Link Road, reportedly during excavation activities. This has resulted in constant daytime flooding, especially when water supply lines are active.

“This has been going on for nearly two-weeks, making the area inaccessible for us office-goers. There are many companies situated in the area and many are finding it tough to reach work on time due to the condition of these roads,” said L. Kapa Nair, a software engineer.

However, in response to these concerns, ward councillor K. P. K. Sathish Kumar (AIADMK) stated, “We have identified the issue and in a day’s time, the repair work will be carried out, putting an end to water-logging.” “The metro water line breach was unintentional and several departments and contractors are involved in the construction of the drains which may cause delay. This happens around the entire ward in the afternoon hours. But when certain complaints are raised, precise attention is given as well,” he added.

Adding to the frustration is a lack of prior intimation to offices and residents in the area. With no official notice about the road work or diversions, many have found themselves caught in peak-hour traffic snarls.

“Had we been informed in advance, we could have staggered office hours or worked from home on certain days,” said K. Shyamala, an IT professional whose office is located nearby.

School vans, office commuters, and delivery vehicles continue to navigate chaotic conditions in the absence of clear signage or traffic marshals.

The councillor acknowledged the communication gap, assuring that coordination with local residents’ associations will improve moving forward. “Information should have been given. In nearby Santhosh Nagar we had informed everyone but it seemed to have been missed here. This will not occur again. We are working on better ways to keep residents in the loop on infrastructure activity in the ward,” the councillor assured.

As of now, the project is expected to be completed by August 1, 2025, ahead of the northeast monsoon.

Despite the disruptions, many residents are cautiously hopeful. “If the flooding finally stops next year, the short-term inconvenience might be worth it,” said Perumal, a local shopkeeper.

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What’s unfolding isn’t just grief. It’s dread. And it’s coming from a system that seems to be collapsing in slow motion.

Honeymoon Turns Into a Murder Plot

Family members of Raja Raghuvanshi, who was allegedly murdered during his honeymoon in Meghalaya, cut out the picture of his wife Sonam Raghuvanshi from a poster of their marriage after she was accused of plotting his murder, in Indore, Tuesday, June 10, 2025. (PTI Photo)

Long before the headlines exploded with visuals of wreckage and death, a quieter horror was unfolding in Meghalaya.In late May, newlyweds Raja and Sonam Raghuvanshi from Madhya Pradesh arrived in the scenic northeast for their honeymoon. Just days later, Raja’s body was found in a gorge. His throat had been slit. The police allege that his wife, Sonam, orchestrated the murder with help from her lover and hired killers.

Worse still, this wasn’t impulsive—it was premeditated. According to investigators, the travel was booked with the intention to kill. It took four failed attempts before they succeeded.

The case sparked not only moral outrage but fear—how do you trust love if even marriage can be weaponized?

India’s Worst Air Crash in Years

Debris of Air India flight 171 is pictured after it crashed in a residential area near the airport in Ahmedabad on June 13, 2025.

On June 12, Air India flight AI-171, a Boeing 787 en-route from Ahmedabad to London, crashed into the BJ Medical College hostel minutes after takeoff. It killed 241 of 242 people on board, along with at least 38 others on the ground.

It’s the worst air disaster India has witnessed in nearly three decades. And while investigations are ongoing, preliminary analysis suggests a catastrophic double-engine failure—possibly linked to electrical system malfunction. Experts pointed to video footage showing the aircraft’s Ram Air Turbine (RAT) deployed mid-air, a backup mechanism only triggered during total power loss.

This was not an international flight from a troubled airline. It was Air India, on home soil, in broad daylight. That deepens the shock. Because if even the nation’s flag carrier can’t guarantee safety, what can?

Crushed by Infrastructure

The girder of the under construction metro rail in Ramapuram fell down in the late hours on Thursday.

Just days later, in Chennai, a metro construction girder fell on a passing motorcyclist in broad daylight, killing 30-year-old L. Giridharan. Onlookers say there were no visible safety nets or barriers, a grotesque failure of basic engineering safeguards.

While this specific incident took place years ago (2015), similar stories have continued to emerge in recent times, including deaths caused by girder transport mismanagement in cities like Mumbai. These incidents point to a persistent issue: India’s rapidly growing urban infrastructure often ignores safety in its hurry to deliver.

And Then, There’s the Local Train System

Mumbai’s local trains, used by over 7.5 million people daily, remain dangerous. No automatic doors, platforms that don’t align with train floors, and overcrowded compartments continue to result in death and injury. Just this week, several fatalities were reported due to falls from moving trains.

The railways have long cited capacity challenges, but commuters say it’s more than that. It’s neglect. “It’s like we’re forced to gamble with our lives just to get to work,” said one suburban rail user in an interview with a regional outlet.

The General Mood: “Something Feels Off”

What makes this situation feel heavier than others? It’s not just the frequency of disasters. It’s the proximity to daily life. A honeymoon—turned into a murder plot. A flagship airline flight—crashing within minutes. Urban development—killing pedestrians. Commuter trains—where death is routine.

These aren’t isolated or rare events. They’re threaded into the very systems Indians rely on daily: love, travel, work, safety. Social media is saturated with comments that echo this anxiety: “Every day it’s something new. You don’t even have time to grieve the last story,” wrote one user on X (formerly Twitter).

What We’re Really Feeling: Systemic Fragility

These tragedies highlight something bigger: India’s systems are strained. And when systems fray, so does trust.

Aviation: Are emergency protocols and maintenance inspections robust enough?
Policing: How does a murder plot slip through until it succeeds?
Urban planning: Why aren’t fatal construction accidents sparking immediate structural reform?
Rail transport: Why hasn’t the death toll sparked redesign?

A Call for Urgency, Not Normalisation

Tragedy doesn’t always come with warning signs. But when it keeps coming, and we start to accept it, we risk something far worse than fear: complacency.  There’s still time to act. To mourn what we’ve lost, but more importantly, to protect what’s left. Because what happened this past month wasn’t just a week of horrific events—it was a warning. And ignoring it may cost us more than we can afford.

The shelter she refers to is Tamil Nadu’s first government-funded night shelter for the transgender community, established in 2018 in Chennai. Run by the NGO SIP Memorial Trust and funded by the Greater Chennai Corporation (GCC), the shelter has evolved into a lifeline for over 100 transgender individuals, offering more than just temporary relief—it offers dignity, purpose, and belonging.

With a capacity to house 25 residents at a time, most are allowed to stay for up to six months. However, some continue longer if they find jobs within the shelter or take up responsibilities like training others.

“Taking someone off the streets is just the beginning,” said K. J. Praveen Kumar, Regional Deputy Commissioner (Central) of the GCC.

Commissioner (Central). “The real challenge is equipping them with skills, a support system, and a way forward—especially when many are turned away by their own families.”

Managed by Ms. Aruna, the shelter plays a pivotal role in both rehabilitation and reconciliation. “My parents couldn’t accept me and asked me to leave,” said one of the residents. In such cases, the shelter intervenes—bringing families in for counselling, therapy, and open conversations. “It doesn’t always work, but we’ve seen moments of healing. Some families do come around,” Aruna said.

To ensure residents don’t return to vulnerable conditions, the shelter offers vocational training in embroidery, painting, cooking, weaving, languages, martial arts, and more.

One shining example is Afsa, who joined the shelter in 2024. With a passion for cooking, she began helping in the kitchen and is now the head of nutrition and a permanent resident. “Thanks to donations, I’ve even started my own chat stall outside the shelter. It’s doing well, and I plan to launch colourful pani puris next!” she grinned.

Others use their stay to study online, build resumes, and land jobs. Vrinda, now employed at an IT company in Chennai, credits the shelter for giving her the stability and time she needed to restart her life. She’s currently searching for a rental home to begin living independently.

Still, challenges persist. “We’re often refused housing. Only a handful of homes in pockets of North Chennai are open to us,” another resident said. “But because of the shelter’s support and referrals, we manage to find our footing.”

During a recent art exhibition at the shelter, residents beamed with pride as they showcased their creations. “I work full-time now, but weekends are for embroidery or catching up with friends. It helps me stay grounded,” said Shanmukhi, a former Amazon employee.

The shelter’s success has inspired the state government to scale the initiative across Tamil Nadu. “We are in discussions to launch similar shelters in three more districts. Our goal is a state-wide network,” confirmed Praveen Kumar.

Among its most beloved residents is Pammy, 72, originally from Trichy but long based in Mumbai. Now in Chennai, she not only found a home at the shelter but also gained access to the state’s pension scheme for transwomen, receiving ₹1,000 monthly. “I’ve always loved Chennai, but it’s this shelter and the people in it who’ve made my life here truly beautiful,” she smiled.

With every story of transformation, the shelter reaffirms its mission: to uplift transgender lives, foster acceptance, and ensure every individual—regardless of gender—can stand tall, live freely, and dream big.

Launched by Better World Shelter, a Chennai-based NGO, in collaboration with the Greater Chennai Corporation (GCC), the 500 sq. ft. gym is open from 6am to 8pm daily and is entirely free of cost. From the outside, it may resemble any other modest neighbourhood gym. But inside, it’s a space carefully crafted to meet the needs of those often excluded from traditional fitness centres.

Watch the story: Tamil Nadu’s first exclusive gym for differently-abled women opens in Chennai

“This isn’t just about adding a ramp or widening a doorway,” says Matilda Fonceca, manager at shelter. “We spoke to para-athletes and women with disabilities to understand what they really needed in a workout space. That shaped every aspect—from the type of flooring and grip of the handles to the layout that allows smooth wheelchair movement.”

The gym features specially designed strength-training and cardio machines with adjustable settings, non-slip flooring, and wide pathways for ease of navigation. Trainers have also been sensitised to work closely with individuals with diverse physical needs.

For many of the gym-goers, this facility has brought a new sense of independence and routine. “Most gyms aren’t built for someone like me,” says one young woman, stretching after her session. “Here, I don’t feel like an outsider. I feel seen.” Many differently-abled residents of the shelter conveyed the same.

In fact, several of them now plan to train for the Asian Games, para-Olympics and national level tournaments for Basketball, Discus Throw and Weightlifting. “The gym has opened doors for us. With the equipment and training provided here, I am hoping to qualify for para-powerlifting in the Asian Para Games 2026,” said Arulmoli, on of the shelter’s residents.

According to the K. J. Praveen Kumar, the Regional Deputy Commissioner (Central) of the GCC, the response has been overwhelming, with many calling for more such spaces across the city. “This is just the beginning. We’re working towards making inclusive design a norm in public infrastructure, not a special case. The Chief Minister has announced that three more such gyms will be opened in Chennai. We are yet to identify the spots but plans are underway.”

The Pallikaranai Marshland—once a sprawling 5,000-hectare ecosystem—is now a fraction of its original size. Its slow death has drawn attention over the years, most notably during the devastating floods of 2015, which sparked public outrage over the unchecked encroachment of lake beds and rivulets feeding into the marsh.

What emerged from that disaster was a deeper understanding of the marsh not as a solitary swamp, but as part of a vast and interconnected hydrological system: the Pallikaranai Watershed Complex.

Mapping the watershed

Chennai’s water systems are typically classified by its major rivers—the Cooum, Adyar, and Kosasthalaiyar. But when viewed through the lens of how water drains into the sea, the city is split into four drainage basins: Adyar, Cooum, Kosasthalaiyar, and Kovalam. The Pallikaranai Marshland forms a critical component of the Kovalam Basin.

“Water from Chengalpattu and other southern highlands drains into lakes like Perungudi, Velachery, Narayanapuram, and Sembakkam,” explained B. M. Benisha, a Chennai-based eco-activist, pointing to a detailed map. “These lakes are interconnected, allowing water to flow downstream into the marsh and eventually into the Bay of Bengal.”

Each lake in the system acts as a step in a staircase—passing water along to the next, ensuring gradual percolation and safe drainage during heavy rains. At the heart of this system is Pallikaranai, nature’s own sponge.

The Marsh as a Sponge

Often obscured by thick grasses and reeds, the Pallikaranai Marshland is deceptively vital. It absorbs floodwater from upstream lakes, filters it, and slowly recharges the groundwater table. At the same time, it offers a buffer during monsoons—slowing the surge of water and preventing inundation of nearby areas.

But this finely tuned system is now breaking down.

Encroachment and Decline

A Digital Global Positioning Survey (DGPS) by the Tamil Nadu government—conducted under orders from the National Green Tribunal (NGT)—revealed that nearly 38% of the marsh has been encroached upon by a range of entities, including the Greater Chennai Corporation (GCC), Indian Railways, Electronics Corporation of Tamil Nadu (ELCOT), and the Perungudi Dumpyard. What remains is approximately 1,247 hectares—less than a quarter of its former expanse.

Historical records compiled by environmental groups like Aram Thinai reveal a sharp decline. In the 1980s, the marsh spread across over 5,000 hectares. Similarly, Velachery Lake has shrunk by over 70% between 1980 and 2015. Areas that once formed part of the tank are now home to the Velachery MRTS station and the busy Velachery 100 Feet Road.

Kannappan, a former fisherman and long-time Velachery resident, remembers the past vividly. “The water used to taste as sweet as coconut water,” he said. “Now, it reeks. Sewage from nearby neighbourhoods is dumped directly into the lake. Nobody eats fish from here anymore—we know better.”

Slow Progress on Conservation

To mitigate damage, the state has undertaken a few initiatives: wetland notifications, fencing, and sporadic cleanup drives. But these efforts remain piecemeal. Three years after the marsh was designated a Ramsar site of international importance, the Tamil Nadu State Wetland Authority has yet to share boundary and survey details with the Chennai Metropolitan Development Authority (CMDA). The lack of coordination has delayed CMDA’s compliance with NGT directives.

“The government is treating this like a checklist item, not a living system,” said Karthik, co-founder of Aram Thinai. “We’re wasting precious time trying to undo what’s already been concretised. Our focus should now be on preserving what little remains.”

What Now?

Environmentalists argue that it’s time to move beyond blame and towards urgent action. “We’re not going to get back the lost hectares,” said Benisha. “But if we act decisively by marking clear boundaries, enforcing sewage controls, and reconnecting the broken lake chains, we can still save this system.”

But the glaring truth today is evidently the fact that as Chennai faces rising temperatures, erratic monsoons, and groundwater depletion, the Pallikaranai Marshland stands as both a warning and a lifeline.

Roshini Haripriya (Deepu) plays the daughter of Kaali Venkat. She’s modern, out spoken and independent but she’s not a stereotypical cold-hearted, stone-faced urban woman. Deepu is realistic, desperate and someone who craves for an emotional shoulder. That’s all the characters in Madras Matinee — their multi dimensional sketches bring them very close to reality.

It’s the small things that make Madras Matinee a heartwarming and soulful film — things like a pickle man giving unsolicited advice, a proud, opportunistic politician or a boss who’s just a girl’s girl. But it also gets extremely serious where it has to. The trope of how an abusive home births an abusive adult, and its take on colorism and casteism along with the framing and composition for the cinematography make it very fresh

The film is not an average familial drama that glorifies a father’s struggles or masks his toxicity as sacrifice. It acknowledges their struggles, calls it boring and mundane and presents something delightful out of it. Choosing to narrate it in the form of a mockumentary with overarching meta references and casting Ramar and Geetha Kailasam in quirky characters added a touch of refreshment to the story.

There’s a fine line between presenting the distress of the middle class and romanticizing it. A lot of Tamil films that revolve around this genre often blur the line but Madras Matinee gets it right and that’s where it wins big.

Madras Matinee is a slice of life story that is soulful and comical but also over dramatic, at times.

The first 20 minutes of the film with a de-aged Kamal Haasan is very classy and it is stylish with the background score and cinematography. But it does not prepare you for the inconsistent, predictable and beaten up plot that follows around for the next 2.5 hours.

Nearly six people fight to be Rangaraya Sakthivel – Kamal, STR, Nassar, Arjun Chidambaram, Joju George and Mahesh Manjrekar but the question remains, is the throne worth it? These ‘gangsters’ accomplish very little & are easily threatened by simple acts of aggression by their opponents – their legacy is questionable and negligent. 

Usually when the plot sinks in a Mani Ratnam film, his aesthetics keep him afloat. Thug Life miserably fails in this too.The best and most hyped element of Thug Life is it’s album, true to that, it is soulful and transcendent but its poor placement and brutal chopping in the film make it tiring. The dialogues are a big disappointment here.

Nassar, Joju George, Ali Fazal, and Arjun Chidambaram are excellent as terrifying villains but too many cooks ruin a broth. Thug Life’s star heavy casting is its biggest disadvantage as it underutilizes them all and fails to establish and develop depth or an emotional connection with any of the characters. STR performs great stunts and looks quite ravishing on screen but a blunt arc makes his character seem inconsistent. 

ThTrisha plays a singer and the mistress of Kamal who contributes very little to the story. A gangster with an extra-marital affair is not new to Tamil cinema but Sakthivel convinces his wife, Jeeva played by Abirami into forgiving him by emotional manipulation. Tropes like these make it difficult to choose sides especially since Rangaraya Sakthivel is presented as a righteous protector of the family.

Thug Life, despite being bejeweled with the masters in each field fails in its execution, with a weak storyline. 

The Special Investigation Team (SIT), which was constituted to act on the committee’s recommendations, has cited the reluctance of survivors to record statements as the primary reason for pausing the probe.

Retired High Court Judge K. Hema’s 300-page report, made public in August 2024, laid bare a culture of widespread gender-based discrimination and harassment within the industry. Many women detailed the professional risks of speaking up—risks that continue to cast a shadow even today.

Also read: All You Need To Know About The Hema Committee!

In the months following the report’s release, 120 FIRs were registered, and chargesheets were filed in 26 cases. These include cases involving several well-known figures in the Malayalam film fraternity.

To address the broader issue of workplace harassment, the Kerala High Court recently appointed a nodal officer to receive complaints, including those from beyond the film industry. This interim measure will remain in place until January 31, 2026.

However, the police have now stated that the investigation will only resume if survivors are willing to come forward and testify.

In response to the latest developments, actor Parvathy Thiruvothu took to Instagram, sharply criticising the Kerala Chief Minister Pinarayi Vijayan for its delayed implementation of the report’s recommendations. She urged authorities to “prioritise the report,” echoing the growing frustration within the industry.

Despite mounting pressure for systemic reform, the state’s delayed response has left many survivors—who took immense personal and professional risks to speak out—still waiting for justice.

Inba and his nephew share an unbreakable bond but when Inba gets married, the nephew feels neglected. The rest of the story is about how the two cope up with the separation.

Swasika, Inba’s sister, who is married for 10 years, doesn’t have a child yet. Maaman is exceptional in exploring this subject — the plight of a woman who is constantly scrutinized by the society & family for being unable to conceive, for being called infertile, the numerous, irrational religious penances she takes up, and the sudden change in the family that starts showering her with love the moment she gets pregnant, is very realistically portrayed.

But the morally high & progressive horse that the film sits on, fumbles upon a steep slope almost immediately.
What starts as a film on not being able to have kids soon becomes a film on why one shouldn’t have kids. The nephew (Laddu) then, becomes the conflict of the film, to the family and to the audience, or his discipline and the lack thereof — his clinginess to his uncle is unjustified and when Rekha draws boundaries, she is villainized.

That’s the problem with Maaman, it villainizes the women – Swasika and Aishwarya for merely having opinions and turns one against each other. It never acknowledges Soori’s inability to take a stand, or having wrong priorities but calls its women crazy or even worse, makes its women call each other crazy. It also blames Rekha for breaking the family, and not adjusting when she puts forward the most rational and human demands.

Archaic dialogues of wife-bashing are dispersed throughout the film and by men of all ages too and that’s when you realize that in this dysfunctional & maladjusted family, Laddu is the most sane member — and that’s saying something.

Everybody in Maaman’s family guilt trip and gaslight — the men do it to the women, the women do it to each other, and everybody does it to the child but when Aishwarya Lekshmi questions, the patriarch of the family advises them to ‘adjust’ because he believes women are god & men need women to survive (read coddled).

Prasanth Pandiyaraj, the director, whose previous venture was Vilangu is a cinematic gem — so it’s quite natural to wonder what went wrong in Maaman . It is Hesham’s weakest album yet: the songs don’t stick with you and the score is jarring too. The cast of Maaman, however, is quite apt – Soori, Aishwarya Lekshmi, Swasika, Baba Baskar, Rajkiran, Jayaprakash and other supporting characters are convincing.

Maaman is a new story with new ideas but approached with old and primitive ideals.

JFW’s latest video shows different versions of girls on their periods. From being a trooper on those days to being the one working from home because of cramps, there is one that is relatable to every girl. Twinning during your cycles is an oddly comforting feeling. You can share the rollercoaster of emotions, cravings, and even the occasional existential crisis that you have because of hormones.

The best companion during those days is a sanitary napkin that can solve all your period-related problems. Whisper Choice Ultra XL gives you up to 100 percent stain protection. Its 20% wider back ensures that you stay worry-free during your periods.

In the video titled- Types of Girls During Periods on our YouTube channel- JFW Just For Women, you can enjoy a funny, light-hearted video that shows you the various facets of being a girl during her period. The video perfectly captures the struggles, cravings, emotions, and overall experience of being on your period.

Every year,  JFW Movie Awards celebrates women who have made a lasting impression on our hearts and minds at the movies. This year, for the special 7th edition, the stage saw a gamut of actors, singers, directors and producers making it a night to remember. The event’s title sponsor was Twin Birds , Powered by Chandrika Ayurvedic Soap, Co-presented by Finesse Mattress and Outdoor Partner Luminas India. 

The event saw many popular and celebrated artists and technicians who came to present the award making the entire celebration even more special.

Following are the winners of JFW Movie Awards 2o25.

Producer of the Year – Tamil 

Archana Kalpathi won the award for Producer of the Year- Tamil for The Greatest Of All Time and the award was presented to her by Dragon director, Ashwath Marimuthu. 

Producer of the Year – Malayalam

Supriya Menon won the award for Producer of the Year- Malayalam for Guruvayoor Ambalanadayil and the award was presented to her by Ashwathy Jayaram. 

Best Singer – Tamil

The winner of Best singer (Tamil) was Ramya Bhat Abhyankar for Uyire (Amaran) and the award was presented by Vijay Yesudas.

Best Singer- Malayalam

The winner of Best singer (Malayalam ) was Sithara Krishnakumar for  Oru Chillupaathram (Vivekanandan Viralaanu) and the award was presented by Vijay Yesudas.

Best Director of a Woman-led Film – Tamil

Suman Kumar won the award for Best Director of a Woman-led film for Raghu Thatha and the award was presented by Namita and Theni Eswar.

Best Director of a Woman-led Film – Malayalam

Christo Tomy won the award for Best Director of a Woman led film for Ullozhukku and was presented to him by Namita and Theni Eswar.

Best Actress in a Comic Role – Tamil

Devadarshini won the award for Best Actress in a Comic Role for Raghu Thatha and the award was presented by Nirosha.

Best Actress in a Comic Role- Malalayam

Grace Antony won the award for Best Actress in a Comic Role for Nunakkuzhi and the award was presented by Devadarshini.

Best Actress in a Supporting Role – Tamil

Swasika won the award for Best Actress in a Supporting Role for Lubber Pandhu and the award was presented by Jayaram.

Best Actress in a Supporting Role – Malayalam

Seema won the award for Best Actress in a supporting role for Pani and the award was presented by Jayaram.

Best Actress in an OTT Series – Tamil

Sriya Reddy won the award for Best Actress in an OTT series for Thalaimai Seyalagam and the award was presented by Director Vasantha Balan.

Best Actress in an OTT Series – Malayalam

Nikhila Vimal won the award Best Actor in an OTT series for Perilloor Premiere league and the award was presented by Ashwathi Jayaram and Mukesh R Mehta.

Best Actress in a Negative Role- Tamil

Simran won  the award for Best Actress in a negative role for Andhagan and the award was presented to her by all actresses who came for the award, making the moment truly extraordinary.

Best Actress in a Negative Role- Malayalam

Maala Parvathy won the award for Best Actress in a Negative role for Mura and the award was presented by Nirosha.

Best Actress in a Woman-Led Film – Tamil

Keerthy Suresh won the award for Chandrika Glow with Confidence Best Actress in a Woman led film for Raghu Thatha and the award was presented by Actress Sheela and Mr. Bharath Kumar, Wipro consumer care.

Best Actress in a Woman-led Film – Malayalam

Parvathy won the award for Chandrika Glow with Confidence Best Actress in a Woman led film (Malayalam ) for Ullozhukku and the award was presented by Poornima Bhagyaraj and Mr. Bharath Kumar, Wipro consumer care.

Best Debutante- Tamil

Sri Gouri Priya won the award for Best Debutante (Tamil) for Lover and the award was presented by Manikandan.

Best Debutante- Malayalam

Krithi Shetty won the award for Best Debutante for A.R.M and the award was presented by Keerthy Suresh.

Best Film – Tamil

Lubber Pandhu won Best film of the year and was awarded to Harish Kalyan, Swasika and Sean Roldan and it was presented by Pushkar and Gayatri.

Best Film- Malayalam

Aattam won Best film of the year and was awarded to Anand Ekarshi and Zariin Shihab and was presented by Sean Rolden and Basil Joseph.

Best Actress Critic – Tamil

Dushara Vijayan won the award for  Best Actress Critics for Raayan and the award was presented by Sundeep Kishan and Mr. Sanjay Sankar & Mr. Dhanistan , Finesse Fine Mattress .

Best Actress Critic – Malayalam

Amala Paul won the award for Best Actress Critics for Level cross and the award was presented by  Rajukmar Periasamy.

Man of the Year – Tamil

G V Prakash was presented with Man of the Year and the award was presented by Aadhik Ravichandran.

Man of the Year – Tamil

Rajukumar Periasamy was presented with Man of the Year and the award was presented by Bhagyaraj.

Man of the Year- Malayalam

Chidambaram was presented with Man of the Year and the award was presented by Amala Paul.

Man of the Year – Malayalam

Basil Joseph was presented with Man of the Year and the award was presented by Sheela and Keerthy Suresh.

Last year, she was part of two crowd-favourite films. While GOAT gave her the opportunity to work with a superstar, Lucky Bhaskar gave her the role of a lifetime. Grateful for it all, Meenakshi walks into a room and owns it, not just with her presence but also with her words.

She talks about her childhood with a glimmer and pride in her eyes. “I’ve had a very colourful childhood because my Dad was in the Army. We changed schools and cities every two years. I would make friends wherever I went. So, it’s been more or less like a nomadic lifestyle. This has taught me to be a lot more comfortable with who I am and learn more about myself. One more important thing I learnt was to not be too attached but also not to be too detached. These are things I learnt growing up. That’s built the foundation of who I am today.”

The strength to dare to dream came from the unwavering support of her parents. “I dreamed of 3 things when I was growing up, one was to be a doctor, the second was to be Miss India and the third was to be a civil servant. I ticked the first two options, but I couldn’t fulfil my third dream. But I  got to be one while acting, in one of the recent films I did. I always told my Dad that I don’t want to be just one thing, I want to be everything. He used to tell me that I could be anything and everything that I wanted to be, as long as I worked hard, and was dedicated and passionate towards what I did. I had very supportive parents and I was encouraged to dream however big I wanted to. And that gave me the confidence to do anything that I put my mind to.”

Acting and movies happened very organically for Meenakshi. “They say, what is meant for you, will come to you. I had the most random story of how I got into the movie industry. It happened in Mumbai when I was taking an acting workshop. During this acting workshop, I came across one person who was my partner for the classes. It was at the end of it I realised that he was an actor in the Telugu film industry. During the workshop, he asked me if I was interested in pursuing this as a career and if I was open to doing films in another language. I said Yes, as long as I got to act, language was no barrier. Fast forward to 6 months later, I got a call saying they liked my audition, and I was so taken aback because I hadn’t sent them any audition tape. So, my acting workshop partner had shown them some of the videos we used to take during the workshop and the director liked it and felt like I was the right fit for this role. That’s how I got to do my first film in the Telugu film industry. I was at the right place at the right time.”

Her friends, philosophers and guides were her parents, “Inspiration comes from home for me, I can’t think of anyone more fitting of that word for me other than my Mom and Dad. My Dad, because of the dedication he had, was the first officially commissioned officer from our village. He sacrificed a lot to give his family the life that we lived and I’m very grateful for that. My Mom didn’t come from a very educated background so she ensured her kids got the best education and made the most of the opportunities that came our way. I am here today because of them both and I am eternally grateful to be their daughter.”

She received a lot of love and appreciation for her role in Lucky Bhaskar. “Dulquer is a gem of a person and I had the best time working on the sets of Lucky Bhaskar. It felt like a family coming together to create something magical. Sumathi is one of my most cherished and special characters because of the love that she received. I am very grateful to have Dulquer as a co-actor because I’ve always looked up to him. Everybody knows him as a great actor but he is also a wonderful human being.”

Did she have any apprehensions about playing a mother at such an early time in her filming career? “Funnily, I never had any doubts about it, but people around me did question me and buzz me saying, “ Are you doing the right thing?” “Are you sure?” “ You are so young and just starting, playing a mother at such an early time in your career.” But I listened to my gut and Thank God! It is probably my most celebrated film. A lesson that I learnt from that was that people are going to say hundreds of things, give suggestions and advise you. At the end of the day, it’s a choice that you have to make, since you have to live with that choice. And imagine if I had listened to them, what would have happened.”

A lesson on finance she learnt from Lucky Bhaskar that she follows in her personal life. “I believe in investing money as money saved is money earned. Coming from a middle-class family, it is ingrained in our minds to save. I am not somebody who overspends on things I don’t need just because society thinks that makes you a successful person. One thing I would tell someone who is in their 20s and is just starting is to invest, even if it’s a small amount. Even if you start small, it goes a long way.”

Working with Vijay was an inspiring event for her, she describes the person behind the star he is. “One thing I learnt from Vijay Sir is the dedication he has towards his craft. I have never seen him be late on sets, he would always be very punctual he was mostly there before time. I am somebody who is very punctual and there would be times when he would be there even before me. It was inspiring to see that no matter how big and successful you become, at the end of the day, the discipline is going to take you places.”

How did she manage to match his exceptional dancing skills? “I do not know how he does it! I would be practising a hundred times in a corner and giving retakes because I didn’t want to waste anyone’s time, especially Vijay Sir’s. He would just come on set, watch the choreographer and perfect it in the first take itself, with that energy. I was really scared because I wanted to match this energy and try not to mess it up. He is truly a gifted and hard-working person, so much to learn from him.”

How do you prioritise your physical and mental health in this demanding industry? 

“ It’s quite challenging to maintain your physical and mental health in this field, people mistake our lives for being too glamorous. It’s believed that you have to just look good in front of the camera, but there is so much more that goes behind the scenes. Especially in this age of social media, there is so much that one has to deal with. Mental health is so important but extremely neglected, just because you don’t get to see it doesn’t mean one isn’t going through a tough time. I try to make sure I do my exercises and eat right and most importantly, I try to consume the right kind of content online. What you consume on social media impacts your life daily so that’s something you need to be mindful of.”

What’s on the horizon for Meenakshi in terms of movies this year? “There is a lot of exciting stuff that’s lined up for 2025, some will be announced in the coming months. There is one film that I’m doing with Naveen Polishetty and there are 2 in the pipeline. 2025 has some really exciting scripts and amazing characters for me!”

When Haran (Tovino Thomas) meets his new neighbor Allen, a police officer (Vinay), and Alisha (Trisha), the film sets us up for a thrilling hide-and-seek game. Props to the writers, the little details that are sprinkled in passing create impactful moments even as you connect the dots later. For instance, when Allen initially introduces himself as a Karnataka police officer, the scene is set in a way that we chuckle at his urge to proudly establish his profession among his new neighbors. However, this tiny dialogue has a much bigger reflection later in the story. Similarly, there are bite-sized clues packed into simple events like a cat climbing a wall, a store owner trying to catch a criminal, etc.

Thanks to such nuanced details, Akhil Paul and Anas Khan build a world full of mystery, perfect for a thriller to unfold with so many possibilities that we keep wondering where the story will take us next. Each character carries along a mystery and a twist or two in their backpack. When a few are revealed like Alisha suffering from a rare condition where she can’t recognize the facial features of human beings, it amps up the storytelling, creating a certain effect of thrill. However, besides just unraveling the built mysteries, the makers begin to add multiple threads that are as interesting as the previous one but with every character playing a trick, we feel overstuffed after a point. Which is why the clever setup with excellent research work offers us both the best and least interesting aspects of Identity. In addition, the film decides to settle for all things predictable in the second half. If something isn’t predictable, the subplot ticks it off with a convoluted twist. So, the organic aura of enigma slowly washes away from both the characters, and the film’s world.

But by the time we are done with the guessing game and feel a little distracted, the makers make it up through a few clever sequences, topped with action. That the most thrilling part of the film is not in its exciting first half, but in its less engaging second half says it all. This portion where we see Tovino’s Haran trying to avert an operation is again designed with the cleverness the initial setup offered, making a big difference. The performances too keep us engaged when the story becomes a tad confusing. While Trisha gets little to do after a point, Tovino and Vinay go all out, especially with the changes they bring to their body language. Haran is usually a straight-faced, perfection-obsessed human being, but the tiny moments where Tovino breaks down humanises this man whose intentions we hardly know. Identity, just like its characters remains mysterious and confused in equal parts. So even though the film doesn’t realise its full potential, as it takes on different identities that move away from the core plot, the intriguing sequences make for an engaging watch.

Rating – 2.5/ 5

A quick recap: the first part ends with constable/driver Kumaresan (Soori) arresting Perumal, the leader of a revolutionary outfit. Even with a 2 hour 40 min runtime, the whole of the second part is set within the next 12-24 hours after the arrest. Packed within these few hours is the terrific origin story of Perumal, the influences different characters had on him and the effect he has on Kumaresan and many other youngsters. While with many characters and timelines, the story feels all over place, the story of Perumal Vaathiyaar is written with intimate details that makes you care and worry about what happens next.

The first part was poignant and moving but what it failed to do is show how people around Kumaresan – like the people he met, the police officers he worked with – slowly changed him. This kept us at a distance from the world surrounding Kumaresan. But with Vijay Sethupathi’s Perumal, from his days as a school teacher who overlooked class and caste issues to his special relationship with his mentor Thozhar KK (Kishore), we see his world up close and live with them to witness his journey. Behind the elusive ghost we heard of in the first part lies an innocent, betrayed and evolved leader, and a soulful Vijay Sethupathi makes us cry, laugh and learn along with this comrade.

We have both Vijay Sethupathi and Soori taking up the roles as narrators. While we continue to hear Kumarasean’s perspective through the letter he is writing to his mother, Perumal shares his life story with a bunch of young cops as they walk through a dense forest to reach the checkpost. Cleverly, this gives Vetri Maaran the tool to go back and forth between the past and present multiple times. While it’s jarring at times like when you see a character die in a flashback, and a while later, you see him alive and happy in another – it creates some inconsistency that it gets a little hard to go with the flow of the film but such instances are rare and can be overlooked given the emotional connect we have with these characters. The dark humour in a mix of Vetri Maaran’s and Vijay Sethupathi’s styles also gives the film an interesting edge even as the story often moves in a slower pace.

There are so many philosophies of life, marxism, communism and others that Vijay Sethupathi’s character speaks at different occasions. When Perumal narrates one such story to Kumaresan and a few other cops, Kumaresan keeps telling him that he is not able to understand the story or the meaning it conveys. Often, as a viewer, you do not entirely understand the underlying meaning behind several conversations and Vetri Maaran breaks it down for us through Perumal. Sometimes, it’s preachy but it’s backed by strong dialogues that hit you with a punch. And during others, it makes for a moving moment like when Perumal and Thozar Mahalakshmi (Manju Warrier) decide to get married, they read a vow of how they would stand by each other’s protest, beliefs and fights, and would together fight for a better world. And the film beautifully comes back to these promises through the conversations they have in the future as they sacrifice several personal things for their revolution.

The effort to focus on the characters around Perumal, who make and break him, gives this political film an initimate view. For instance, Mahalakshmi is written as a divorced woman who fought for herself when no one else did. Likewise, Thozar KK shows us a life of a brave activist who is never scared to die but also knows that life’s little personal joys are as important as the bigger political fight. You even learn a lot more about police officers you met in the first part like Ragavendar (Chetan), the Officer-in-Charge (OC) of E-Company who always punishes Kumaresan. You see him go through a life-altering moment and still choose to go back to his old ways. If Viduthalai part 1 was about Kumaresan believing in the differences between the good and the bad, the sequel is all about him discovering the blurring lines, as one shocking revealation after the other keeps happening.

Vetri Maaran also doesn’t limit to subtly hinting at the classs and caste issues existing in the world of Viduthalai. He throws it on our faces and lets us ponder over the events and question every action and reaction. As a result, a lot of what happens in Viduthalai part 2 is within our minds. That also means we leave the theatre with a heavy heart but everyone with a perspective of their own. And one that strongly stands out is viewing this film as a character study, comparing Kumaresan and Perumal – their innocence, their conviction to stand for what they believe is right, their stubborn nature to not apologise, and their own journeys of realising what the actual truth might be – and how they both are eventually two sides of the same coin.

Rating – 4/5 

Pushpa 2 starts in Japan; just like Pushpa 1 but instead of an animated narration, this time it is Pushpa combating his foes hand-to-hand. But who are they? What is Pushpa doing in Japan? Why did he go there? We’re never told the answers to these questions.

Writer Sukumar fails in front of Presenter Sukumar; and that is the biggest drawback of Pushpa 2. While visual film language is creatively and artfully used to elevate the hero; by him dancing on top of a hundred men, or standing tall on a stack of sandalwood logs, Director Sukumar’s Pushpa: The Rule, although heavily influenced by Prashanth Neel’s KGF and Salaar, fails to provide a grippy conflict, purpose and graph. 

Allu Arjun, however, literally carries the film on his shoulders – an actor so fine, you’re moved by each emotion he gushes on screen. He is extremely believable and organic as a nouveau riche, creamy-layer smuggler – his tanned and shimmery makeover with gawdy, bright and mostly maroon-coloured outfits denoting the red sandalwood he smuggles, and embroidered shirts with flower and fire motifs referring to his trademark dialogue are super fitting. The Gangaama Jaathara sequence, although blatantly Kantara-esque, is a brilliant stunner from Allu Arjun. Him, coupled with Miroslaw Kubek’s fill-the-frame cinematography techniques of extreme close ups of Pushpa’s rage-filled eyes and the bright saturated colours make it super hard to look at anything else while Gangaama Pushpa, dressed like a goddess in a saree with temple jewellery, is on screen. The femininity that a jacked-up Allu Arjun exudes as he flips his saree, tightens his nose ring, and ruffles his bangles, paired with the loud, heavy and feral music by Sam CS and National Award Winner Devi Sri Prasad add a much needed elevation to the performance.

The progressive euphoria, however, is cut off immediately with a machete by a tasteless scene of rowdies being paraded wearing women’s inner garments as a walk of shame. On one hand the film (literally) worships women goddesses while minutes later, it’ll make its women be stripped, man-handled, sexually assaulted and get their clothes torn for the hero to take revenge and save the girl’s “respect”.

To everyone’s surprise though, Rashmika, as Srivalli, has a really long screen time. She seems to be the core of the film – the one that brings meaning and purpose to Pushpa’s path to success, who, like Pushpa, is assertive and fearless. If ‘amma’ sentiment was the driving force in part 1, it is the ‘missus’ sentiment in part 2 – Pushpa blindly obeys everything Srivalli expresses. But she is nothing more than just a wife to Pushpa – she cooks, cleans, and mothers him repetitively but it is quite a relief from the first part where her mere existence is just crass, filler content added as breathing space in between plot points. 

It is, however, quite disappointing and confusing as to why writer/directors like Sukumar who can write character arcs for background roles like that of Kesava’s (Jagadeesh Prathap) or Pushpa’s half brother’s (Ajay), fail to write anything more than a people-pleasing, uni-dimensional heroine who is cast solely for a navel-show in a couple of songs, semi-nudity in a few scenes and one monologue to motivate the hero when he’s at his lowest. And as though, that glamour wasn’t unnecessary or enough to make you uncomfortable, Pushpa 2 has a dance number with Actress Sreeleela, following the path of Oo Antava – preaching male gaze through a song made for the male gaze.

Pushpa 2 is heavily underwhelming compared to Pushpa 1. The tensions and apprehensions built through clashes of the rivals are missing in Pushpa 2 since all conflicts seem too elementary for Pushpa to even be startled by it. But the biggest reason for the failure of conflicts to register is a weak and under-utilized Fahadh Fassil, playing IPS Shekhawat. It looks like FaFa hasn’t come out of Aavesham’s Ranganna. His comical, and madcap egoism dilutes the creepy and intimidating Shekhawat that Pushpa 1 offered, which made him a perfect villain to a syndicate leader.

While the pacy screenplay may bring some merits to Pushpa’s runtime of 3 hours 21 minutes, it leaves a lot of questions unanswered and the lead to the Pushpa 3: The Rampage is lethargic and unorganic – a trend that needs to be stopped.

Rating – 2.5/ 5

Director: Lijin Jose

Her is an anthology that takes us through the lives of 5 different women from different walks of life. Their stories aren’t necessarily intertwined but the movie making is so seamless that you don’t mind the jumps from one to another. It’s always refreshing to see realistic stories  come alive on the big screen, and here we meet women who could be living around us. 

The tones of the various stories differ, we are introduced to Aishwarya Rajesh’s character Anamika, and feel a sense of suspense. She is barraged with the stereotypical questions about marriage and companionship, but she responds with a smile and it is evident that she is hiding a secret. The story ends but you aren’t satisfied, she is so effortlessly good, you want to see more of her. 

You meet the next character Reshma, played by Ramya Nambeesan, she is your quintessential ‘Influencer’. This one feels a bit dated, it’s a track we know and are very familiar with. It doesn’t move you or anything, it feels like a filler but a funny one that makes us see the reality behind the camera.

Urvashi, as Santha is a character we have seen many times in Malayalam cinema. She is the selfless wife whose world revolves around her home and family. Even then, Urvashi brings a sense of freshness that is unique to her. A scene where she is battling it out with ‘Alexey’ is such an endearing one, you will love her. She portrays the feelings of a woman in that stage of life, you want to feel wanted. 

Lijo Mol plays the role of Abhinaya, a modern young woman who is about to get married. Her story, even though it is well-intentioned and makes an important statement, seems to be hurried. She isn’t comfortable with her not being treated as an equal to her fiance, she questions her parents when they start giving the would-be son-in-law more importance than their own daughter. This is such a typical yet unspoken reality in our Indian society. But she walks out of the relationship for a reason that most women are too afraid to talk about. 

Parvathy plays Ruchi, a corporate professional who is about to move to the US. She lives independently because her family isn’t ready to accept who she really is and what she wants. Things escalate in her story really fast, and you see the ending coming, it’s a pleasant surprise and one that has crackling chemistry. The audience will be left wanting for more, to know more about her journey and discovery! 

Through these women, we see the different shades of womanhood. We can be white, black, grey, or a rainbow, we cannot be put into a box. While we meet a selfish Reshma, we also meet a selfless Santha. In her debut movie, writer Archana Vasudev weaves simple and complex stories together with earnestness. We see women being unapologetically themselves, even if they are flawed, or misunderstood, or do not conform to societal standards. This is what we love, this is what we would like to see more of. Well-written women characters that are inspired by women we see in our daily lives. 

Rating- 3 /5

RJ Balaji’s Parthiban, a food stall owner, is sent to jail in a fabricated case. Stuck in a hopeless world populated by people with different motives, the film sleekly explores if he ever finds his way back. Where the film struggles though is when it introduces too many characters within the prison. Just like how Parthi is suddenly thrown into this world, everything seems to unfold very haphazardly. However, even when the screenplay is meandering, each of these character bring something unique which makes them real and drives you to care for them.

For example, when Bashir, an old man, explains what 35 years of prison life does to someone, it immediately reminds you of Red from The Shawshank Redemption and how he fears life outside. Likewise, you meet a few innocent people who are wrongfully accused and have gradually lost a sense of reality. There is also Kendrick (Samuel Robinson), who finds peace in reading the Bible and praying to Jesus, and then there is Siga (a brilliant Selvaraghavan) who sees Jesus in the kind-hearted Kendrick. Even when the film loses its focus in a few places, especially towards the end, you still care about such characters and worry about how things will turn out to be.

In retrospect, all characters are one-note but this could be intentional. You don’t know them, their intentions, crimes, or how they have evolved over the years. For instance, Selvaraghavan’s Siga is the king of this prison but regrets his mistakes. RJ Balaji has lost his future and is desperate to find a way out. Kendrick is not innocent but isn’t a criminal either. Bashir is an old man in the prison who tries to be ethically right. And these one-liners are the only dose of details you get. While this could be our concern, the one-note characterizations are impactful and the fact that we don’t know a lot about them helps with the guesswork and suspense the film builds up.

The cast too adds a lot of value to the film with Selvaraghavan playing a gangster who wants to turn a new leaf but is getting pulled back to the weapon world and RJ Balaji shedding his usual comical self to give us a man who approaches life with a serious plan. RJ Balaji shows his acting chops whenever Parthi desperately rises to action or burns with rage, but when it comes to his hopeless cries, you sometimes find it a little monotonous. The film also gets major help from the technical side with both composer Christo Xavier and cinematographer Prince Anderson taking us through the rough worlds of the prison through the hitting background scores and images that are devoid of colors and hope.

When the film ends, you still don’t know much about these characters and are unaware of what exactly happened in the prison. You are left with a lot to introspect. Who do you feel bad for? Who do you think is right or wrong? And then Kattabomman’s (Karunaas) words of choosing between being a servant in heaven and a king in hell rings loud in your ears. Not because you are trying to choose one but because the film efficiently shows how circumstances throw you into such a space where you have to keep choosing between two such extreme things that will change your path. And you process the hard reality of it all as the credits roll.

Rating – 3/5

She lives in the kind of neighborhood in a small town where all gossip happens daily through WhatsApp groups. For instance, even before a young man finishes unpacking his stuff as he moves back to his old house, the entire street is done learning his history! It’s the sort of space where everyone knows everything about each other, including their daily routines, their work trips, and even birthdays and anniversaries. When an old woman goes missing, the police enquire about CCTV cameras, but well, with these inquisitive women who even jump walls to satiate their intuitive doubts and their constantly prying eyes, the street doesn’t need more cameras, do they?

But none of these details stand out like a sore thumb. The writing cleverly weaves this information into the film’s world so that you readily buy into it. When a woman is taking two sacks that are piled up in the backyard of someone else’s house, the neighbors don’t find it suspicious. And when another doesn’t inform her neighbor about going to an interview, the latter is offended. This is the kind of world they live in. It’s simple yet interestingly written.

Basil Joseph’s Manuel enters this sort of world, oblivious to the kind of eyes peering at his actions. The first time you see Basil, he is standing on a wall, in a weirdly funny position, trying to hit a cat. He is wearing a kind of sky-blue shirt that makes him look comical in a friendly way. Yet, Priya doesn’t fail to notice the way he leers at the cat with a sort of hatred. Basil, just like how he made his character in Jaya Jaya Jaya Jaya Hey comical but obnoxious, sleekly creates a confused impression about Manuel. Take the scene where Priya is trying to speak to his mom alone. Manuel isn’t worried about the conversation that might take place in his absence, he later also tells Priya that he would do anything for his mom but you still don’t believe him. It’s like, adding on to the efficient characterisation, Basil manages to make Manuel a puzzle you know but can’t crack yet.

There are a lot of parallels you could draw between Rear Window and Sookshmadarshini. Jeff’s binoculars and zoom lens cameras from the Hitchockian thriller get replaced by a colourful glass window, a spacious backyard, and a kitchen casement in this Malayalam entertainer. Both Jeff and Priya are interested in the things that elude the naked eye, the former being a photographer and the latter, a microbiologist. But unlike Rear Window, there are dosages of dark humor sprinkled throughout the film. When two women sneak into Manuel’s house, their fear and activities are milked to crack you up. This does lighten the tense moments, but that mostly works in the film’s favor. If the suspense-filled moments are treated with comedy, the fun moments like a kid watching someone play the Fruit Ninja game are used to build tension.

The angles and cinematography–like how Priya peeks through the glass window as if she is squinting to look through the microscope–too are creatively done to keep us hooked to the screens. The best part about Sookshmadarshini though is how the world is genuine and all characters, especially women here are written with care and agency. These women could sit around and gossip endlessly, but modernisation is not visible just in terms of WhatsApp groups and group phone calls. When a single mother warms up to a new neighbor, people here aren’t slandering or throwing derogatory looks. Likewise, when their neighbor tries to gain more attention by exaggerating things a tad too much, they comment in passing but never put her down. And when Priya begins to suspect Manuel and his intentions, the men in her world seem to dismiss her. But the women tend to believe her assumptions that are decoded in clever yet silly patterns–like the concept of plucking curry leaves or the trivial details like the number of pressure cooker whistles that make her skeptical about Manuel.

Just like how you think you know Manuel but are unable to crack the puzzle, you are unable to piece together the happenings in the film as well. You just seem to know everything yet something seems to be missing. And the screenplay uses this to keep you engaged albeit the minor setbacks, that when the final twists are revealed, you see it coming but it still impressively shocks you. With Kishkindha Kaandam and now, Sookshmadarshini, Malayalam cinema’s stellar run in 2024 head at a steady pace, and fortunately, the baton now seems to have been passed to their women as well.

Rating – 3.5/ 5

The film starts with the voices of different inhabitants; immigrants speaking diverse languages of Bengali, Tamil, Malayalam, Odisha amongst others – those who have found their home in Mumbai. This sets the perfect mood for the rest of the film – where Payal Kapadia asks you to sit back and relax while presenting a visually spectacular story of three women and their journey of self-exploration.

All We Imagine as Light captures the life of a big city so beautifully through spectacular visual means of storytelling – be it the house that is also the kitchen, and the hall and the bedroom or the sarees that are hanged to dry inside the house itself, or the windows that need to be pulled shut to prevent rain from pouring in. While the film may romanticize cooking fish for hometown nostalgia or the graceful petting of a purring cat, it equally problematizes the plight of an immigrant in a metropolis. 

This is what makes All We Imagine As Light special – it’s feminism isn’t identity politics, it is intersectional and extremely nuanced that takes in the perspectives of women of different ages, leading independent but hurdle-filled lives. It talks, not just about the inconvenience of an old, single woman but also the encroachment of her house by big builders; of a working middle-aged woman abandoned by her husband who manages to find closure within herself and of an earnest and jovial young girl who finds love in a man of a different faith. It asks the right questions on the encroachment of spaces, if a piece of ‘kaagaz’ decides the fate of the proletariat,  the stark contrast of an apartment and a slum dweller separated by a running locomotive in the busy streets of Mumbai but finds the answers to personal questions of closure, trust, satisfaction and solace in the solitude and serenity of the sea.

Kani Kusruti as Prabha or Divya Prabha as Anu or Chhaya Kadam as Parvati who not only mount the story on the shoulders but add so much authenticity to the roles they play, that it is inevitable to look at them as anything but an extension of people one would meet in their workplace. But it’s not just them, even characters that have a couple of words as dialogues are close to home. It’s the veritability and genuinity of female friendships that makes All We Imagine as Light extremely soulful and enduring and this is only enhanced by the powerful visual storytelling – be it the graffiti of ‘Azaadi’ in a secluded cave, or faces carved in the rocks of the beach, or roof-less huts against the backdrop of tall apartments. The magic that Payal Kapadia and cinematographer Ranabir Das create with their frames is phenomenal and so rich that you regret the occasional blinking of your eyes – especially the skyscrapers of Mumbai that do not fit into the frame of the camera, juxtaposed against the final wide shot incorporating the three leads, a shop, tall coconut trees behind it and a perfectly composed starry night sky (a brilliant commentary on encroachment of spaces). The shaky handheld cameras paired with the noise and grains from a film camera makes the art film feel all the more realistic.

All We Imagine As Light is heartfelt, pure and extremely wholesome whose full credit goes to the apt casting, spectacular cinematography and it’s emotional storytelling.

Rating – 4 / 5 

When a couple of years earlier, Netflix announced the documentary covering Nayanthara and Vignesh Shivan’s wedding, there was a lot of excitement. But there was a long delay and it finally streamed on Netflix on 18th November, but this time the documentary took a slightly different route. It’s not just a wedding documentary, it gives you a glimpse into who Nayanthara is, or rather who Diana is, her thoughts, her feelings, her nature and how she is like every other ‘ordinary’ girl out there.

The documentary starts with a very dramatic introduction to Nayanthara, it seems like it’s straight out of a movie. But once you get past the awkward and filmy intro to the lady superstar, you will enjoy getting to know this person.

Amongst the first few people to speak are her mother and her first director, Sathyan Anthikad, who made the Malayalam film, Manasinakkare with her. Her mother Omana Kurian talks about how Nayanthara’s entry into the movies was pure coincidence. These heartfelt conversations bring her story to life, you get to know the actress personally.

Excerpts by fellow actors such as Vijay Sethupathi, Raadhika Sarathkumar, Rana Daggubati, Nagarjuna, Director Atlee, Parvathy Thiruvothu, and Tamannah tell you who Nayanthara is beyond the camera. These bits keep you engaged and shed an interesting light on what her peers perceive her as.

Nayanthara speaks about her very public love life and breakup, without actually naming any names and kudos to her for talking about her emotional state during those times. She says that she wants to tell her side of the story, and that gives her more power. Then we are introduced to Vignesh Shivan. They take us through the shooting of Naanum Rowdy Dhaan, confessing that they were in a relationship but didn’t want anyone on set to know.

Their chemistry is evident, the parts of them together capture the essence of their relationship, and a lot of couples will relate to them. Vignesh Shivan comes across as a self-aware and self-assured person, cracking jokes on himself and making her laugh, you feel an instant likeness.

Nayanthara comes across as one of us, who wants unconditional love, professional success, happy parents, happy kids, and very simple things in life. This is her superpower, she is extremely relatable. Her conversations in the documentary flow very organically, she is narrating her life in her own words and that comes across as genuine. There is no show there, there is no extravagance, there is this simple girl who liked being in movies and with every opportunity that came to her, also came immense challenges.

What you take away from this documentary is that she found success on her own, no one gets credit for what she has achieved. She says that she was a loner, which made her vulnerable and in an industry like this, people are waiting to take advantage. She fell in love multiple times, she lost her trust many times, she was cheated, she was shamed, but she was resilient. She hasn’t given up, and she will never.

The wedding documentary bits offer nothing fresh, there is the planning, there is chaos, a stunning location, creme de la creme from the industry, but the template feels familiar and common.  Those last few minutes seem to do no justice to her story, it felt incomplete and left us wanting to know more about the woman that she has become now. What made her start a skincare brand, what kind of films does she plan on doing, her relationship with her twins, Uyir and Ulag, her relationship with her brother, etc?

Overall, the documentary is a heartfelt watch, you will relate to her journey, her ups and downs and her struggles, but you will also see yourself in her, in her wanting a partner who gets her quirks and loves her for who she is and not what she is.

Rating: 3/5

A full-force dispute has broken out between two leading actors of Tamil Cinema, Nayanthara and Dhanush over a short clip on her Netflix documentary – over which Dhanush has demanded ₹ 10 crores for using the footage from his production of ‘Naanum Rowdy Dhaan’. Nayanthara has replied to the same with a no-filter, three-page letter addressing Dhanush as “schadenfreude” (a German word which means-pleasure derived by someone from another person’s misfortune)

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What should’ve been a legal squabble between the parties soon became ‘content’ on social media and within minutes, personal attacks on the actresses and her romantic endeavors had been dragged to slut-shame and ‘humiliate’ her. This isn’t a new affair on social media, neither is it new for Nayanthara – the veteran actress has always been victim to meaningless trolls, name-calling, and misogyny from fans of all actors over trivial and personal matters of romantic relationships, bodily autonomy (her surrogacy), and choice of films.

Fans who became experts in copyright laws overnight, took it upon them to bring justice to Dhanush, by posting intimate clips of the actress with her male counterparts from the films she’s worked in, and pictures from social gatherings and asking if those will be used in the documentary too; asking why should Dhanush give an NOC for her wedding documentary with her third boyfriend.

People were quick to call her talentless and question the legitimacy of the titles given to her. Sure, no artist is beyond criticism but is mass trolling and cyberbullying the actress the minute she questions someone in power the way to do it? So what if she marries her third boyfriend? So what if she was open about her past relationships? So what if she chooses to have a surrogate baby? And so what if she makes herself a brand, starts a skincare company?

This isn’t limited to the Nayanthara-Dhanush debacle alone nor is it only cine-space confined; the collective response from social media is a reflection of how it is for women outside of it too. Women in workspaces battle heavy hesitation before calling out the men in power, and when they do, they are called arrogant, too proud and their character is questioned by the classic ‘ava mattum ena yokkiyam ah?’ expression.

But who is anyone to debase the character of a woman? What gives anybody the right to drag Nayanthara’s surrogacy, or her stardom, or her choice to sell her wedding documentary to an OTT platform to a debate on a legal matter? End of the day, however, she is a Tier 1 actress, she is going to be unfazed by these trolls; but what about the women you meet everyday? The ingrained misogyny and power politics derived through gender roles of our society makes it difficult for a woman to call out a man without endangering her job or being a victim to needless slut shaming and humiliation – where her personal life is dragged to public scrutiny.

Suriya is a household sweetheart who always enjoyed the fondness of Tamil women, irrespective of age; and that’s mostly because the women in his films are portrayed in a very dignified manner. But the first 30 minutes of Kanguva has Suriya, as Francis, doing all sorts of buffoonery that it makes him look like a 2019 TikToker – a tackily-dressed wannabe, editing himself into cringe and borderline pervetish situations with ‘The Boys’ music, or on a ‘Busted’ font. 

Siva, too, all said and done about his people-pleasing women characters, has never sexualized his heroines and has also mentioned instances where he has rejected opportunities to have a skin-show for the women in his film. Him and Suriya, have decided to break their long streak of supporting empowerment, in Kanguva with Disha Patani – who is hyper sexualized as a glam doll. She comes in 1 song and in scenes totally lasting no more than 20 minutes. But you actually hope she doesn’t get any more screen time since her presence is loud, caricaturish, and tiresome.

This isn’t limited to Disha though, every single character – from Redin Kinsley, to Yogi Babu, to Kovai Sarala, to ‘Natty’ Nataraj to Bobby Deol, is inorganic and their drama-like dialogue delivery doesn’t help one bit. The inconsistent dialect, that starts off with ancient Tamil jargon and ends with a present-day news reader’s lingo, coupled with incoherent, dull and unimpressive dialogues by Madhan Karky really takes away the period vibe from this ‘historic film’. The art work by Late Mr.Milan, however is really commendable with its large ships, archaic weapons, and plausible topography – that, along with costume designing of tribal jewelry, make up for the world building that the director failed to do. But to what extent?

Numerous main characters die in the film, some even die brutal deaths like the sati-esque suicide of a wife, or of tribal lords losing hands or a son killing himself, some cameos may even sound exciting on paper, but none of it evokes any kind of emotion within you because it fails to translate on screen .Pair it up with Devi Sri Prasad’s deafening, and piercing background score, that we would not recommend listening to without noise-canceling earphones or songs that are very easily forgettable, it will be the 13th reason in Kanguva that would induce a headache in a viewer.

It is as though Siva wrote a few scenes on different sheets of paper and then compiled them in random, haphazard manner because nothing else would explain the rocky, uninteresting and bizzare non-linear screenplay of Kanguva.

1/5 stars

Dulquer as Baskhar is an obedient family man who does everything in his capacity to keep his family happy including borrowing money from neighbours, repurposing gifts, or giving away his dinner to his son so that the latter keeps full. But life doesn’t comply with him and throws in a severe blow of rejection that devastates him completely; when Baskhar fights these odds, even through illegal means where he cheats and lies, you see yourself rooting for him, you want him to win big and this where Venky Atluri’s masterpiece wins too – in successfully getting the emotion from the audience reciprocated.

What lays the foundation to this reaction from the people would be a believable and relatable middle-class world that the director builds – a house with chipped walls, a father in a bank job on a scooter, a mother who aspires to make money out of her pickingling skills, an extended family that ill-treats you because you’re not of the same economic status or your children being forced to wear the same t-shirts for all occasions because you can’t afford new clothes each festival. Compared to most ‘middle class’ families portrayal in both Telugu and Tamil films, Atluri’s specimen is rather realistic in an otherwise fictional story.

Dulquer carries the film on his shoulder and he is quite convincing as Baskar, his little smirks of haught when he’s posed with threats or his warm, sweet eyes when he’s providing for his family or a determined tone of voice when he is being assertive, all add great character to the role he plays. The non-linear narrative works wonders in keeping the film interesting too, especially since the screenplay of the underdog winning big is predictable. It is, however, a little too much creative liberty on the writer’s side to let Baskhar slide through a loophole for every single problem that arises that makes it convenient. But again, he is a Baskhar who is ‘Lucky’, someone who pulls himself out of sticky situations rather than serving an intense drama.

Lucky Baskar also captures the retro vibe really well – at no point do you find it inconsistent but the biggest hero of the film is GV Prakash with his brilliant background scores that soar high as a scene elevates or mellows down to enhance melancholy.

Meenakshi Chaudhary is brilliant too, especially when you take her previous roles  of minimal importance like that of Guntur Kaaram or GOAT into account. Whatever we know about Baskhar as a vulnerable and gullible man is through her. She’s a supportive wife and mother but she’s not one of those ‘submissive’ kinds – she questions her husband’s sudden flight to success, his haughty arrogance towards her but also defends him in front of her relatives who are the first to talk trash about her family. She also runs a home pickling business in which she’s massively  successful but when Baskhar makes the smallest comment about how she wouldn’t have been fruitful if he didn’t invest the capital in the first place, she immediately shuts it down.

This is probably what makes Lucky Baskar stand out; it isn’t your usual rags-to-riches story, nor is it a usual thriller – it is complex in the emotions it builds, the story it narrates and the characters it introduces.

Rating – 3.5/5

It’s not to say that Jayam Ravi offers nothing new. While he brings his charming self to the screen, the characters and the concepts feel like they are stuck in the past. And sometimes, worse, they don’t feel like real, lived people. Take, for instance, the family of Karthi’s elder sister Anandhi (Bhumika Chawla). Her husband Aravind (Natarajan Subramaniam) is an IFS officer, her father-in-law Sivagurunathan (Rao Ramesh) is an IAS officer and her mother-in-law (Saranya Ponvannan) is a lawyer. She also has a sister-in-law Archana, played by Priyanka Mohan. We are introduced to this family when Karthi decides to stay with his sister for a few months. However, we are told nothing about the life they led before Karthi’s entry, and as if in fast-forward mode, they all fight and go their separate ways. You get no time to understand whether Aravind, who slaps his wife Anandhi, is a good or bad person. Does he love Anandhi at all? Why is he hesitant to say sorry? Why does he treat his wife and her family poorly? Suddenly, his heart changes and he not only apologises to Anandhi but also goes against his own father for her sake. BUT WHY? HOW? With one-note characters, we are just left with too many questions and no answers.

Be it in the name of mindless gags or deeply emotional twists, it feels like the film doesn’t take its own protagonist seriously. When Karthi learns about his childhood, not only are his parents written to react nonchalantly, but the film even dismisses a moving detail as something trivial. Sadly, the film treats many of its characters and their emotions this way, solely to drive the plot forward. Another example would be how Sivagurunathan slaps a servant (VTV Ganesh) just to prove his point to someone else. Toward the end, you get a scene where the servant seeks revenge for this insensitive act and Karthi points out that Sivagurunathan was wrong to misuse his power. However, this doesn’t come across as a conscious social commentary but simply a plot twist because in the end, Sivagurunathan doesn’t regret his actions and it’s VTV Ganesh who ends up apologizing for the revenge.

That said, for a film focused on the brother-sister relationship, it also effortlessly captures the beauty of the bond between the sisters-in-law, Archana and Anandhi. Archana tells Karthi that she chose to support him only because he wanted to protect his sister Anandhi, and in some way, she also wants to be there for her. Otherwise, Priyanka Mohan gets very little to do, playing the usual lover girl, and her vanilla performance doesn’t help much. You only get a glimpse of what the film aimed to do – if only the writing weren’t so lackluster – when Bhumika Chawla’s Anandhi stands up for herself when her husband slaps her and strongly wages a lone battle for her brother. Likewise, even if written for comic effect, Saranya Ponnvannan is penned as a woman who prioritizes her self-respect. She loves her husband but when he insults her care and mocks her profession, she doesn’t let it slide without a fight. In a film that doesn’t offer much, it was refreshing to see the women choose what they want and stand with other women while confronting patriarchy.

Talking about Déjà vu moments, the father-son bond reminds us of too many films, especially Yarade Nee Mohini and Veerappu. However, the change in their relationship dynamics and many other character developments stick out like a sore thumb, ridden with an artificiality that reminds you this is just a film. The convenient writing choices and the lack of emotional connection distance you from the film’s world. Even when M Rajesh’s usual style is visible and the cast seems to be picture-perfect, with uninteresting dialogue and jokes that fail to crack you, this comedy feels bland.

Rating – 1/5

It sets off in a highly distressed and serious tone which grabs your attention and keeps you seated for the rest of the duration but loses the audience midway.

The crux of Bloody Beggar lies in its well-written and eccentric characters – a beggar who enjoys begging, his ironic companion, a ghost that only Kavin can see and interact with, an entire madhouse with deceitful and money-driven people who assume the roles of cinema characters and they all leave you in splits.

Some jokes are funny, especially the everyday beggar portions of Kavin where he battles different kinds of people to earn a penny or two and the irony of him leading a fancy lifestyle but I don’t know if it’s a Nelson thing or a Redin Kinsley thing but you see ‘jokes’ like “valicha solla poguthu gomathi” in Bloody Beggar too. They’re regressive, dark, and unfunny. It’s high time Tamil Cinema gets told that JUST making a character gay or a cross-dresser, isn’t comedy at all and that comedy involves writing ACTUAL comedy. Making a grown man in your film wear a frock and speaking in a high-pitched, feminine voice is not dark humour. It is simply a poorly written, lazy, repetitive “joke”.

The producer of Bloody Beggar, Nelson is quite famous for such desperate, homophobic attempts at humour. In Doctor, one of the henchman is asked to wear a nightie and is called “gomathi akka“, to demean him and strip him off his masculinity because he lost a game. Does losing a game make you emasculated? Will the then emasculation make you a woman? So does being a woman mean being inferior? In Jailer, another bunch of henchmen, dress up in nighties to drive the ambulance. What even was the point of that?

In a time where people are demanding more inclusive spaces in media, with series like Made In Heaven casting transwomen or movies like Super Deluxe normalizing gender fluidity, young filmmakers like Sivabalan Muthukumar are making it very very difficult for the future generations to progress.

There are also unnecessary mentions of extra-marital affairs and fatphobia for “comical” reasons at the expense of the uni-dimensional women characters who are aplenty, but not notable. But the one-liners work well in a few places coupled with characters that are loud, peculiar but pass off, because they are interesting, especially the women, who are as shrewd, cruel and vicious as the men.

Kavin is good as a performer, as always and this time, he’s pretty convincing in the role he has played for which the make-up team needs to be appreciated the most for turning him into a very believable beggar. The cinematography of a highly-saturated decor to the palace gives it a gawdy look too. Bloody Beggar tries hurriedly to make up for all the emotional connect that’s lost in the first 2 hours, in the last 30 minutes. But it’s got a few brilliant ideas, like using video game animations as a mode of visual storytelling to advance the plot, or retreating to flashbacks with songs to introduce characters.

Rating – 2/5

Amaran is one of the most eagerly awaited films of this year, but unlike the other ‘big’ films that were released earlier, this one goes beyond the hype. It delivers what it promises, it’s a refreshing action film that could be one of Sivakarthikeyan’s best performances to date.

The story is narrated by Major Mukund’s wife, Indu, and that is why the tonality of the narration shifts between action and drama, giving you sighs of relief after a major shootout or a heavy action sequence. The movie starts with how the two meet, fall in love and convince their parents to get married, all with a dollop of conflict and drama here and there but tugging at your heartstrings nonetheless. He is the focused Army officer who has dreamt of the uniform since childhood. Indu is the young, bubbly, understanding wife who is as emotional inside as she is strong on the outside. Their love story is magical, you are immediately rooting for this beautiful couple.

Yes, there are no surprises here, we know the story, we know how it unfolds and we see that we are going to be heartbroken at the end. Sivakarthekayan as Major Mukund played the role with utmost balance, he is a doting father but a fearsome leader, he is a dutiful son but can destroy someone in a hand-to-hand battle. The portrayal also shows us how a hero in a film could be shown as vengeful yet sensitive, fierce yet compassionate. It’s the performance that keeps you hooked throughout the film.

Moviegoers are appreciating good stories and performances over the hullabaloo of ‘big stars’. One can’t fool audiences by promising a stellar star cast and delivering a below-average film. They are genuinely interested in watching story-driven narratives, whether they guarantee masala, comedy, action, romance or not. And especially when it comes to drawing them into a theatre. Movies like Amaran sought to get their due. It isn’t overly dramatised, it’s very true to the original story, but the performances, the emotional depth, the sincere chemistry between the actors, all this shines through.

Patriotic films can get preachy or go a little overboard with their portrayal. Here, the story is the hero, Major Mukund Varadarajan was truly a man of his word, a brave soldier who lived a short but great life. The glorification of heroism is kept to a minimum we see a humble hero.

It is about a time when terrorism was at its absolute worst. People might argue that the movie is trying to show people from a particular community to be villains, yet again. But one should also remember, that this isn’t fiction. It’s a true story, of the state of affairs in Kashmir, and of the rise of terrorist groups in the area.

The movie is elevated by GV Prakash’s music. The songs are already a popular hit among audiences but the background score deserves a special mention as well. The cinematography captures the untouched beauty of Kashmir.  The lens seamlessly shifts from the raw and gentle topography to the action and adrenaline-filled sequences.

Everyone in the film brings a heartfelt authenticity to their character, whether it is Mukund’s mother, played by Geetha Kailasam, Indhu’s father, played by Shyamaprasad Rajagopal, Sepoy Vikram Singh, played by Bhuvan Arora.

In conclusion, Sivakarthekyan and Sai Pallavi starrer Amaran is a well-executed biopic brought to justice by Sivakarthikeyan and Sai Pallavi’s performances.

Rating : 4 /5

Amaran

Starring Sivakarthikeyan and Sai Pallavi in the lead roles, the movie is a story on the life of Late Major Mukund Varadharajan who was an Indian Army Officer who laid his life down for the country. The movie is one of the most anticipated films of this year and is an inspiring story that is sure to tug at your heartstrings. The movie takes us through his life, how he met his better half and her story too. Directed by Rajkumar Periasamy, music is composed by GV Prakash and can be watched in theatres this Diwali weekend.

Brother

Starring Jayam Ravi, Priyanka Mohan, Bhoomika Chawla, Saranya Ponanvan and others, its a comedy-drama that features the bond between a brother and sister at the centre. Expected to be a family entertainer, the movie is one that you could enjoy in theatres this long weekend. Directed by M Rajesh , music by Harris Jayaraj, watch this one to tickle that funny bone.

Bloody Beggar

Touted to be a dark comedy, the movie stars Kavin, Redin Kingsley, Maruthi Prakashraj and others. Directed by Nelson Dilipkumar, whose Jailer last year made a 1000 crores, this movie’s trope is an interesting one. The story follows the life of a beggar who is put in a situation from where the adventure begins. Watch the trailer to know more.

Lucky Bhaskar (Telugu)

Starring Dulquer Salmaan and Meenakshi Chaudhary in the lead, the movie is a drama thats written and directed by Venky Atluri. The movie is set in the 80s and is a fictional story of a man who works at a bank. When he is unable to meet the growing inflation and his family’s increasing expenses, he gets himself another way to make easy money.

Singham Again

From the Singham franchise comes another sequal that has the biggest of stars from Bollywood. Ajay Devgan, Akshay Kumar, Ranveer Singh, Kareena Kapoor Khan, Deepika Padukone, Tiger Shroff and Arjun Kapoor, all the big names from the industry have come together in this out and out action entertainer. Directed by Rohit Shetty, this is one masala Bollywood film that will have action, comedy, romance , drama and a lot of star power.

Bhool Bhulaiyaa 3

Starring Karthik Aryan, Vidya Balan. Triptii Dimri and Madhuri Dixit in the lead, this movie is a comedy-horror that is directed by Anees Bazmee. Its the third instalment in the series of its namesake. Though the first movie in the series was an adaptaion of the Malayalam film Manichitrathazhu , Bhool Bhulaiyaa 2 and 3 are independent films in Bollywood.

The need for shock value and evoking emotions in viewers is understood. However, portraying sexual violence on-screen needs to be handled with more responsibility. Sadly, Vettaiyan isn’t an exception. While some films depict sexual violence without much sensitivity, a few other films use it as merely a plot device to drive the story forward. If a man is seeking revenge, if a protagonist needs a hero moment, if a villain’s vileness needs to be depicted – the lens turns towards capturing a sexual assault. But does that plot really require a rape crime?

Agreed, Tamil cinema has evolved a lot – remember the days when reel panchayats and lead protagonists suggested that the rapist marry the survivor? With more awareness, some films have dealt with on-screen portrayal of sexual violence with more sensitivity. However, there is still a long way to go. And there is a need to answer the whys and hows of it. Why does a rape sequence need to be a part of a film? How does one capture such a sequence?

Why?

Rape-revenge films are a genre unto themselves. If you see a hero going on a killing spree, there is probably a flashback hidden where his lover, sister or someone close was raped and murdered. He then seeks revenge for the crime committed. But the sheer number of films made in this genre makes you question the origin of such stories. Is a woman raped on screen merely because the man could jump into action and seek vengeance?

If the rape-revenge genre films have become so frequent and monotonous, the casual way of including random sexual harassment sequences to introduce/establish an antagonist is even more agonising. Take Lokesh Kanagaraj’s Leo for instance. Here, Mysskin and Sandy are introduced as contract killers who would do anything for money. In the very first scene, you understand their wickedness as they break into a house and callously slit throats. But no, that doesn’t seem enough. He needs to show his evil lust for the young girl, who is already scared and is hiding in a corner. This sequence adds nothing to the plot, except instilling a certain fear about these two characters which we feel even otherwise. Then, was the rape sequence even necessary in the film?

The third reason rape or sexual assault is included as a part of the script even though it may be trivial to the plot development is hero worship. When you need to give your hero a saviour glow, such sequences tend to crop up. Given that we are consuming pan-India content, it’s not easy to overlook these troupes which is quite evident in Salaar. In this Prasanth Neel directorial, an entire village of red-clad women is created solely, solely for Prabhas’ Deva to get a hero transformation. You don’t see the women before or after this sequence in the film. The whole village is created, the women are tortured, and young girls are shown to be traumatised – everything to establish the villain’s negative tones and the hero to get a literal god-like transformation. And there’s more to this film. There are sequences depicting Aadhya (Shruti Haasan) being touched and teased by a few rowdies, only to show how Deva is in a helpless situation and chooses to not stand up for her. The women characters in such films are exploited only to make a hero a hero, or sometimes a demi-god.

Films like Chithha and Gargi fall into a whole different category, where an awareness against such abuse is created. Here, sexual violence becomes an indispensable part of the story. While Chithha talks about child abuse, speaks from the perspective of the survivors and raises the debate against rape-revenge films, Gargi deals with how a woman reacts when her father is an abuser – both films put forth important arguments, creating a necessary conversation among audiences.

Why not?

Sexual violence has been excessively used as a plot device in multiple films in the past decades, which is both disturbing and done to death. And graphic details of multiple acts of violence are today a part of our films. This desensitises the viewers, and like how violence is now stomached enough, sexual violence too is slowly trivialised and normalised.

Secondly, everyone has a different threshold for handling violence on screen, the same applies to sexual violence, which adversely impacts many. In The Woman Dies, Aoko Matsuda writes, “The woman is raped. The woman is raped as a shocking plot development. We don’t understand it, and yet the violent scenes traumatise us. It’s so traumatic that even when we reach adulthood, we find ourselves replaying those scenes in our heads.” The detailing of such sequences continues to traumatise much beyond the end credits roll. And what are these gory details about? It’s about the woman’s body, the pleasure the perpetrator experiences (like the leery expression of the abuser in Maharaja), and the helpless gazes and sounds of the survivor. It’s one thing to note that a crime has taken place, and another to depict the graphic details of the crime with voyeuristic shots.

How?

Many Kollywood films and series portray sexual violence in alarmingly unsettling ways, the ways that don’t really need to be recalled here; for an average Tamil moviegoer knows it well enough. From the gut-wrenching Paruthiveeran sequence to Suzhal: The Vortex and Chithirai Sevvanam, there is a long list of films that focus on graphic detailing. It’s not that these works glorified the crime, but the visuals weren’t shot with sensitivity and caution.

Three big films in 2024 – Raayan, Vettaiyan and Maharaja – deal with sexual violence and rape revenge. In the Vijay Sethupathi starrer, two men go around thieving and murdering people. After stealing, one of them is shown to rape the woman in the house, and the film suggests that it’s their casual pattern of crime. While one of the men pulls a girl inside a room, the other man relishes the food at their home. The same depiction repeats when another girl is raped in the film. Sadly, this isn’t the first time such comparisons are drawn between a woman and a piece of meat, treating them as an object of desire. While Maharaja doesn’t show the disturbing visuals, the horrors of the violence are still magnified through such unpleasant comparisons, the lubricious expressions of the villains and the women’s horrifying cries.

Just like in Vettaiyan, Chithha too has recorded evidence of what looks like sexual assault. However, director Arun Kumar never shows us the video. Instead, we only see the reactions of the people who watch the video and it creates the intended effect. Gargi has a sequence involving the blood-stained staircase and clothing while a lawyer explains the incident but the assault is never shown. And yet, the sequence terrors you and evokes sympathy.

In the recent series Goli Soda Rising, a young boy speaks about being sexually assaulted in the Koyambedu market. The makers, however, avoid the visual depiction and choose to weave a conversation to reveal the incident. “Enga engayo thodaraanga, market ivalo perusa yaarunu therila,” the boy tells the owners of a food joint. Speaking of the “need”, probably such a sequence doesn’t add much to the story of the series but the way it’s nestled within the narrative, helps you understand the horrors of living in the streets and how a young boy is trying to survive daily. Even without the visual expression of the crime, the scene hits us hard, leaving a lump in our throats. A similar technique was used in Raayan, where we are only told that Durga (played by Dushara Vijayan) has been raped. A mainstream film adopting this method is a welcome move from Dhanush. This also makes us wonder if the makers should reverse the “show, don’t tell” formula while dealing with sexual violence crimes.

It is reassuring to see many such Tamil films and series responsibly portray sexual violence, especially over the past two years. Sexual violence is a crime that happens regularly in real life. Cinema, being a reflection of reality, can and must include stories of sexual violence. However, the why, what and how of such sequences need to be examined and rethought.

The box-office story of 2024 might rather be unsteady – with the second half receiving more crowds through films like Maharaja, Lubber Pandhu and Meiyazhagan even as big star films like Indian 2 and Vettaiyan continue to fall well below the numbers, as Vijay’s GOAT remains one of the exceptions. However, most new releases, especially in the second half, seem to bless us with women characters written with love, care and agency.

Women wielding weapons

Even among the highest grossers so far, films like Raayan, Aranmanai 4, Demonte Colony 2 and Thangalaan have left us with memorable women. When the wife of a police officer gets into trouble as usual, TJ Gnanavel writes Manju Warrier’s Thara as someone who can protect herself. As four gangsters sneak into her house to threaten her, she shoots a man and warns the rest – a simple agency many women in Tamil cinema – even Trisha’s Sathya in Leo – were long denied of. The Raavanan-Soorpanakai-inspired Raayan too has Dushara Vijayan fight to save a sick Dhanush – it was refreshing to see an angry young woman act purely by her instincts in this macho world.

You can’t simply forget Thaenu (Nivedhthaa Sathish) from Captain Miller who was one of the most trusted and talented members of Miller’s revolutionary gang, who doesn’t hesitate to ride while simultaneously tackling enemies’ or jump onto the battlefield to take down 100 others. The fact that her character wasn’t lured into the love triangle trap shows the authenticity of penning such a character.

Although just like GOAT, women in the worlds of Garudan and Maharaja hardly got to do anything, these are only a few films you need to overlook. In the magical realism realm of Thangalaan, Malavika Mohanan engages in bloody battles as Aarathi, the one who is protecting the land of gold. The rawness in her performance, one of her best to date, goes on to also show that many woman actors need such roles to flex their acting chops. The same goes for Priya Bhavani Shankar, who is giving a stronger comeback with Demonte Colony 2 and Black, thrillers that give her scope to perform. Even smaller films like Adharma Kadhaigal, an anthology of revenge stories, have women stand up for themselves and wage wars when necessary. But it wasn’t always about wars and weapons, the little joy of women getting to wear blouses in Thangalaan – the innocence with which Parvathi Thiruvothu and others share about the comfort – created a stirringly moving moment. In the internet slang, when men went in search of gold, women found their diamonds of joy.

Not mere tokenism

Fortunately, the Tamil films in the second half have not only managed to strike a chord with the audience and create box office records but seem to have also found a middle ground, where even in a men’s dream world, there are women characters who leave some kind of impression. In a film about male egos like Lubber Pandhu, a companion film to last year’s Parking, the women weren’t simply filling the frames. Gethu (Attakathi Dinesh) might be a proud, successful cricketer but he is a vulnerable man in front of his wife Yashoda (Swasika), who loves him dearly. She packs him a special dish in his tiffin box every day and forgives him too many times but is also self-aware. She ploughs the cricket ground with her tractor, fights with her husband when he makes a grave mistake and even leaves everything behind when her daughter’s life is in question. Just like her mother, Durga (Sanjana Krishnamoorthy) too is rough yet loving and the relationship she shares with her father is poetically captured in the film.

In the melodious Meiyazhagan, yet another film centred around two men, you only get glimpses of four women, whose sequences when put together hardly account for just 1/4th of the film’s runtime. BUT each of their lives and emotions is perfectly captured. Like when Arul’s (Arvind Swamy) moraponnu leaves after a heartfelt conversation only to come back and have a tender stroke of touch on him, the time Karthi is proud of his well-educated wife who can speak English, the meaningful conversations between Arul and his wife Hema (Devadarshini), and how the latter keeps nudging him out of his comfort zone, the perfect marriage sequence that depicts the love and longing of a sister, etc – there are too many little delectable joys surrounding women for a film that’s centrally about two men. Such films make you realise that it’s not always about how much screen time women get in a film but about how much of their lives and emotions are we genuinely told about.

Similarly, Poongudi (Nikhila Vimal), a school teacher along with Dhivya Duraisamy’s Vembu in Vaazhai are representations of women who toil for their family’s betterment. Even when Poongudi goes to school regularly, she helps her mother’s tailoring business, just like how Vembu works all day in the banana plantations. Their small henna delights and Poongudi’s dance training sessions are gems of happiness in their hard ways of leading a better life. Speaking about the onscreen Tamil women of 2024 would feel incomplete without Raghu Thatha’s Kayal (Keerthy Suresh) who doesn’t bat an eye in her battle against patriarchy. She might have been a women writer back in the day who had to hide her identity, but she boldly spoke of desires and dreams that many women still long for, standing up for a whole generation.

There’s no denying that a lot needs to be improved in terms of portraying sexual violence on screen (Case in point: Vettaiyan). Yet with only one big female-centric film out this year, it’s heartening to see many mainstream films capture the lives of women with the tenderness and respect they deserve. Now, all set to see Sai Pallavi in Amaran as the inspiring Indu Varghese, there’s hope to see more loved and lived women on screen. After all, even if it’s a man’s story, the woman has her own dreams.

We only skim through the lives of Vasanth and Aaranya initially but Black ensures to pack in little details – their cute moments of love, their slight insecurities, the instability in their relationship dynamics, etc – that make us care for them. For instance, when someone breaks their car glass, a short-tempered Vasanth seeks revenge. Aaranya is disappointed with how he reacted but is also quite happy that he didn’t simply ignore those men’s vile actions. Likewise, we clearly understand Aaranya’s feelings but Vasanth is written to be a mysterious man. It’s to debutant Balasubramani KG’s writing that when you see Vasanth carry a sleep-inducing drug on their vacation, you know he cares for Aaranya but there is a speck of doubt about his plans. These writing choices that help you empathise with the lead characters are accentuated by sincere performances. While Jiiva leaves a mark in his comeback especially when Vasanths from multiple worlds meet, Priya Bhavani Shankar is on her game as Aaranya, making Black a good addition to her filmography along with Demonte Colony 2. Devoid of the usual distressed damsel arcs, Priya gets to flex her acting chops.

Initially, the eeriness of the villas is created for a horror effect, forcefully making us feel fear for the lead couple. But the makers soon eschew with this approach, a good call that makes Black a thriller that rides fully on chaos and suspense. You just always know that they are not in fatal danger but are stuck in a night you would never want to be in, which keeps you invested in their adventures.

Whenever the couple cross a black space, something strange happens. The explanation for this and the events that follow are cramped into a single scene that comes a little too late. So, say even though there is something about this moon as we guessed, the reveal doesn’t create any effect. The innovativeness in tying the knots is not really felt when the makers try to untangle it, dulling the second half. The background score too is overpowering in a lot of places making it difficult to distinguish the organic, strange sounds within the film’s world.

Nevertheless, there are a lot of clever writing and staging choices that make Black gripping. Vasanth and Aaranya keep shuttling between the same rooms, villas and roads. Yet, you don’t find the scenes repetitive. Even when the same scene plays again, there’s a different perspective to it (on all technical fronts), which gives an added layer of information and intrigue. You are not only drawn into this world as soon as the film begins but hardly find time to get distracted midway. It’s because Black manages to take you on an exciting time-loop ride that even if you find some loopholes, you are more than willing to build your own theories. It also gives you the best of the experience by rightly choosing to not unscramble a few knots. A black patch like this with no answers is sometimes a good place to be in.

Rating – 3.5/ 5

Once again, Kollywood uses sexual assault against women as a driving force for the hero to take revenge. In this case too, it is unnecessary and pervert-ish. Not only is the girl getting raped used as a leverage to dig more emotions, the disturbing visuals are repeatedly shown throughout the film. TJ Gnanavel fails to be consistent in being politically right when a woman in the film gives a ‘fake’ harassment complaint to her HOD over a classmate but when the police smell it, they remark on it by saying she deserved the verbal abuse she received after, because she should’ve spoken up against the harasser in person, or denied his advances.

The women of Vettaiyan, on the other hand, are ample and well-written. Manju Warrier has a notable role as a successful YouTuber and her apex scene of confrontation is a delight. Abirami plays a starter-pack ‘Corporate Criminal’ who is essential to the story but overplayed. Saranya (Dushara Vijayan) is a determined teacher who is strong-willed and focused but what takes you off guard is the role of Ritika Singh as a police officer. She’s badass, fierce and appears in as many scenes as Athiyan –  she also fights alongside Athiyan and quiet frankly, steals the thunder of that stunt sequence.

Fahadh’s character was rather off-putting and out of context though he offers a tinge of relief through comedy, it dilutes the drama. Amitabh Bachchan and Rajini in a face-off was probably the most anticipated part of the film and as always, Bachchan is brilliant and he is perfect as a mentor to Athiyan but the dynamics they share is quite similar to that of Prakash Raj and Suriya in Jai Bhim where the two delegates are ideologically polar opposites and eventually come to an objective point of justice. But Vettaiyan never dives deep into their rivalry or their truce. That’s a huge drawback in the film – police officers do not feel guilty enough about their murders and their dialogues are too preachy and straight from a civics textbook which ensures a gap between the audience and the film.

SR Kathir’s cinematography complimented the film’s narrative really well. The frames, the composition and the locations are beautifully carved. Music on the other hand, does the opposite of what the film tries to convey – if TJ Gnanvel says encounters are wrong, Anirudh says “Hunter Vantaar Choodu Da”.The discourse of Vettaiyan, no matter how flawed is important – the cops of our cinema industry have always been emotion driven: the angry, young men who love to take out their pistols and encounter the criminals and the public have received the immediate but short-lived reaction with happier hearts. Vettaiyan would make you question these extrajudicial deaths but it is quite confused and contradictory by itself.

It’s quite astonishing that Rajini, being THE superstar, is ready to experiment with scripts that have him be vulnerable, play the role of a morally wrong person and apologize for the same but saddening that nobody is feeding it properly.

Rating – 2/ 5

In the entertainment industry, especially like ours that observes hero worship; fans mobbing and jostling over actors in a public space to get a selfie or two clicked isn’t new. We’ve often come across videos of fans jumping railings, running past security guards, hurriedly climbing podiums and pushing everyone only to savor a moment to touch the feet of their revered actor, or take a picture with them thereby scaring, traumatizing or making the latter visibly uncomfortable.

A similar incident was observed with actress Priyanka Mohan at the audio launch of her upcoming film – Brother, where a fan barges in to click a picture with her, to which the actress in a sarcastic tone asks him if he wants to come inside and sit with her in the car. In another video on the same day, she condemns another fan for stalking her from a mall to her house and advises him against it. 

This incident is not isolated nor has Priyanka Mohan been the only victim to such creepy behavior from fans. Many male actors including superstars like Shah Rukh Khan, Vijay Devarakonda among others have had such unexpected and frenzied encounters with fans who breach security to meet them and are often then dragged out of the stage by their guards but none received as much hate as the actress did. 

Encroaching one’s personal space, celebrity or not, is a violation of their privacy but what’s shocking is the vast number of social media users calling her ‘rude’, ‘ a show-off’ and disregarding her performance as an actor/dancer. 

Women who set boundaries, reiterate consent or say no are often shamed as ‘disrespectful’ and ‘too proud’ – and this is a reaction received in all facets of a woman’s life including work, family, and among friends. A simple act of defending one’s boundaries should never be a blow to a man’s ego that he resorts to characterizing the woman as ‘prude’, ‘killjoy’ or cyber-bullying her with mass hate speech because no woman owes anything to anyone even if she’s your wife, girlfriend, sister, mother, or your favorite actress in the entertainment industry.

Also take the case of Harini Sundarajan (Aishu from Lover) who was bullied for playing a character that advises her friend to break up from a toxic relationship, or the case of Taapsee Pannu who was also bullied for denying a selfie with a fan during the promotions of her movie ‘Khel Khel Mein’ – Indian men, especially the ones on social media find it very easy to fall back on anonymously trolling a woman who express the slightest amount of objection, by commenting on her attitude, dressing sense or decoding her “bad” performance as an actress to drag her down.

Prem Kumar does an excellent job in establishing the bond between Arulmozhi Varman (Arvind Swamy) and his village – the streets he cycles on, the pillars over which his house is mounted upon, the temple elephant that grew up with him, the mango tree in his backyard and more of all, his family and friends. It’s quite beautiful to see how Prem Kumar has made Needamangalam and Thanjavur as an important character in his film – a place that Arulmozhi Varman hates since he was forced to leave behind a big chunk of himself, only to discover that him and his family has unintentionally affected the lives of many – the bus conductor he meets, the strangers he is introduced to as “vaathiyar magan”, the tale of his cycle – and that he could never be who he is, if not for the village or the people.  

The major drawback is the duration which wouldn’t have felt this odd if it was an extension of their heart-to-heart exchange but it was a rather ill-fitted and gratuitous sequence of politics and Jallikattu which made it an inorganic injection of political recitals.

However, it is quite refreshing to see stars in soulful, emotional and complex characters instead of the uni-dimensional, revenge-filled, bloodshed needy borderline sociopaths. Karthi has pulled off an annoying (self-aware) yet charming villager who has so much love to give for all – he’s so energetic and zesty that you cannot keep up with him while Aravind Swamy on the other hand plays a more clutched, composed but sensitive person who would rather run away from confrontation than sit down and face it. 

To see two men on screen, rejoice and bond over cycles, fishes, grocery lists, Ilaiyaraja songs, be vulnerable and emotional while letting go of their macho, and virile masculinity was truly revitalizing.

This act of anti-patriarchy is reflected on how the female characters are structured too. Although Sri Divya enters only in the second half, she plays a soft-spoken but an adamant wife who stood her ground in inheriting her maternal house. It’s also quite appreciable to see Karthi take great pride in Sri Divya speaking English as a teacher. But the director has rather dropped the ball in characterizing Hema played by Devadharshini as Arvind Swamy’s wife – she is a supportive, empathetic wife and a big emotional pillar to her husband but her character is nothing but an auxiliary; we’re given no insights as to who she is as a person, whether or not she holds a job. She seems to be an ‘ordinary’ housewife who cooks, feeds, steam irons and cleans up after her daughter, husband and husband’s parents.

Like 96, Meiyazhagan too, stands out for the relationships it forms over its run-time – there are many characters throughout and they are the magic that drag you into their world; like the plaintive relative (Indumathy Manikandan) who opens up to Arvind Swamy about her drunkard husband and grieves over how she’s been left to fight him alone or Bhuvana, his sister who brings the entire wedding party to a halt because she wanted to open her brother’s presents then and there or Chokku mama (Rajkiran) who stands up to talk to his ‘Athhaan’  on phone. 

If Arvind Swamy as a reluctant, anxious and distressed man in a wedding he doesn’t want to be in isn’t salient enough, then he will woo you with his eloquent eyes that express such grief and guilt but if that isn’t expressive enough, then the conversations and the poeticism in a mentor-mentee relationship of Arvind Swamy-Karthi will rope you in. This combined with the soulful Govind Vasantha’s fervent tunes keep you emotional throughout, paired with Mahendiran Jayaraju’s scintillating and alluring frames of Thanjavur make Meiyazhagan a heartfelt and wholesome film.

Rating – 3/ 5

The stage was set, and the red carpet rolled out at the Chennai Trade Center on September 21st, 2024, for a night to remember. The night was hosted by Bhavna Balakrishnan and Vishnu Hariharan who set the stage truly on fire with their quick wit and their energy. Honouring outstanding women such as Nigar Shaji, Kalpana Shankar, Thulasimathi, Vaishnavi, Major Seeta Shelke, Singer Jensy Anthony, Archana Chandoke and Priyanka Mohan, the night was a true celebration of women’s power.

Our co-founders Ms Bina Sujit and Mr Sujit Kumar are the pillars behind the splendid event, their vision and leadership are the driving forces behind the success of the grand Achievers Awards. They ensure that the platform continues to evolve with the changing times while staying true to its core values of celebrating women.

Nigar Shaji – Excellence in Science

The award for ‘Excellence in Science’  was presented to Ms Nigar Shaji, the ISRO scientist behind Aditya-L1, India’s first solar observatory by the talented actress Aishwarya Rajesh. Nigar Shaji led the mission to a successful halo orbit around the Sun-Earth L1 point, marking a major milestone in India’s space journey. A true visionary and inspiration, her simplicity, grace and humility were eminent from her aura on stage.

Dr Kalpana Sankar – Excellence in Social Service

Dr. Kalpana Sankar is a pioneering social entrepreneur and the founder of Hand in Hand India, an NGO that has uplifted nearly 4 million women through microfinance, education, and sustainable development. She was accompanied by her daughter and granddaughter who came to show support. The award was presented to her by film director Vignesh Karthick and Mr Ramamurthy, Senior General Manager, Lia Agarbatthigal.

Thulasimathi – Excellence in Sports

Thulasimathi Murugesan, a Paralympic badminton star who won a silver medal at the Paris Paralympic was our awardee for Excellence in Sports. Born with a congenital abnormality in her left hand, her journey has been one of resilience and determination. Accompanied by her family, the night was made more special when Shanthanu presented the award to her on stage.

Vaishvani – Special Recognition

Vaishnavi, affectionately known as ‘Yoga Vaishnavi’ was the next awardee for the night at the JFW Achievers Awards 2024. With six Guinness World Records and numerous national and international medals, she has earned the title of India’s ‘Rubber Band Girl’ for her exceptional flexibility. The award was presented to her by the famous internet personality, Dr Pal Manickam.

Major Seeta Shelka – Excellence in Public Service

Our next awardee was Major Seeta Shelke, an army officer who led her team in constructing a 190 ft Bailey bridge in just 36 hours during the Wayanad landslide rescue this year. The Excellence in Public Service award was presented to her by Actor Jayaram who made the moment even more special by saying a few lines thanking her and the Indian army for their valiant efforts.

Jensy- Lifetime Achievement

With over 90 songs, including iconic hits like “En Vaanilae,” her melodies have touched generations and for that, Singer Jensy was presented the Award for Lifetime Achievement by Poornima Bhagyaraj. Jensy’s remarkable musical journey spans over four decades, beginning at age 12 when her unique voice caught the attention of composer Ilaiyaraaja.

Archana Chandhoke – Excellence in TV Entertainment

Archana Chandhoke is a beloved figure in Tamil television, and this year, she marked 25 years in the industry. For her outstanding dedication to work and her consistency in staying at the top, JFW presented her with the Award for Excellence in TV Entertainment. She received the award from Deepa Venkat and her close friend Abhirami. When Archana came on stage, she brought with her an insane amount of energy, she shared her life experiences, got nostalgic and emotional and just commanded the room and audience like no other.

Priyanka Mohan – Sensation of the year

Priyanka Mohan looked stunning when she came to receive her award for Sensation of the year at the JFW Achievers Awards. Her journey is of true hard work and passion, and she continues to be a rising star in the South. The award was presented to her by Abhirami and Mr Jithendra Vummidi, Managing Partner at VBJ. The stage was set ablaze when young girls surprised her by dancing to her latest song, Golden Sparrow and she quickly joined them and just electrified the entire hall!

There is a beautiful focus on interpersonal relationships as much as there is a celebration of cricket in Lubber Pandhu. Gethu’s iconic Dravid-esque defence and Sachin-inspired poses are aplenty on screen. Ashwin’s famous Mankad moment too find their way into the screenplay and are not just mere cricket references but are built to establish a rivalry. Each character in Lubber Pandhu is unique and well-written. The angry, emotional Yashoda (a brilliant Swaswika) packs a special dish for her husband Gethu every day, but when he plays cricket unbeknownst to her, she doesn’t hesitate to plough the cricket field with her tractor. Equally rough and loving is her daughter Durga (Sanjana Krishnamoorthy).

When Durga leaves her lover Anbu after a fight, Anbu apologises and says he probably thought she would never leave him and that’s why he acted wildly. The same could be said about how Gethu goes about playing cricket even as his wife disapproves of it. But there is a simplicity that ties them all, they all are behind what they love. And if one dialogue could convey the similarities they all share it is how Karupaiya (Kaali Venkat) responds when he is asked why he likes cricket – “pudikum, adhaan reason.”

There is no dearth of humour or meta-film references either. Gethu could play for the team called Sachin Boys but he’s also a huge fan of Vijayakanth. Once, Durga tells Anbu that she likes him because he is too similar to her dad. If you look closely, besides their burning passion for cricket, Anbu and Gethu are mirror images. For instance, if Anbu paints his home in yellow hues to show his love for CSK, the wall in Gethu’s home has a mural of Vijayakanth. Such little references make Lubber Pandhu a soulful tale. It is a film where small things like a simple hello, a tiffin box, a song, etc go on to have a bigger effect on the characters.

The film opens with Anbu not being allowed to play in his village’s team because he is from a different caste. But Lubber Pandhu doesn’t go all out like Blue Star. Caste issues and conflicts between the characters are addressed in a gentle, subtle manner. You might be expecting a bigger resolution but it would end in a simple handshake or a big payoff moment you didn’t see coming could be just a father and daughter playing cricket together. Sometimes, Lubber Pandhu doesn’t give us a complete answer and it doesn’t have to.

The film shows every relationship delicately but the most endearing of such moments must be the one where a woman finds a caring mother in her daughter-in-law. Teeming with nail-biting cricket moments, soulful dialogues and some stunning, meaningful frames (watch out for the interval sequence), it is a beautiful film that keeps on giving on all fronts. In essence, Lubber Bandhu offers the thrill of a super-over sleekly packed within a soothing, slow-burning test match.

Rating – 4/5 

The Hema Committee report reveals that well-known men in Malayalam cinema have sexually harassed women in the industry. The report identifies sexual harassment as a major issue faced by women in the film industry. Many women are reluctant to speak out due to fear of being blacklisted, further harassment, or targeted on social media. They also fear threats to their lives and the safety of their families, leading to a culture of silence in the industry.

The report reveals that many men in the film industry believe women who act in intimate scenes are willing to engage in such acts off-set as well. This leads to open, unembarrassed demands for sex, often in exchange for more opportunities in cinema, despite the women’s objections. Newcomers are particularly vulnerable to this exploitation.

The report highlights the lack of basic facilities like toilets, changing rooms, and safe caravans for women on Malayalam film sets, leading to severe health issues such as urinary infections. Women often resort to urinating behind trees or bushes during outdoor shoots and face extreme difficulties during menstruation due to a lack of water and sanitary facilities. These issues primarily affect junior artists, as caravans are only provided to top actors. While some men in the industry acknowledge the problem, others dismiss it, claiming women have “adjusted” to these conditions for years.

The latest report from the Justice Hema Committee has shocked the industry, revealing that several Malayalam female actors and junior artists have accused prominent figures—including director Baburaj, actors Siddique, Mukesh, Jayasurya, Maniyanpilla Raju, Edavela Babu, Thulasidas, and CPI-M MLA Vichu Mukesh of sexual harassment and misconduct. These serious allegations have reignited discussions on harassment and inequality in the Malayalam film industry, highlighting the urgent need for effective measures and accountability.

With a crisp run-time of 100 minutes, you might feel like there isn’t much happening in the film but that’s where Kottukkali wins – it tells you to sit back but taunts you with haunting narratives that aren’t explicitly ‘told’ but rather observed – quite similar to Koozhangal. 

The film is a road trip to a priest’s temple, to ward off the evil spirits that have possessed Meena and in the journey, we discover that what Meena is fighting is actually the shackles of patriarchy. She is confined, pinned down and trapped in a chauvinistic and conservative society that forbids her from exercising any kind of autonomy.

The problem with most feminist films is that its solution to patriarchy is too simplified. Take Barbie, patriarchy is far too complex and ingrained for it to be eradicated just by turning men against men. But this is where I feel, Kottukkaali won as a film – its open ended climax is rather gutsy and striking – it tells you, the audience to inspect themselves, because who are we, if not the society? 

PS Vinothraj has done an excellent job in presenting a fresh perspective on the feminist question in India which is neither isolated nor free from religious, casteist, socio-culture and economic discrimination. With women who question the mother’s upbringing for letting the daughter become “astray”, men who gossip about the girl’s character to sauce up their drinking session, a priest to ward off evil spirits on women who’ve fallen in love, a father who promises to murder his daughter, a fiance who slaps and kicks the life out of his betrothed, his sisters, his would-be mother-in-law and men who throw around women-centric cuss words with absolutely no inhibitions, the director builds a realistic gist of the society an average woman faces when she exerts some amount of liberty.

Kottukkaalli has no background music, and relies only on the live sounds – which become integral to world building and don’t feel empty in any scene. Long, monotonous and symmetrically composed shots that resemble Koozhangal’s way of storytelling, speaks volumes on the mind-numbing society that we live in. Soori has once again proved that he’s a brilliant actor who can nail subject-heavy roles and Anna Ben has done a exemplary work – she looks distressed, unfazed and stubborn in all scenes but the subtle smile, curling her lips in the corners when she needs to express a tinge of pride or satisfaction is remarkable. Anna Ben as Meena has one dialogue in the entire film but that speaks volumes on the patriarchal system that oppresses women in the name of tradition, culture, religion and discipline. 

The one scene in Kottukkaali that will stay with me for years to come, is when the auto needs to be reversed but Meena refuses to descend from it so five men, with all their strength and fierce robustness lift the auto with her inside it. Meena puts on an unswerving smile, relishing and watching the world revolve around her, as the center. 

And that’s what’s important – on the way to battling patriarchy, your closed-ones will turn against you, women will turn against you and your parents will turn against you but to be as adamant and valiant as Kottukkaali, is what’s important. 

Rating – 4/5

Keerthy Suresh plays a fierce, bold, out-spoken and rebellious feminist; she rebels against her family, against her manager, against the society and against the patriarchal culture. She asks uncomfortable questions, but her feminism isn’t tokenistic or performative; Kayalvizhi Pandian (Keerthy Suresh) is quick-witted, complex, adamant and progressive.

The conflicts she raises seem trivial – feminism is more complex and intersectional than just increasing the age of consent or exercising the autonomy over what to wear but Director Suman’s ideals run deep and you understand that only when he contextualizes hindi imposition within the role of men, culture, family and the nation in patriarchy – which is why the film, that is set within the borders of a tiny village in the 70s, doesn’t feel alien or distant when you watch it now.

Raghu Thatha’s major drawback is its slow pace – it takes the entire first half to set the story, its character and dives into the conflict only by the interval. Post that too, the film fails to elevate itself to the next level and doesn’t really succeed in building tension among the audience anticipating the next scenes. But it keeps itself entertaining – thanks to its brilliant casting choices – Ravindra Vijay is very convincing and subtle and so is MS Baskar and Rajeev Ravindranathan. But what knocks it out of the park are the scenes of Keerthy, Ismath Banu (Kothai), and Devadarshini. Tamil cinema has given us a snarky and quirky female trio – who could’ve had more scenes together.

It’s also brilliant to note that women of Raghu Thatha are all adversaries to patriarchy, instead of making them follow the common accusatory notion that “women uphold patriarchy” – Devadarshini is an independent, working woman; Ismath Banu is boisterous and dominant; Ravindran’s mother calls out injustice as well. The film is mounted on Keerthy’s shoulders, and she has pulled it off effortlessly with her great dialogue delivery and very convincing retro outfits.

Be it the iconic and flawless performance of Keerthy in Mahanti or her as Kayal Vizhi, a feminist so daring that she can pull down a massive national organization, it’s really astonishing to see what she is actually capable of when she isn’t used as a hypersexualized doll for a couple of dances in a star-studded film.

It’s quite evident that the director has gone the extra mile to convince the audience that the film is retro and the one who understood him best would be Sean Roldan – he gives an Ilaiyaraja touch which is an added milieu for this film that’s set in the 70s. The art department too, have done a really convincing job in terms of wall painting of advertisements on family planning, bright coloured boards and others to reassure the retro vibe. The editing and cinematography which is very ‘Guns N Gulabs’ coded – also, written by Suman Kumar, in terms of both composition and camera placements is quite novel, apt and a compatible auxiliary to the screenplay.

Raghu Thatha offers a fresh opinion against all those who call themselves progressive and liberal but limit their reformism when it comes to gender equality. A necessary film of the hour for its satirical and rebellious tone – the arcs and psyches of all its characters are realistic, well-written and honestly, people you come across everyday – which is what makes it relatable too!

Rating – 2.75/5

The source material and casting work hand in hand to create two beneficial outcomes. While the perfect casting makes this remake an enjoyable crime thriller, the source material is also rich enough to give our stars – Prasanth, Simran, and Karthik – a space to show why they continue to hold relevance and fandom even after so many years. The character arcs of both Krish and Simi are layered in that they come across as real, vulnerable beings with a selfish need of their own. Krish might be leading a fake life as a blind man but he has his reasons, and there is a certain innocence to his character that Prashanth flaunts impressively. Even the supporting actors – Samuthirakani (hilariously impressive), Urvashi, Yogi Babu, KS Ravikumar, and the like – play their roles with honesty that makes you overlook the slightly disengaging writing and dialogue.

In Andhagan, when a man faking blindness witnesses a murder, he gets caught in a web of crime and chaos. His world is surrounded by selfish, cunning people that whichever corner he turns, someone is waiting to pounce on him. It also becomes a space where manipulative people get vulnerable while innocent people are forced to seek revenge. This blurring of moral lines creates a clever, edgy set-up where you’re doubting the intentions of every character. There’s an illicit relationship, a clever young boy with evidence, a bunch of group of foolish criminals trying to earn money through illegal organ donation, a cat, a rabbit, and much more in this dark comedy thriller. Yet, the frame is never over-crowded. Some of the characters though could’ve benefited from better writing. Priya Anand, who plays Krish’s lover, doesn’t get much to do and the romance portion is cute but forgettable. If the dark comedy sequences and the suspense are those that hold your attention in the beginning, both the jokes and the crimes get quite dragged out towards the end. This leaves you feeling a little exhausted when the characters finally find their way out.

However, there are enough twists sprinkled throughout the film. And they are laced with interesting meta references. Do you ever get tired of watching the famous coffee scene from Mouna Raagam? I don’t and Karthik doesn’t either so we get glimpses of the scene. But it’s not a random reference. It shows the fame and joy that Karthik once had and is still yearning for and the sequence ends with a major hint. There are also his old film posters, tunes of a few vintage songs, and more. The hat tips to Prashanth’s Jeans and the short cameo of Aishwarya Rai’s poster too are neatly packed within the story. Apart from a solid storyline, it’s this nostalgia factor weaved into Andhagan through film references and the casting that works like a charm.

Rating – 3.5/ 5

Even as the leads Sabari (Pravin Kishore) and Praveena (Esther Anil) go on a trip to the Himalayas, Halitha Shameem doesn’t limit the story just to this duo. Besides the scenic landscapes that shine through the lens of Manoj Paramahamsa, the director also helps us meet the locals, understand the lifestyle of such riders, and learn about the political situation. This method makes the world of Minmini seem more realistic. Yet even when you’re mesmerised by the beautiful mountains and travel with Sabari and Praveena for quite some time, you never really see the characters for who they are.

At the age of 15, schoolmates Sabari and Praveena go through different life-changing obstacles. And they cross paths, eight years later, on a trip to the Himalayas. While Praveena has come to terms with her new life, Sabari is still struggling to find his lost self. Sadly, this is more apparent on paper than on screen. Halitha’s characters wear their vulnerability on their sleeves and represent the feeblest versions of us. And Sabari is no different – he’s leading a life where he’s breathing but not fully alive, and there’s a deeply affecting reason for it. So, no doubt that the idea behind Minmini is soulful. However, the screenplay lacks the emotional depth that a sensitive story like this demands.

The school portions do not have a narrator and the audience becomes a fly on the wall, witnessing the story unfold. So, when a grown-up Praveena assumes the role of a storyteller in the latter half (set in the Himalayas), it creates a certain inconsistency – it suddenly becomes her story. If Praveena’s oversharing is a problem, you rarely get time to understand a grown-up Sabari. An introvert, Sabari is skilled at masking his emotions and when the film doesn’t attempt to show things from his perspective, we fail to get a grasp of what he’s feeling. Probably, if we had got the chance to see Minmini’s world through the eyes of Sabari, we would’ve not just heard but felt and understood his emotional struggles.

The editing choices too rob us of certain moments that would’ve offered depth to the central relationship. For instance, when Praveena’s mobile phone suddenly falls into a river, the makers cut immediately to the next sequence where she’s seen smiling. In between these two cuts, Sabari has done something special and we learn about it only much later. This complex editing pattern affects the beauty of this moment. Another crucial detail in the film too gets lost in a similar way, and is explained too late in the film. In an attempt to not spell out things, it seems like Halitha leaves it to the audience to fix the missing puzzles albeit without all the needed information.

Halitha usually takes life’s mundane things and paints them in striking shades. You can see that in the sprightly first half of Minmini too. Set in a boarding school in Ooty, she lets two teenagers with different personalities and dreams bond over their differences. However, this aspect is absent in the second half. For instance, the first time Sabari offers to travel along with Praveena during their trip is not because he likes her. Neither does he want to be her friend. But he wants to be a protector and ensure a woman is safe. “When you meet some more friends, we’ll part ways. Until then, I’ll come with you for your safety,” Sabari tells Praveena. The fact that such a stereotyped, male savior trope is used by a female writer like Halitha is disappointing. Sabari and Praveena continue to travel together and talk a lot – about stars, butterflies, solar energy, and more – but things never appear personal. It also seems like the younger Pravin Kishore and Esther Anil had more to act, emote, and react than their grown-up versions did.

You can see the soulful story Halitha set out to narrate, it’s nothing like the ones we’ve seen before. The characters are overwhelmed by unexplainable emotions and their journey is in search of something intangible, maybe a sense of self, life or even redemption. In the first half, which Halitha shot with the kids in 2015, the writing shoulders the film. The eight-year shift is seamless too – the actors, just like our characters, are now grown adults; the past happens in Ooty, and the present in the Himalayas  – and you don’t see anything glaringly different. But there’s something that’s missing: the spark in the writing that makes you root for the characters.

Rating – 2/5 

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Highlights: Surfing, beach volleyball, Rockaway Beach Boardwalk, casual eateries.

Best for: Surfers, young adults, those seeking a relaxed atmosphere.

1. Orchard Beach: Escape the city hustle at this picturesque beach located in the Bronx. Surrounded by lush greenery, Orchard Beach offers a serene escape with stunning views of Long Island Sound.

Vibes: Serene, escape from the city, natural beauty.

Highlights: Swimming, sunbathing, picnicking, walking trails, stunning views.

Best for: Nature lovers, families seeking a peaceful retreat.

1. Manhattan Beach: A quieter alternative to its busier neighbors, Manhattan Beach offers a relaxing atmosphere with beautiful views of the city skyline.

Vibes: Quiet, residential, elegant.

Highlights: Beautiful skyline views, relaxed atmosphere, beachfront dining.

Best for: Couples, those seeking a quieter beach experience.

Things to Do at NYC Beaches:

• Sunbathing and swimming: Relax and soak up the sun on the sandy shores.
• Boardwalk activities: Enjoy a variety of shops, restaurants, and entertainment options.
• Water sports: Try surfing, paddleboarding, or kayaking.
• Beach volleyball: Get active with a game of beach volleyball.
• Picnicking: Bring a blanket and enjoy a delicious meal by the water.

Tips for a Perfect Beach Day:

• Check the weather: New York weather can be unpredictable, so check the forecast before heading to the beach.
• Pack essentials: Don’t forget sunscreen, a hat, sunglasses, towels, and water.
• Transportation: Plan your transportation in advance, as parking can be limited.
• Beach rules: Be aware of beach regulations, such as swimming hours and alcohol restrictions.

Ready to hit the beach? Whether you’re looking for a party atmosphere or a peaceful retreat, NYC has a beach that’s perfect for you. Enjoy your day in the sun!

An Itinerary For A Weekend Beach Hop

Day 1: Coney Island and Brighton Beach

• Morning: Enjoy a classic Coney Island experience – start with Nathan’s Famous Hot Dogs, then head to Luna Park for thrilling rides.
• Afternoon: Relax on the beach, build sandcastles, or enjoy a game of beach volleyball.
• Evening: Explore Brighton Beach’s diverse food scene, trying Russian cuisine or international delicacies.

Day 2: Rockaway Beach and Orchard Beach

• Morning: Learn to surf or rent a paddleboard at Rockaway Beach. Enjoy the laid-back atmosphere and soak up the sun.
• Afternoon: Take a ferry to Orchard Beach for a peaceful escape. Enjoy a picnic, go for a walk, and admire the stunning views.
• Evening: Catch a beautiful sunset over the water.

Day 3: Manhattan Beach

• Morning: Start your day with a leisurely stroll along the Manhattan Beach boardwalk.
• Afternoon: Enjoy a delicious brunch at one of the beachfront restaurants, followed by some relaxation on the beach.
• Evening: Take in the breathtaking city skyline views as the sun sets over the water.

Additional Tips:

• Transportation: Consider using public transportation or biking to reduce traffic congestion.
• Beach essentials: Don’t forget sunscreen, a hat, sunglasses, towels, and water.
• Food and drinks: Pack a picnic or explore the local food scene.
• Safety: Swim only in designated areas and be aware of rip currents.

The conversations in this film are mostly thought-provoking and philosophical. When Vijay Antony is hesitant to tell about his past, Saranya empathetically asks, “Yaarapathi yaaruku thaan mulusa theriyum? (We don’t truly know anyone, do we?)” When two people are ready to sacrifice their love for their friend, one of them says, “Namma aasa padiye elaam nadakaadhu, adhukaaga aasai padratha nirutha mudiyuma (Not everything will happen according to our wish, but it doesn’t mean we stop wishing for things)” When the chief agent (Sarathkumar) helps Vijay Antony, the former asserts, “Seri ah irukuradha vida, nimadhi ah irukanum (More than being right, you should lead a peaceful life).” And you get the drift. These are intriguing dialogues but an overdose of such interactions makes several sequences sound artificial. The major exception is when Saranya Ponvannan goes about sharing such thoughts as advice – she somehow magically makes all of it seem natural.

This Andaman feels like the heavenly space that Theri’s Mithra (Samantha) would be more than happy to live in: It rains whenever you think and there is a cute puppy that everyone is fond of. The people are also extremely mature and understanding. But they seem too ideal to be real. As I said, two people are ready to sacrifice their love for a third person. Someone pays rupees two thousand for two cups of tea and everyone seems to be waiting on command to sacrifice. It is a world where even the villain cares about every single goon working under him! When Saranya Ponvannan and Vijay Antony exhibit this kind of altruistic love, you find it pleasant and joyful. But when every character, including the merciless, arrogant villain, decides to become too good, you begin to see the cracks in the screenplay. It’s sweet when the villain has a change of heart, but a sudden mix of heartless and selfless just doesn’t work. 

Burma is in love with Sowmya (Megha Akash), who is trying to fight against a merciless loan shark Daali (Daali Dhananjay). And Vijay Antony takes it upon himself to protect all these people. So, one or the other issue is constantly brewing, which keeps you hooked to the screen. When the hero is playing his mind games, staying one step ahead of the villain, the film moves at a racy pace. However, when things fall into the action space, it’s stretched to an extent that the constant fighting tires you. 

In a film that seems to be always in a hurry to convey too many things, the one that best helps you understand the protagonist is ironically a scene with no dialogue or fight. When Vijay Antony finds a puppy wheezing in pain during a heavy downpour, he lets his hatred for rain take a back seat and gets completely drenched as he carefully protects the puppy. And it tells you who he is as a person and how he’s willing to put his life on the line to protect others. This subtle detailing in writing is what the rest of the film misses.

Rating – 2/5

Raayan is very Asuran-esque, in the sense that the head of the family lays low, and waives off all sorts of trouble because you do not want to trigger his inner, dormant beast. But what’s conflicting is that we have an external voice of Selvaraghavan or Paruthiveeran Saravanan, almost every 10 minutes puffing up Dhanush’s Maanick Baasha flashback.

The raw, dark, and gloomy 20 minute sequence in the beginning of the film is a perfect pilot that prepares you for what’s about to hit you in the next 2 hours. Raayan does an excellent job in establishing the emotional dynamics amongst the cast. The first half establishes the conflict well and is pacy but is followed by a rather slow and stretchy second half.

There are a few unnecessary scenes on infidelity to induce crass humour alone – but it’s good that neither of them were justified. Raayan will constantly remind you of the famous three dragon template – true to it, Dhanush, Kalidas and Sundeep have delivered splendid and raw performances which compliment each other really well. Kalidas has played a role quite novel to him with ease while Aparna Balamurali has been perfectly casted – a good, apt and a creative, revolting role though she’s just an auxiliary to the male characters.

The film has about 120 hero intro scenes for Dhanush and his silhouette which is quite tiring and tedious to watch. AR Rahman is a huge asset to the film with his background scores and the song Adangaatha Asuran is a peak theatrical experience. 

Raayan has 5-6 win moments and it’s mostly the action sequences. The post-interval fight is unique and distinctive in an otherwise beaten-to-death storyline. What keeps the film engaging is the fresh performance of Dushara Vijayan who has given a riveting, convincing, powerful and astonishing act in this revenge story. It’s highly commendable, and appreciative to see her scoring in a Dhanush-centric film with a remarkable character arc that will stand the test of time.

Kollywood also needs to move away from the Kantara hangover – how many more climaxes are we gonna make where the hero is possessed with the spirit of a God and takes revenge over the villain?

Rating – 2.5/5

Indian 2 is a very challenging film. It challenges Indian 1’s legacy, the audience’s tolerance, and itself on the grounds of how much uglier it can get. The film is a cringe fest with a turn off every second minute of the runtime. You see the cartoon ‘common man’, and you’re already tired of dealing with the absurdity but it tests you with the performative characters of Siddharth, Priya Bhavani Shankar, Jagan and Rishikanth – well, you sit through that as well, thinking ‘poga poga pazhagidum’ but Shankar bombards you with a garuda puranam-esque killing spree combined with artificial and insufferable dialogues. 

For a film that is so ‘political’, this is one of the most insensitive and politically incorrect films to have been released in the past decade. It is neither progressive nor revolutionary as it carries ideals of the 90s. Shankar continues to blame the common people, daily-wage workers, Dalits, and domestic workers for the downfall of the country. 

He blames rag pickers for unclean streets and calls them corrupt for being ‘inept’ at their job and shames the common man for availing subsidized items and compares that with the large-scale corruption that industrialists and politicians do. Does Jeyamohan, Shankar, or Kamal Hassan who claim to ‘change the society’ not understand that sanitation workers are forced to toil in the most unhygienic, inhuman and toxic environment & are severely underpaid? 

Not to forget the Calendar Song which is an unnecessary sequence of skin show of a bunch of barely-dressed women dancing for the male gaze. Close up shots of these semi-naked women is an added pain to the already boring film but Indian 2 passes off as the perfect sequel to Indian 1, this way, which also had extremely crass, disgusting and perverted “jokes” on women’s bodies.

Almost all serious scenes are pretty laughable due to their absurdity but that’s when Shankar chooses to fit in extremely problematic, casteist and homophobic ideas into the narrative. Indian thatha uses varied forms of punishment to kill the wrong do-ers of the society and one such ‘punishment’ is turning a cis man into a transman – an unnecessary transphobic scene of him wearing bright red lipstick and kohl coupled with a feminine body language. This is followed by another casteist scene where Kamal calls a bunch of online youth who are dark skinned, adorned with funky, coloured hair, speak the North Madras slang of Tamil and bejeweled with Bob Marley inspired accessories, as ‘Average’ Mani. He goes on to shame these men who use Facebook walls as ‘evolved vandals’ who once scribbled on the walls of public washrooms. 

Social media, as a space, isn’t exclusive for the elites. Practising ostracism and alienation in a space that’s equal to all and forbidding the minority from entering into it is crass and ill-minded. Siddharth once posted on Facebook walls, Kamal announces his politics opinions on Twitter – Indian 2 as a film believes social media is the tool to revolution but where is alienating an entire community and making social media, a closed platform going to get the country, if not back to its regressive, casteist and heavily patriarchal structure?

The film has good action choreography and Kamal, as usual, pulls off the character well. Anirudh, whose background score usually elevates exalting scenes, doesn’t do much of a job here because all scenes are equally bad. Vivek and Nedumudi Venu as partial AI characters are quite refreshing to watch but they do not offer much comical relief either. Amongst overall dull visuals, certain frames and shots are eye-pleasing but the screenplay tends to fall flat and repetitive, following a set template.

Shankar’s films are always known for their ‘bramaandam’; and so the mistakes of Indian 2 are grand as well. The gold used in the sets are shady looking, Kamal’s makeup as an old man is pretty inconsistent and rabidly done; Siddharth, Priya Bhavani Shankar, Rakul Preet, Rishikanth and Jagan have very caricature-ish tropes who seem very distorted from reality. Bobby Simha and SJ Suryah, however, score well in whatever scenes they appear in. 

Overall, Indian 2 is a very outdated film with each scene getting stretched to the maximum. Anniyan-ification of Indian ‘Thatha’s’ actions and him speaking a different language while attacking the villains of each state seems like an unnecessary take on ‘Pan-Indianism’ which doesn’t connect well either. You also do not care for ‘Indian’ to kill the villain because you don’t even know what the villains did. None of their crimes are established properly – unlike Indian 1, where you want the government officer to die for abusing Manorama, or the doctor who refuses to treat a burnt Kasturi until given a bribe.

Indian Thatha may be 102 years old but the Indian 2, with its regressive ideals of transphobia, casteism, secessionism and misogyny is definitely older.

Rating – 1.5/ 5

1. Mirzapur season 3 – Amazon Prime



“Mirzapur” Season 3 is set to plunge viewers back into its shadowy and gruesome saga, intensifying the brutal power struggles and vendettas that define the lawless city. The new season of Mirzapur is streaming on Amazon Prime Video from July 05.

2. Garudan – Amazon Prime Video

Garudan follows the story of Sokkan, a trusted confidante to two childhood friends, Aadhi and Karuna. Their bond and control over their city, upheaval when loyalty and betrayal collide, exploring friendship, power, and betrayal. Garudan is streaming now on Amazon Prime Video.

3. Malayalee From India – Sony Liv

Aalparambil Gopi, an unemployed young man embarks on a journey away from home that would drastically change his life unexpectedly. Malayalee from India streaming on Sony Liv from July 05.

4. Mandakini – Manorama Max

On their wedding night, Aromal and Ambili find themselves in a tricky situation that throws up unexpected challenges in the family, Mandakini streaming on Manorama Max from July 05.

5. Paradise – Theater Watch 

An Indian couple visits crisis-ridden Sri Lanka for their fifth anniversary, but unexpected events expose cracks in their relationship. Paradise movie now running in theaters.

Thiagarajan Kumararaja who made a neo noir ‘gangster padam’ named Aaranya Kaandam starring Jackie Shroff, Yasmin Ponappa and Ravi Krishna, also directed a quirky anthology named Super Deluxe starring Samantha Ruth Prabhu, Vijay Sethupathi, Ramya Krishnan and Fahadh Faasil after a gap of nearly a decade. Super Deluxe, which is often raved by fans for its complex storytelling, one-of-a-kind characters, posing ideas that break stereotypes, also has insanely minute references of his previous movie Aaranya Kaandam, in it. 

Aaranya Kaandam starts off with an excerpt from the book ‘From Volga to Ganga’  where Nagadutta asks Chanakya “Edhu dharmam?” (What is dharma?) to which Chanakya replies “Edhu thevaiyo athuve Dharmam” (Dharma is doing what needs to be done). This is an excellent prelude that sets the mood to the movie where all the characters are morally gray, who manipulate their way into getting what they want which is often a necessity – be it Subbu  (Yasmin) manipulating Sappai (Ravi Krishna) into stealing money from Singaperumal (Jackie Shroff) and eventually killing him to free herself from him or Kodukkapuli manipulating his dad into stealing drugs in the name of god to get rid of his impoverished life. 

Consider this prelude as something that extends to Super Deluxe as well, where the characters get into far more scandalous things to merely survive in a hypocritic, bleak world –  Leela (Ramya Krishnan), a mother of a teen acts in a porn film, Vembu (Samantha) and Mugil (Fahadh), a married couple hide a corpse with whom the wife just cheated on and a bunch of school boys turn into contract killers and thieves to escape getting scolded by their parents. In the end, however, you don’t really call any of them criminals because you ask yourself the question, ‘wouldn’t I do the same in a situation like this?’ which is where Chanakya’s wisdom helps. 

It took 9 years for Thiyagraja Kumararaja to make Super Deluxe after Aaranya Kaandam and that’s probably the time difference between the events of the film as well – because in Super Deluxe, while Shilpa (Vijay Sethupathi) looks for their lost son, you can see a half-torn obituary poster of Singaperumal on a board and another obituary poster for Gajendran (Rambo Rajkumar). Another indication of the two films being in the same universe is when important events take place in the same location – the mani koondu where deals are fixed and the empty warehouse where bad men meet their end.

In Super Deluxe, when Berlin (Bucks) restrains Mugil and Vembu at the warehouse, he gets a call from a certain police officer from the station named Mayilvaaganam. Do you recall the name? YES! It’s the same Mayilvaaganam from Aaranya Kaandam who is the neutral and common messenger between Singaperumal, Gajendran and Pasupathy (Sampath). 

If this blows your mind, hold on until you find out that TK foreshadowed his alien-human romantic trope of Super Deluxe in Aaranya Kaandam itself where Sappai’s video game versions of Gaaji and Seth-u girl, go back to their homeland on a cute little UFO!! 

Largely, both Super Deluxe and Aaranya Kaandam follow similar themes – that of a father-son relationship is quite peculiar but wholesome. Kodukapuli telling the henchmen “apdi ila aana avaru en appa la” (not really but he’s my father) when they ask him if he loves him so dearly, hits you in the same place as Rasukutty saying “nee aambalaiya vena iru, pombalaiya vena iru; aana enga kooda irunthu tholaiyen” (be a man or be a woman, just be with us) to his dad who has abandoned him since he was shunned by the society for being a transwoman. 

They both follow the theme of survival – on one hand you have Pasupathy running from Singaperumal and Gajendran, Subbu protecting herself from Singaperumal, and Kodukkapuli saving his father Kalaiyan (Guru Somasundaram) from Singaperumal’s men; while on the other hand you have Shilpa (Vijay Sethupathy) running away from Berlin’s perversion and Soori (Naveen) struggling to live after he stabs himself accidently.

Both Super Deluxe and Aaranya Kaandam have overlapping motifs like that of atypical, badass women who are prime examples of femme fatale characterisation, who’re sexually, spiritually, culturally and emotionally evolved. They break stereotypes of chastity, shame and patriarchy while the men on the other hand have fragile egos that are easily triggered – Singaperumal plots the death of Pasupathy over a casual remark on his manliness and Mugil feels insecure over a dead corpse because that’s his wife’s ex boyfriend. 

Mugil is also shown as a socially frustrated individual who holds futile opinions on society, its functioning and systems which is quite similar to Kalaiyan and his random philosophical blabbering. 

But the most interesting theory out of all that surrounds these two films is that their universe extends to that of Oram Po as well. While the film is directed by Pushkar-Gayathri, it is written by TK. Sappai saves Subbu from getting run over by two racing autos – the exact same autos adorned with the same artwork from Oram Po. 

A lot of tiny similarities like pop culture references to Rajini, Vijaykanth and Kamal; playing steamy ‘item’ numbers from the 80s like Vaa Vaa Pakkam Vaa or Vanithamani in the background, quirky ringtones, using melodious composition for action and chase sequences exist in both films but they would rather be considered as elements in a ‘Thiagarajan Kumaraja starter pack’ than easter eggs to the universe – which is where TK stands out. You discover something new, a piece of paper in the top left corner at a 1:42:35 time stamp that makes you pause your movie and ponder over where have you seen it before because it looks familiar, a little mention of a police officer whose face you’re not even shown, random shots of airplanes that remind you of the ‘magic’ that Sappai demonstrates to Subbu and you’re almost always blown by how nuanced and subtle these details are and how many other films it reminds you of! 

Nithilan Saminathan’s Maharaja (2024), a taut thriller with a clever screenplay is winning high praise from the audience. The film certainly deserves the reception it has got, considering it keeps the viewer engaged throughout. Vijay Sethupathi’s performance, as a man in search of an uncomfortable truth, also makes the film special. However, its treatment of sexual violence, a crucial plot point, needs to be discussed more. 

Maharaja (Vijay Sethupathi) is a barber with a tragic past. He lives with his school-going daughter Jyoti (Sanchana Namidass) who is also an athlete. Both of them worship an iron dustbin called Lakshmi – a dustbin that saved Jyoti’s life in an accident. One day, Maharaja goes to the police station and says that a group of men assaulted him and took the dustbin away. He wants the police to find the dustbin and return it to him. The police find the whole situation to be absurd but since Maharaja is willing to bribe them to take up the case, they decide to humour him.

The twist in the plot is that Maharaja is actually in search of the men who sexually assaulted his daughter. The motive for the crime is revenge because the leader of the gang, Selvam (Anurag Kashyap), believes it was Maharaja who had led the police to arrest him in the past. In yet another twist, it is revealed that Jyoti is actually Selvam’s biological daughter. Selvam kills himself in agony, realising that he had spearheaded the assault on his own daughter whom he’d loved very much before she was separated from him as a baby.

Now why is this problematic? For one, the film does not focus on Jyoti and her trauma at all. Instead, it is about two male characters – the hero and the villain – and their response to the incident. Maharaja is angry because his adoptive daughter has been sexually assaulted. Selvam allows the rape because he thinks Jyoti is Maharaja’s daughter. Then, Selvam feels devastated because he realises Jyoti is actually his biological daughter. The film constantly defines the survivor in terms of her relationship with the male characters, never looking at her as an individual who has been subjected to such trauma. 

Her trauma is treated in an entirely unrealistic manner simply to drive the plot forward. For instance, when she’s in hospital after the rape, the first thing she tells her father is that she wants to meet her rapists. To remind the reader again, this is a child who is barely 14. The film is uninterested in exploring her trauma and instead makes it look like it’s natural for a rape survivor to have something like this as their No.1 priority. 

Later in the film, Jyoti confronts Selvam – without knowing he’s her biological father – and says she just wanted to see the face of a shameless man. But if the shame of the crime belongs to Selvam and not her, why is her rape kept a secret in the film? Why doesn’t Maharaja go to the police station and tell them the truth instead of talking about a dustbin? If he must pay a bribe for a sincere investigation, why doesn’t he pay it for a rape case? Does he really think the police are more likely to search for a dustbin than hunt a gang of serial rapists? 

Surprisingly, though the police figure out what has actually happened, they too side with Maharaja in seeking revenge on the rapist and keeping the sexual assault a secret rather than taking the legal route. Why should sexual violence be kept a secret by everybody involved if the shame of the crime is not the survivor’s?

The plot is written in a way that the audience, too, feels the impact of what has happened because of our realisation about the biological father. The rape itself has no significance unless it is read with this context. Unfortunately, such perspectives only add to a culture where rape isn’t seen as a crime inflicted on a woman, but as a dishonour inflicted on her family and community. This is why rape remains a severely underreported crime and is used as a weapon in conflict situations like riots and war. 

Many people have compared Maharaja to the Korean film Oldboy (2003), and this response is quite revealing of how we view sexual violence as a society. In Oldboy, the protagonist is tricked into having a consensual sexual relationship with his adult biological daughter by a man who seeks revenge against him. The protagonist is devastated when he realises the truth. But the plot in Maharaja does not revolve around a consensual sexual relationship. It is the rape of a minor, not incest. Yet, many seem to feel this is one and the same. That response indicates something fundamental to rape culture – it is not the woman’s experience that matters. It doesn’t matter if she consented to a sexual act or was violated. It is how she’s defined in relation to a man that matters.

This is why our cinema has produced so many rape-revenge stories. Films that focus on male rage and violence rather than a woman’s need to heal and secure justice. SU Arun Kumar’s Chithha (2023) is among the few films to acknowledge the fact that the narrative around rape is structured around male outrage rather than what survivors want. In a powerful scene, Shakti (Nimisha Sajayan) lashes out against her boyfriend Eeswaran (Siddharth) for wanting to kill a child rapist who had targeted his niece. She tells him about a male relative who had assaulted her, and asks how many men one can possibly kill, given that women encounter sexual violence anywhere and everywhere. 

Chithha’s open ending – with the rapist found murdered – has led to multiple interpretations. Did Eeswaran disregard Shakthi’s words and kill the man anyway? If yes, does the film want us to celebrate this or not? Or was the man killed by some other survivor’s male relative? Whichever it is, the film deserves praise for at least acknowledging that it is survivors and their needs that should be in focus. 

Sexual violence is a reality that 50% of the population lives with. It should not be reduced to a mere plot point, and filmmakers should make every effort to understand why it happens and represent it with sensitivity. That is the bare minimum at this point. 

Something Between You & Me where Akash Premkumar and Magalakshmi play the leads “Kathir” and “Sanjana” who have had a relationship in the past but have broken up! They are meeting in a hotel now after a few years unexpectedly catching both of them by surprise! What happens between both of them, why they broke up, and will they get back together makes up this captivating short film. 

First Kiss

First Kiss – A romantic short film! Watch this JFW’s short film “First Kiss’ ‘ where Magalakshmi who plays the female lead prepares for her first kiss. The first kiss is an unforgettable experience in every person’s life, but what happens if it goes wrong?  Join Megna and Sid in this journey of her first kiss and what happens to them as a couple.

Incognito
Incognito is a short film featuring Vinodhini Vaidyanathan, Deepthi and Rohit! Arjun is visiting his mother (Vinodhini Vaidyanathan) to tell her about his girlfriend Lakshmi (Deepthi). He is surprised when he suspects his mother of watching adult content. How does he react, does he tell his mother about Lakshmi? What does Lakshmi think of this situation? All this and more in this interesting tamil short film from JFW!

Ex and Why
Ex and Why is a Tamil short film starring Bigg Boss Maya krishna, Amritha Mandarine and Ravi Ganesh. This short film is about what happens when the ex wants to get back ? Are we supposed to let go of the ones who make our life now ? Why is the ex girlfriend back and what changed her, watch this short film and know what happens next.

Last Date

Last Date is a romantic drama Tamil short film which is about two people who were in love breakup due to different mindsets and decide to go on one last date to cherish all the memories and times they’ve had together. What happened on that last date? Do they fall back in love? Do they decide to stay friends? Watch it and find out what happens between these two!

Next Stop

Next Stop is a Tamil short film featuring Harini Rameshkrishnan and Ajay Melvin. Where the leads meet in person for the first time and decide to go on a train journey to decide whether they are compatible with each other. Will they decide to cut the journey short by getting down at the next stop? Will they decide to be friends? Or will they find everlasting love? All this and more in this exciting, one-of-a kind short film.

First Time

First time is a tamil short film featuring Akash Premkumar and Amritha Mandarin, where they play the role of a couple who are gonna share an intimate moment for the first time! What happens when the person you trusted isn’t who you thought they’d be? Do you leave them be? Stay together or teach them a lesson?? All this and more in this short film. 

After a novel, satisfying and impressionable film like Kurangu Bommai, followed by a 7 year break, Nithilan Swaminathan delivers a banger of a film which actually has the potential to save Tamil cinema from the hands of the slump it is in.

*Spoilers Ahead*

Maharaja, played by Vijay Sethupathi is an elderly single father to Jyothi, played by Sachana Nemidas. One day he goes to the police station to file a complaint over a theft in his house and the rest of the film is the investigation thereof. Essentially, Maharaja is the story of two fathers – Vijay Sethupathi and Anurag Kashyap; two fathers who’d go to any extent to keep their daughters happy – which becomes their ultimate crime and reason for them to be where they are.

Although Maharaja is a typical revenge drama which could’ve been easily predictable, what makes it memorable and unique is mostly the shock factor and its storytelling. A non-linear screenplay makes it all the more interesting since you don’t really expect the timelines to be different – and when that is revealed, it is done in a very subtle and visual manner using tertiary but memorable characters in the plot instead of resorting to narration or phrases denoting how many days have passed. Nithilan’s vision to portray everything visually is what makes Maharaja a treat – twists aren’t spoonfed; like the scene where the perpetrator fumbles during a confession, and the non-linear screenplay is very organically connected. 

Most directors forget cinema is a visual medium thereby resorting to narration in third person or making the characters themselves dictate their story but Nithilan has very rightly swayed away from it. One might think a film with such varied timelines might require an omniscient narrator but the director manages to make the audience travel with his film even without a voiceover, thanks to the editor and cinematographer. 

Maharaja is a film that’s here to stay mainly for two novel ideas which are explored in the film – the monologue of the victim in the end who, with pride refuses to suffer or let their injury scar them and says they will bounce back from the unfortunate event; which is quite refreshing because in Tamil cinema, we’ve always only seen victims who die or live as dissociated individuals who’ll carry the suffering and pain for the rest of their lives. 

When someone needs to question the humanity of a perpetrator they often ask “would you do this to your mom? your wife? your daughter? your friend?” But are moms, wives, daughters and friends the only people who should be refrained from being harmed? Because it translates to ‘even victims need to be related to the violator for them to identify them as human’ which is very tone-deafening because nobody should violate anybody, even if they’re a stranger. They don’t necessarily need to be your daughter – which is also a discourse dealt with in Maharaja.

Maharaja is a well-rounded film whose origins lie in Anurag Kashyap choosing a saloon to trim his beard – a very nuanced butterfly effect which, although ideologically flawed here and there, has its heart in the right place. Both Sachana and VJS have done their parts really well, especially scenes where the daughter parents the dad – teaching him how to do laundry or maintain hygiene. To be honest, it is quite refreshing to see Vijay Sethupathi do a role where he’s not subtle, “casual” or himself. While Divyabharathi has very little scope as a character, Abhirami plays a memorable role although she’s just another wife and a mother. However, Mamta Mohan Das is a uni-dimensional character who is just an auxiliary to Vijay Sethupathi’s cause.The one major miscast in the film is Anurag Kashyap whose dubbing doesn’t sync which makes him look alien to the film.

Maharaja is ideologically and cinematically better than almost all films that deal with this subject. Nithilan has cooked a perfect recipe with good character arcs, elevation moments, and a great screenplay – overall, a must watch!

Rating – 3.5/ 5

But a few films, across various genres have nailed the representation of the LGBTQ+ community and given us inspiring, wholesome and intense characters. 

Shilpa in Super Deluxe 

A monumental and cardinal character to the movie, thereby, Kollywood in itself. Be it Shilpa’s love for Raasukutty (their son), the witty replies to bullies in school, or the stubborn resistance to judgemental relatives, Thiyagaraja Kumararaja has penned a very unapologetic trans person for us to celebrate. 

Curating a trans woman character as someone who asks a teary-eyed, heartbroken wife, “Am I beautiful?” while draping a saree instead of apologizing for who they are; as someone who gets angry and reacts against the system instead of staying mute or demanding sympathy; as someone who tells their son to “be himself”, is quite rebellious and that’s what makes Shilpa stand out among other trans characters.

Sathaar in Paava Kadhaigal

With the emergence of alternate media like OTTs, there has been a surge in the voices of the subaltern. One such representation was Sathaar in Thangam, the first chapter of Paava Kadhaigal. Although set in the interiors of Tamil Nadu during the 80s, Sudha Kongara’s Thangam, had a very intersectional perspective to it – with Sathaar being a victim to not one, but two kinds of discrimination as a Muslim homosexual.

A fun-spirited, frolic, hopeless romantic, lively and easily amused Sathaar rather meets an unfortunate end. Sathaar giving away his hard earned money to his sister, which he had saved up to get a gender-affirmation surgery, so she leads a smooth life with her lover who also happens to be Sathaar’s unrequited lover only to get lynched by the village men, was extremely hard-hitting and tragic.

Emily in Aruvi 

Aruvi is one of those gems of Tamil cinema that was truly ahead of its time – daring, rebellious, remorseless, asking all the uncomfortable questions. Not to forget, it is one among the very few films to have cast an actual trans woman in a trans woman role. 

The bond that Aruvi forms with Emily, the trans woman is a really underrated female friendship in Tamil cinema – two women doing mundane things like window shopping, oogling at men, eating together but also agreeing to go on a trip with the money you collected to treat your bed-ridden father because he chose to shun you and your help since his honor was bigger than himself. Afterall, what more do you need in life than a friend who would go to any extent to protect you and bring your perpetrators to justice even if it’s on national television?

Danny & Jack in Goa

3 friends from the interiors of Madurai run off to Goa and among everything ultra-modern they encounter in 2010 urban India, they meet a homosexual couple. But neither of them mock them, view them as aliens nor get fascinated by them – they accept them just like a straight couple. Goa was one of the first films to have a homosexual trope for non-comical reasons – there’s even a song (Valiba Vaa Vaa) on accepting homosexuality.

Jack and Danny played by Aravind Akash and Sampath are fruity and fun gays even before that became a thing. They were neither stereotyped nor revered; they were a ‘just another couple’ getting jealous and possessive over one another through which Venkat Prabhu normalized homosexual relationships.

Kanchana and Geetha in Kanchana

Sarathkumar as ‘Kanchana’ in Kanchana is a heavily criticized and stereotypical portrayal of trans women but it was actually one of the first Tamil films to portray them in a good light. The film being a commercial success especially among children created a great deal of awareness on the transgender community and their struggles among the younger generation. 

Until then, films showed transgendered persons as those who run brothels or rope in young girls for sex work but Kanchana was extremely progressive and significant for covering issues like a coming out as trans to parents (that too through knowledge they gained from the internet), the regressive society that treats gender fluidity as a taboo, and being shunned by one’s own family.

Not to forget that Kanchana also raised and funded medical education for another trans woman (played by Priya Ezhumalai, a real life trans woman) highlighting the lack of opportunities our society gives to transgenders. 

Kanchana was the face of transgender community for a very long time (most probably because there was a dearth of trans characters in good light), as a person who battled evil, broke social barriers and stood for equality.

Meera in Peranbu

While transgendered people playing the roles of trans characters is considered a big leap in representation, Director Ram went the extra mile to make his trans character (played by Anjali Ameer) the lead of his film who then ends up marrying the hero, Mammootty. 

Although Meera starts as a sex-worker, a trend that all transgenders have been stereotyped with, she wins our heart as a ray of hope in Amudhavan’s life, as his savior, as his solace as his breathing space but also as a loving step-mother, companion and friend to Paapa. 

Tamil cinema has come a long way from stereotyping the members of the LGBTQ+ community and using them solely as comical tropes to writing character arcs for them. But we have a longer way to go since films that are a commercial success and those largely consumed by kids or those that star ‘heroes’ like Jailer, Doctor or Mark Antony continue to oppress and ridicule them through roles of ‘Divya’ played by Redin Kingsley, ‘Gomathy’ played by Karate Karthi and ‘Gowri’ played by YG Mahendran. 

Directors who consider themselves “new gen” need to get rid of such antique humor tropes, if not share the burden of appropriate representation of the LGBTQ+ community vested only in the hands of those who make subaltern cinema or art films. Because morally right, uni-dimensional and sexually/socially oppressed can’t continue to be the only character traits of LGBTQ+ characters in films.

Not to forget that we’ve only written roles for trans and homosexual people, there are still 3+ alphabets in LBGTQIA+ to explore!

Our country practicing orthodox and pseudo-scientific values isn’t new to us. Be it education, religion, hygiene, or the treatment of women, we’ve always been regressive with very minimal awareness on any said topic. The same extends to mental health as well.

When Fahadh Faasil, a Malayali Midas whose touch has turned every project into a blockbuster, be it an eccentric don in Aavesham, or as a producer of Premalu or as a casteist feudal lord in Maamanan, opened up about being clinically diagnosed with a mental health disorder, the internet has been nothing but a mirror of the Indian society, reflecting its archaic principles. On one side there are content creators posting the video for traction, on the other there are users googling ‘What is ADHD?’ – while news channels are reporting it as a ‘brain disease’, the Gen Z have owned up Fahadh as another ‘literally me’ personality!

But the actual brunt of this falls on those who are kept in the darker side of the issue with zero to very little awareness on the topic, which mostly includes parents and by that means, their children. How many kids, who have been hyper and fidgety in their childhood, have been labeled as ‘indisciplined’, ‘disrespectful’ and ‘distracted’? How many such children have been admitted to ‘stricter’ day-schools and boarding schools to ‘straighten’ them up? Even among those who have been fortunate enough to be diagnosed with ADHD by teachers and psychiatrists/psychologists, have often been called ‘crazy’ and ‘lunatic’. Most parents do not want to admit their children in schools that cater to their specific needs, even after professional advice, because they believe their children would do well in ‘normal’ schools.

Drawing on the lines of what Fahadh had to say, treating ADHD among children is much easier and effective than among adults. Ignorance and negligence practiced by the society in topics of mental health will only make it a taboo. And with eminent actors like Deepika Padukone, Anushka Sharma and of course, Fahadh Faasil openly talking about being diagnosed with mental health illnesses like depression, anxiety and ADHD (respectively), we see more discourses on mental wellness, breaking down the walls around that topic thereby leading us on a path to normalizing the same!

1. Aavesham on Prime Video

Aavesham follows three friends, Aju, Bibi, and Shanthan, who move from Kerala to Bangalore for their engineering studies. Choosing a hostel known for its relaxed rules, their fresh start is disrupted by a clash with Kutty, a domineering senior. Humiliated, they seek revenge and enlist local gangster Ranga, played by Fahadh Faasil for help. However, Ranga’s extreme methods lead them into a complex web of college politics and unforeseen consequences.

2. Manjummel Boys on Hotstar

Manjummel Boys, starring  Soubin Shahir, Sreenath Bhasi, Balu Varghese, Ganapathi S. Poduval, Lal Jr., Deepak Parambol, Abhiram Radhakrishnan, Arun Kurian, Khalid Rahman, Chandu Salimkumar, Shebin Benson, and Vishnu Reghu is based on a true story that happened in 2006. The film revolves around a group of boys who decide to go on a trip to Kodaikanal where one of their friends falls into the pit. Will he survive?

3. Thalaimai Seyalagam – Zee 5

Directed by G Vasantha Bala, and starring Kishore, Sriya Reddy, Bharath, Ramya Nambeesan and Kani Kusruti, the series is a functional political thriller. The story is a political controversy that revolves around the chief minister of Tamil Nadu who is under trial for a corruption case. This brings up issues within the party, does he lose his position? If yes, who is next in line? Multiple incidents in the present and past tie the story up. 

4. Bridgerton Season 3 Part 1 – Netflix

Following the story of Penelope and Colin, the third installment in the Bridgerton series is anticipated by many. Every season before this, including the spin-off Queen Charlotte is heavy on romance, lust and emotions. This season is split into 2 parts, the first part is only 4 episodes long, the perfect binge-watch this weekend. 

5. Heeramandi on Netflix

Heeramandi, starring Sonali Sinha, Manisha Koirala, Aditi Rao Hydari, Richa Chadha, Sanjeeda Sheikh, and Sharmin Segal revolves around the lives of the women of the red-light district, Heera Mandi, during the independence under the British Raj.  The series is written and directed by Sanjay Leela Bhansali. Known for its grandeur and exceptional story telling, this is the first series written and directed by Sanjay Leela Bhansali.

6.Idea of you – Prime Video

The Idea of You, starring Anne Hathway and Nicholas Giltzine is a story of a 40-year-old single mom and a 24-year-old band singer falling in love. They meet at a concert where their relationship blooms, with paparazzi tailing behind the singer, and with the fear of what society will say, how will they navigate their relationship?

7. Shaitan – Netflix

Directed by Vikas Bahl and produced by Ajay Devgn FFilms, Jio Studios, and Panorama Studios, the film features Ajay Devgn, R. Madhavan, Jyothika, Janki Bodiwala, and Anngad Raaj. Notably, it’s a remake of the 2023 Gujarati film “Vash.” The trailer portrays an illustrious picture of a family of four, troubled by the arrival of an unwelcome guest, Shaitaan played by Madhavan. Jyothiks is playing an anxiously worried mother of Janki Bodiwala, who appears to be controlled by Shaintaan and as the wife of Ajay Devgn.

8. Maxton Hall – Prime Video

Maxton Hall follows Ruby Bell, a bright scholarship student aiming for Oxford University, as she navigates the world of the ultra-wealthy at Maxton Hall. Ruby clashes with privileged students like James Beaufort. Her discovery of a secret affair between a teacher and James’ sister, Lydia, pulls her into the school’s hidden drama.

9. Dune Part 2 on Prime Video

Starring Timothee Chalamet, Rebecca Ferguson, Josh Brolin, Stellan Skarsgård, Dave Bautista, Zendaya, Charlotte Rampling, and Javier Bardem, it follows Paul Atreides’ journey on Arrakis as he seeks refuge among the Fremen after the betrayal of his family by the Harkonnens.  Paul grapples with visions of a future filled with war and faces difficult choices that will shape his destiny and the fate of Arrakis.

10. Uppu Karam Coffee on Hotstar

11.Crew on Netflix

Tabu, Kareena Kapoor and Kriti Sanon play Geeta, Jasmine and Divya respectively who are air hostesses for an airline company that’s in debt. They haven’t gotten their salaries for 6 months and have individual financial commitments to fulfill. When an opportunity to make some extra money comes their way, they are quickly convinced. What ensues after they have plunged themselves into a side hustle is what forms the plot of the movie. It’s not a nuanced film, it’s on your face and it’s proud to be that

This is the sad state of affairs for women, men such as him, are previously known to be offenders, they have multiple allegations of harassment and are still celebrated by the audience for their below-average performances. Calling out such behaviour, netizens took to Twitter to call his actions ‘ disrespectful’ and ‘ unacceptable’.  The arrogance of such alleged superstars makes them do as they please and the others, especially actresses become helpless under their power and following.

Appalling behaviour by Balakrishna and an understandable reaction by the junior artist who laughed it off, but the most horrifying part of this video is the crowd’s reaction to a blatant act of assault, cheering and hooting in approval.

pic.twitter.com/kVO1UgYsP1

— Siddharth (@DearthOfSid) May 29, 2024

It’s high time that actions such as these are condemned, openly.  Just a few months ago, on the last season of Bigg Boss Tamil, contestant Vichitra who is a former actress made a shocking revelation on live TV. She talks about why she quit the movie industry, and blames the lead actor’s misbehavior towards her back in 2000, “Back in 2000, a late actor suggested a film to me. I don’t want to reveal the details. The shooting took place in Malampuzha, where I met my husband. That’s where I faced my worst-ever casting couch experience. Everyone knows that I disappeared from films after my wedding. This was the reason. I wanted to forget this incident, but this wound was so deep that it never healed. Opening up about the incident right now means I’ve faced my demons.”

“There was a party, where I met a very famous hero. He didn’t even ask my name and asked me to come to his room. I was shocked because I didn’t understand what kind of gesture that was. I went back to my room and slept, but I began facing issues during the shoot. I’ve never faced such issues in Tamil cinema,” she also added. Vichitra also said that they were shooting outdoors one day in a dense area where a commotion takes place. “I felt someone touching me inappropriately and at first I thought it was a mistake,” she said, adding, “When I caught the guy and took him to the stunt master, he slapped me in front of the entire unit. It left me with bruises. I couldn’t tell my parents, so I told my friend who encouraged me to complain to the union.”

Vichitra also added that the situation got so worse during the outdoor shoot that men from the unit would get drunk and bang on the doors at night. “My husband was the manager of the 3-star hotel we were staying at. He and his team did their best to keep me safe and would change my rooms every day. I still remember the banging noise and how scared I felt back then. My husband wasn’t even my friend then, he did it out of kindness,”

“I complained to the union and they asked me to come back. No one came for me. It was an incident that was much talked about in the newspapers. One of the members of the union asked me why I came to them instead of approaching the police. I met the lawyers and it was an ugly procedure. In two days, my wounds healed and no one came to the court for hearings. My now-husband offered to give evidence during the hearing. That’s when I felt that my career was finished. I was thinking about how I could manage my family. The head of the union advised me to forget everything and go back to work. My husband then asked me,’ Is this what you’re working for? If you don’t get respect or dignity, you don’t deserve to be here. It felt like a slap on my face,” she explained.

The live relay muted some of the names, even though Vichithra did not mention the film or the hero. Netizens speculate that the incident happened when she worked on a film titled ‘Bhalevadivi Basu’, which featured Nandamuri Balakrishna AKA Balayya and the stunt master is A. Vijay.

We all know that Cannes isn’t just about movies! While this prestigious film festival is world renowned for showcasing the best of content from across the globe, it also is a major event for fashion. Every year, only a chosen few get to represent their country on this platform. This year was no different, with a stunning array of dresses, jumpsuits, and other ensembles that wowed the crowd and set new trends. It was a dazzling display of elegance and creativity!

1. Aditi Rao Hydari

 

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Aditi Rao Hydari looked radiant in a silk-chiffon yellow peony print dress by Gauri and Nainika. The elegant halter neckline and high-low ruffled hem added a touch of sophistication to her ensemble. She accessorized with big gold earrings and completed her look with strappy stilettos by Gianvito Rossi. Her makeup featured fresh, dewy skin, perfectly shaped brows, and a soft pink lip, creating a flawless and captivating appearance.

2. Aishwarya Rai Bachchan

 

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Aishwarya Rai Bachchan dazzled in a stunning corset gown in black by Falguni & Shane Peacock, featuring exaggerated puffed sleeves. The gown was beautifully embellished with 3-D gold accents on the bodice and train, adding a touch of opulence to her look. She accessorized with oversized gold hoops, perfectly complementing the intricate detailing of her outfit. Her makeup highlighted her big, beautiful eyes, which were complemented by a pinkish nude shade of lip color, creating an enchanting and sophisticated appearance.

3. Shahana Goswami

 

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Shahana Goswami exuded boho-chic elegance in a Tarun Tahiliani ensemble, featuring a gold-sequin bralette paired with blue jeans and a Kashida Couture coat. She accessorized with vibrant red strappy sandals, a stylish potli bag, and eye-catching chandelier earrings. Her makeup, with bronzed eyes and lips, perfectly complemented her dusky skin, enhancing her natural beauty and adding to her effortlessly stylish look.

4. Sobhita Dhulipala

 

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Sobhita Dhulipala stunned in a bedazzled deep-purple jumpsuit by Namrata Joshipura, featuring a sleeveless design with cape-like flowy sleeves, a plunging neckline, and intricate sequin work throughout. She rocked a big, beautiful disco hairdo, perfectly complemented by purple-hued eyes and mauve lips, creating a captivating and glamorous look that exuded retro charm and modern elegance.

Her character in the film ‘ Lover’ resonated with the audience, she stood up for herself and distanced herself from a toxic partner and relationship. Not just Lover, she proved her acting prowess in Modern Love Chennai where she was a heartbroken girl who healed herself and got into a relationship again to get her heart broken. She doesn’t let this affect her and comes back stronger than ever.

Preethi Asrani 

One of the most promising newcomers from last year, Preethi Asrani is here to stay, she proves that language is no barrier for talent to breakthrough. She already established herself in Telugu industry as a child actress now she is making waves in Tamil cinema with her lineups. 

Malavika Manoj 

She is the quintessential girl-next-door, her performance in the movie Joe made her a household favorite across Tamil Nadu. Even months after the release of her first Tamil film, her dialogue “ Mathi Joe” is still widely used by Tamil audiences. She already made a mark for herself in Malayalam industry. 

Mamitha Baiju

A fun-loving, smart and independent girl who isn’t afraid to live life on her terms, Mamitha’s role was a breath of fresh air in Premalu. With Premalu 2 in works, audience have set an expectation to see the friendship of the gang in both on screen and off screen. With her charming screen presence and her authenticity is the role she takes up, she is one of the genZ’s favourite actress. 

Sreeleela 

Her rising popularity on social media is why she is the new ‘IT’ girl of the South, impressing audiences with her charming smile, viral dance moves, and exciting upcoming projects. She is already paired with Telugu superstars and now she is making a mark for herself as an in demand actress of the south industry. 

Then next came an explosive interview featuring Suchitra, where people spoke about her mental health, commented on her character and went as low as they could to character-assassinate her.  You wonder what’s common between the two incidents, its ‘women’ and how the world is ready with axes to take jabs at her, as soon as an opportunity presents itself. 

The conversation about mental health on social media is commendable, it has made it more acceptable for people to come out and talk about what they are going through. But the flip side of the coin is that it is being used as a weapon. Anyone and everyone on social media behave as if they are experts in the field, they know how to identify mental illnesses, and how disturbed a person is and pass judgments on them not realizing the effect of their words. 

On April 28th, an incident that took place in a neighbourhood in Avadi caught everyone’s attention. A 7-month-old child fell from the balcony of their home on the 4th floor on to a sunshade on the first floor. People from in and around the homes came to help rescue the helpless child. A man can be seen standing on the balcony below to help in catching the fallen child while one could also see many others gathered downstairs with a bedsheet in hand. Luckily, the child was rescued but the video certainly went viral. 

Yes, the video does make you ask questions like “How did the kid land up there? Or Where are the adults watching over this child? But the most frequently asked question was ‘Where was the mother? How irresponsible could she have been? This quickly changed to comments like women like her shouldn’t be allowed to have children, they shredded her piece by piece, and this was only online. The mother was humiliated by people online, they took the liberty to comment on her capabilities as a mother, a woman and even a human being. The comments on the videos and the discussions around it became brutal and highly toxic. 

The mother ended up committing suicide after all the hate she received online and offline. People, whether on the internet or the friends and family around put her on trial, not understanding what she would have been put through. And the child has lost his mother forever. When can we, as a society, learn to empathise with a woman for what she is enduring rather than bringing her down and pushing her to her limits? Why is everyone so quick to question a mother, and not the father? People wait for women to make a mistake, an error in judgement, and are waiting to cut their throats for it. In this particular ‘incident’, the kid was rescued and was safe, isn’t that the most important? 

Just a week before, an interview surfaced online, an interview that caused a stir. Yes, the conversations and names that were part of the interview were controversial, but what people started to do was shame her. They commented on her mental well-being, integrity and her character. Everyone is ready to jump on the bandwagon and squeeze out content. Women get called names for the way they look, talk, and conduct themselves. Who are these nameless, faceless people who sit behind their phones and devices, enjoy their ‘content’ and then immediately type their 2 cents on the subject? 

Targeting women on social media is normalised to such a toxic extent that no one seems to find a problem with it. The society has stricter norms for women when they make a mistake, they are quickly put under the spotlight and grilled by whoever sees fit. It’s the deep-rooted misogyny that makes it ok to belittle and attack women, especially on social media where anonymity is an armour. 

1. Thalaimai Seyalagam – Zee 5

Directed by G Vasantha Bala, and starring Kishore, Sriya Reddy, Bharath, Ramya Nambeesan and Kani Kusruti, the series is a functional political thriller. The story is a political controversy that revolves around the chief minister of Tamil Nadu who is under trial for a corruption case. This brings up issues within the party, does he lose his position? If yes, who is next in line? Multiple incidents in the present and past tie the story up. 

2. Bridgerton Season 03 Part 1- Netflix

Following the story of Penelope and Colin, the third installment in the Bridgerton series is anticipated by many. Every season before this, including the spin-off Queen Charlotte is heavy on romance, lust and emotions. This season is split into 2 parts, the first part is only 4 episodes long, the perfect binge-watch this weekend. 

3. Atlas – Netflix

Starring Jennifer Lopez, Simu Liu and Sterling K Brown, the movie is a fantasy thriller that is set in a time where AI has advanced and evolved and is out there to attack us. This sci-fi adventure is a great watch this weekend if you are a fan of the genre or the fantastic and evergreen Jennifer Lopez. 

4. Madame Web – Netflix

The Spiderman spin-off stars Dakota Johnson as Cassandra Webb who is a psychic paramedic and has visions about three young women,  Julia Cornwall (Sydney Sweeney), Mattie Franklin (Celeste O’Connor), and Anya Corazon (Isabela Merced).  While the movie didn’t go well when it was released in the theatres, you could watch it on OTT and decide how it fares for yourself. 

5. Baahubali: Crown Of Blood – Disney + Hotstar

Created by SS Rajamouli and Sharad Devarajan, the animated series of Bahubali is a prequel to the movies. The series consists of 9 episodes, 22-30 minutes long. The series takes you through the events that take place before the film, Baahubali and Bhallaladeva are fighting the enemy and they discover some dark secrets in the process. 

1. With Blue Jeans

This combination of well-fitted classic blue denim with a crisp white shirt is always relevant and top of the game. It’s casual but could be made semi-formal for work, it’s a style that can be moulded to up or down your dress-up game. Accessorizing this ensemble is easy, one could stack some metallic jewellery on the wrists or go with some statement neckpieces to complete the look. 

2. Oversized white shirt with a bralette or a tank top

This is a rather popular look and can be worn in several ways. A white shirt is extremely versatile and can be worn in n number of ways, This particular look needs a printed or solid top inside, could we worn with high waist boot cut jeans or tapered? If you want to look ‘cool’ in this summer heat, this is the best look. 

3. High-waisted shorts with tucked-in white shirt

Summer season is upon us, it’s time to bring out those shorts and skirts and bask in the summer glory. A pair of well-fitted high-waisted shorts are perfect for two reasons, one it gives you body length, the high waist will give the illusion of longer legs and the second is, it’s a great tummy tucker! Pair your shorts with a white shirt tucked in loosely and accessorize with a sling bag, and strappy sandals, and of course sunglasses. 

4. Black leggings and a cropped top with an unbuttoned white shirt

Sometimes, you don’t want to think too much about putting an outfit together, for times like these, the leggings are the correct pick. They fit like a second skin, but make sure to choose a breathable fabric that’s weather-appropriate. A cute cropped top with an unbuttoned white shirt and leggings can be worn for any type of outing, whether it is for a movie, traveling or even a day about town with friends. 

5. Trousers, a white shirt and a waistcoat

Want an idea for a formal yet fashionable look with a white shirt? Here it is. A pair of trousers, a crisp white shirt and a waistcoat, in beige or dark colours like navy blue or black is all that you need. It ups your formal attire, it takes it up a notch higher. Accessorise it minimally, with stud earrings or small gold hoops so that it’s appropriate for office wear. 

6. A sheath/ slip dress with a knotted white shirt

Style a dress with a shirt, this is one of the easiest looks to master. All you need is a dress, a solid colour is easier to style. Hence, pick one from your wardrobe that’s either a maxi or a knee-length dress that you feel comfortable in. A white shirt, even if not yours, pick one from your boyfriend or husband’s cupboard and wear it over the dress. Knot it to give the ensemble a stylish look. 

7. White shirt, lace slip and midi skirt

A skirt, a lacy slip and a white shirt, this combination is such a favourite. The trick is to balance the colours, you have to pick nude or neutral shades for the outfit to seem put together. 

Cast: Kavin, Lal, Aaditi Pohankar , Preity Mukhudhan  and others

In 2024, Tamil movies haven’t made a mark for themselves as of now. Kavin’s star falls under the same category. With Yuvan’s music and an interesting trailer, the movie had set an expectation but it fell short of meeting it. 

Kalai (Kavin) loves cinema and has been obsessed with it since childhood, he is supported by his ambitious father Pandian ( Lal). Pandian understands his passion and wholeheartedly stands behind him to fulfill his dream. From taking pictures with star cutouts to selling Rajinikanth movie tickets, Kalai does it all, proving how big a lover of cinema he is. He goes to engineering college upon his mother’s compulsion but his heart is set on cinema. Along the way, he meets a girl Meera Malarkodi ( Preity Mukhudhan ), and falls head over heels in love with her.  

He starts working towards his dream after facing many hurdles, when he gets closer to his dream, life throws a curveball at him which completely shatters his dream and confidence. Will he ever become an actor? And how he finds his way back into cinema forms the rest of the story. 

We’ve seen these kinds of storylines in Tamil cinema a lot, how a ‘nobody’ goes on to become the ‘one’. Does Star manage to bring freshness to an existing idea and plot and shine brighter than the others that came before it? The honest answer is no. The problem is that the first half and the second of the film could be two different movies. This coming-of-age drama comes across as very relatable without any surprises or twists, so it becomes monotonous after a point. 

Looking at the performances, Kavin backed this film on his shoulders. Kavin as Kalai is very convincing as the main lead of the story and the story within the film, he does justify his role. The other great performance of the film is by Lal, as an ambitious and supportive father, he shines in his role. Both actresses did what was needed for their roles. But Aaditi Pohankar’s chemistry with Kavin is laudable and  Preity Mukhudhan played the typical girl who does everything for the guy she loves even if it means hurting herself. 

Yuvan Shankar Raja as the music director is the backbone of the film. The “surprise element” was needed in that part of the film and Yuvan’s magic worked throughout. Cinematography by Ezhil Arasu takes us back to the 90s and editor Pradeep. E. Raghav complimented both the filmmaker and cinematographer’s vision. 

This Elan directorial is about nurturing dreams and also about the art of never giving up. The second half of the film becomes shaky and tedious at certain junctures.”Star” had the potential to be an exceptional coming-of-age movie about an aspiring actor. But in the end, it was more of a showreel than a moving and motivational narrative of his life.

Rating – 2.5/ 5

While Deepak (Sparsh Shrivastav) and Phool (Nitanshi Goel) like each other and are looking forward to a life together, Jaya (Pratibha Ranta) wants to escape from her marriage with Pradeep (Bhaskar Jha), a brutal and dangerous man. When Deepak mistakes her for Phool, she seizes the opportunity to make a getaway and calls herself ‘Pushpa’ to avoid detection. Phool, meanwhile, is distraught when she wakes up and realises that Deepak has left without her. She can’t recall the name of his village and neither does she want to go back home. So, she stays at a railway station, under the care of Manju Maai (Chhaya Kadam), a stoic stall owner who teaches her a thing or two about life.

Marriage is destiny for the women in Laapataa Ladies, and Manju Maai represents an older woman who proves that it needn’t be because marriage doesn’t really protect women from anything. In fact, it only cements their oppression if their partner doesn’t respect them and share their dreams. As she becomes a reluctant mentor to Phool, she inspires the young woman to become independent and work for a living. 

The film deliberately adopts a comic tone in narrating the story. So, even the corrupt policeman (Ravi Kishan) who investigates the case of the missing bride becomes avuncular by the end of the film. The only real threat is Pradeep and that is easily resolved by the policeman siding with Jaya because he sees her truth. Phool unites with Deepak while Jaya gets to pursue her higher education. The women make different choices but there is empowerment within each. 

I liked Laapataa Ladies when I watched it in the theatre even if I was somewhat bothered by its ‘Simple People’ gaze – Bollywood’s tendency to draw a distinction between ‘people like us’ and ‘people like them’. ‘People like us’ lead sophisticated, urban lives with complex problems while ‘People like them’ are sweet, generous and struggle with their English. 

Still, I found myself asking if a realistic film on patriarchy would appeal to the majority of the audience, especially when it questions the institution of marriage. Would the film speak to those who didn’t already agree with its politics? 

This is a problem that many “women-centric” films confront. Since the oppression of women is the foundation of a patriarchal society, calling it out as is, makes a lot of people uncomfortable. Moreover, such films that cut close to reality can be discomfiting to many women who relate to the experience but don’t want to watch it unfold on the big screen because they find it triggering. For instance, what if the corrupt policeman had sided with Pradeep and forced Jaya to go with him? Or if Phool’s male friends at the railway station had sexually harassed her instead of extending her kindness? These are realistic scenarios that we have often seen associated with women characters who flout the rules on screen. But such repeated representations of violence also tend to desensitise the audience. 

How can a filmmaker get past this? In recent years, films like Darlings (2022) and Jaya Jaya Jaya Jaya Hey (2022) have demonstrated that serious issues such as domestic violence can be taken to a wide audience if the entertainment value is high. That is, the subject is serious but the treatment is light. In Darlings, for instance, the only obstacle in Badru’s (Alia Bhatt) path to leaving her abusive husband (Vijay Varma) is herself. Everybody around her is supportive – from her mother (Shefali Shah) to the police. This is far from what real life victims of domestic violence experience. They are often pressured by their families and the police to strike a compromise and stay in a bad marriage because that’s best for them. 

Similarly, in Jaya Jaya Jaya Jaya Hey, Jaya (Darshana Rajendran) learns karate from YouTube and pays her husband (Basil Joseph) back in the same coin. The action scenes in the film are downright hilarious though they’re wholly unrealistic. But by this approach of prioritising entertainment value over realism, these films managed to breach boundaries. Darlings received more than 10 million watching hours globally on Netflix in its opening weekend, which was a record for a non-English original Indian film. Jaya Jaya Jaya Jaya Hey, made on a budget of less than Rs 5 crore, raked in over Rs 50 crore at the box office. 

Laapataa Ladies, too, has done well for itself, collecting over Rs 20 crore in theatres. Considering the film was made on a budget of Rs 4-5 crore and the poor run of Hindi films in theatres this year, this is a commendable performance. 

In the past, a few films like Pink (2016) or The Great Indian Kitchen (2021) managed to reach a wide section of the audience by depicting the reality of women’s lives as is. In general, however, stories about women’s lives tend to be relegated to a niche audience as “women-centric” films. This is especially true of the post-pandemic era when the mainstream audience is reluctant to go to theatres for films with sober themes. 

In such a scenario, it is necessary for filmmakers to think of newer ways of telling these stories. A comedy which makes its points without drawing blood may well be the language that the audience wants to hear. That’s just what Laapataa Ladies attempts to do. Its heroines are named after flowers but the film is brave enough to occasionally show us the thorns on which these flowers sit too. Baby steps in the long battle against patriarchy on screen and off it. 

On the workfront 

The actress was last seen in the film  Annapoorna: The Goddess of Food and last has an exciting film lineup including Thani Oruvan 2, which will a sequeal to the actors famous blockbuster, Thani oruvan alongsie actor Jayamravi, Test and Mannangati : Since 1960.

Shyama from Kannathil Muthamittal

How far will one go for your country? How much will one fight for it?  How much will you sacrifice?  While people greatly appreciate Mani Ratnam’s lead women (like they should), well-written characters like Shyama are not celebrated enough.  Nandita Das was so effective and  beautiful as Shyama, she embodies the dilemma, the misery, and the yearning of a heartbroken mother. Though Shyama didn’t get to see Amutha grow up, she becomes the guardian for a handful number of strong-willed women in a war-ridden Srilanka and teaches them not only to defend themselves but also to defend others.

Poorni from Alaipayuthey

Poorni and Sakthi have to be one of our favourite sister duos from Tamil Cinema with a strong female representation. Poorni is Sakthi’s support system, her confidante, she plays cupid for the lovebirds and plays a significant role in their life. She also gracefully carries the responsibilities of a big sister, covering up for her, helping her financially, standing up for Sakthi against her family, and guiding Sakthi whenever she hits a rough patch. If you are an elder sibling or if you have an elder sibling you can either see yourself in Poorni or see shades of your sibling in her. 

Emily from Aruvi

In a time where there was hardly any representation of the transgender community, Emily’s character was a (much-needed) breath of fresh air in the Tamil film industry. Breaking the stereotypical and negative traits that were imposed on the community, Emily shines throughout the movie. One can’t help but fall in love with her playful antics and frolics. Emily is the only one who stays with Aaruvi’ throughout her journey. Watching her crack up in the most nerve-warming situation makes one realize how ridiculously simple, life really is and how we, humans make a Gordian knot out of everything. 

Mehrunissa from Anbe Sivam 

Though Mehrunissa’s screen time was very short, the impact she had was quite significant. Her witty comebacks, bold remarks, and strong faith in her ideologies make her something above side character. But like the old saying goes “ Love is a despot which spares on one” Mehrunissa becomes the tormented subject of unrequited love. But still takes the bullet like a soldier and moves on with her life when Nala turns her down.

Bhavani Aunty from  Ok Kanmani

As he slowly laid her head down in the bed, an Alzheimer-stricken Bhavani goes “Oru naal ungalayu maranthuduven ah Ganapathi “ (Will I forget you someday too, Ganapathy?) if that wasn’t enough to make one bawl their eyes out, we don’t know what can. Fondly remembered by the fans as Bhavani Aunty, one cannot imagine someone else in the place of Leela Samson for this role, with her classical root helping her set the demeanour of a Carnatic singer or should we say “Famous Carnatic Singer”. Bhavani Aunty and Ganapathi’s uncle got to be one of those heart-warming couples who managed to be on par if not suppress the main characters. 

Kannamma from Samsaram Adhu Minsaram

Once in a while, you stumble across films like Samsaram Adhu Minsaram and you understand that the movie was being way ahead of its time and opening up discussion about topics like interreligious marriage, female sexuality and a lot more. Even after 38 years since its release, movies like Samsaram Athu Minsaram are still elusive. In 2024 the equivalent of a female comic-like Kannamma sounds like a dream and  Manoramma managed to pull it off when the industry was a complete male-dominated bastion. A laughter riot is guaranteed whenever she is on screen. Her iconic dialogue “Gammunu kada” is still relevant and celebrated by the Tamil audience.

Siddharth took to Instagram to express his love for the series and show support for his fiancé, he shared an image of Aditi along with the caption “ Grateful that we are living in the age of Sanjay Leela Bhansali Saab. A letter of love and freedom. Told in the confines of a bygone age. With images that mesmerize the heart. Music and Verse that stir the soul. A work of Art that would make K Asif Saab Proud. Love and Congratulations to the whole team. Now streaming on Netflix”. 

On The Work Front:

Aditi’s Heeramandi paints the life of Tawaifs (courtesans) living in Lahore during the pre-independence era and has a stellar cast including Manisha Koirala, Sonakshi Sinha, Aditi Rao Hydari, Sanjeeda Sheikh, Sharmin Segal and Richa Chadha. The series is being praised by the netizens and by the people of the industry for its grandeur visuals, its poetic storytelling, and the cast’s exceptional acting.

Siddharth was last seen in Chithha, which was celebrated by the audience for its nuanced approach on a sensitive topic and will be next seen in Kamal Haasan’s Indian 2. Aditi was last seen on Vikramaditya Motwane’s Jubliee and has a grandeur line up of work including Sanjay leele Bhansali’s Heeramandi, Gandhitalks and a British- Indian film Lioness.

Manjummel Boys

Manjummel Boys, starring  Soubin Shahir, Sreenath Bhasi, Balu Varghese, Ganapathi S. Poduval, Lal Jr., Deepak Parambol, Abhiram Radhakrishnan, Arun Kurian, Khalid Rahman, Chandu Salimkumar, Shebin Benson, and Vishnu Reghu is based on a true story that happened in 2006. The film revolves around a group of boys who decide to go on a trip to Kodaikanal where one of their friends falls into the pit. Will he survive?

Where to watch: Disney+ Hotstar

Heeramandi

Heeramandi, starring Sonali Sinha, Manisha Koirala, Aditi Rao Hydari, Richa Chadha, Sanjeeda Sheikh, and Sharmin Segal revolves around the lives of the women of the red-light district, Heera Mandi, during the independence under the British Raj.  The series is written and directed by Sanjay Leela Bhansali. Known for its grandeur and exceptional story telling, this is the first series written and directed by Sanjay Leela Bhansali.  

Where to watch: Netflix

Shaitaan

Directed by Vikas Bahl and produced by Ajay Devgn FFilms, Jio Studios, and Panorama Studios, the film features Ajay Devgn, R. Madhavan, Jyothika, Janki Bodiwala, and Anngad Raaj. Notably, it’s a remake of the 2023 Gujarati film “Vash.” The trailer portrays an illustrious picture of a family of four, troubled by the arrival of an unwelcome guest, Shaitaan played by Madhavan. Jyothiks is playing an anxiously worried mother of Janki Bodiwala, who appears to be controlled by Shaintaan and as the wife of Ajay Devgn.

Where to watch: Netflix

The Idea of You

The Idea of You, starring Anne Hathway and Nicholas Giltzine is a story of a 40-year-old single mom and a 24-year-old band singer falling in love. They meet at a concert where their relationship blooms, with paparazzi tailing behind the singer, and with the fear of what society will say, how will they navigate their relationship?

Where to watch: Amazon Prime

Wonka

Wonka, starring Timothee Chalamet is the story of a young chocolate maker who dreams of opening a chocolate shop in a city where a cartel of greedy chocolatiers runs the chocolate shops. Will he succeed in his dream? What will be the consequences if he does?

Where to watch: Jio Cinema

It is no secret that the sisters have always had a tight bond with each other, Shruti Haasan as the elder sister she is very protective of Akshara and is very of proud of her work ‘. The latter recently posted an adorable black and white picture of them together along with a heartfelt caption “A bond between siblings will always stay.” with an evil eye emoji (yes, to keep out Nazar). Her followers have been swooning over this cute post and we can’t blame them.

 

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On Work front

Shruti Haasan was last seen in Prabhas’s Saalar : part 1 and is expected to reprise her role in the movie’s sequel Salaar : Part 2. The actor will also be making her comeback to the Tamil film industry with Philip John’s  Chennai story along side Viveik Kalra. She also recently made the music score for her independent tamil album Inimel.

Akshara Haasan was last seen in Achchan Madam Naanam Payirppu and reportedly not working on any projects at the moment.

Following this, the actor recently shared a bundle of images from her birthday festivities in Athens on her Instagram handle. Basking in the capital city, Samantha can be seen all smiles and Kefi in the new pictures, relishing her itinerary of the ancient city, indulging in luscious desserts, and most importantly, making wishes. Fans poured love and kind words in the actor’s post, wishing her a life-time of happiness and fulfilment.

 

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On Work Front

Samantha was last seen in the film Kushi (2023) alongside Vijay Devarakonda. The actress then finished her parts in the TV Series, Citadel, playing Nadia Sinh’s (Priyanka Chopra) mother, before taking a break from the Film industry. The actress also recently released her first health podcast on Feb 20, 2024, called Take 20 along with her friend and wellness coach & nutritionist Alkesh Sharotri in which she shared some insight about her autoimmune condition and her separation from Nagachaitanya.

1. J Baby 

Inspired by true events, J Baby revolves around two sons Senthil and Shankar who are on a voyage to West Bengal to find their missing mother, J Baby. The movie is produced by P.A. Ranjith’s Neelam production and is written and directed by Suresh Mari. Urvashi plays the role of J Baby, Lollu Shaba Maaran and Attakathi Dinesh play the role of her two sons. The movie weaves a heartfelt tale of motherhood and kinship, Urvashi was critically applauded for her versatile delivery.

Where to stream : Amazon Prime

2. Premalu

Premalu is perhaps the hotly anticipated OTT release of this week. The movie garnered high praise from both its critics and the audience for its light-hearted humor and the way it captured the essence of youth, love, and adulting. The story predominately revolves around Sachin, a recent college graduate, Reenu, an IT employee living in Hyderabad, and their budding romance. The movie is written and directed by Girish A.D.  and has an ensemble cast including Naseln.K.Gafoor, Mamitha Baiju, Sangeeth Prathap, Shyam Mohan, and Akhila Bhargavan.

Where to watch: Disney + Hotstar

3. Laapata Ladies

Directed by Kiran Rao, the movie stars newcomers Sparsh Srivastava, Nitanshi Goel, Pratibha Ranta and Ravi Kishan in the lead roles. This movie is a must-watch, it’s a wholesome film that will give you perspective, hope and happiness. Deepa marries Phool and they are headed back to his home after the wedding. They are seated in a compartment that has two other newlywed couples also in it, all brides wearing the same attire with a long veil( ghoonghat) covering their faces. What happens when Deepak deboards the train with the wrong bride? This story has brilliant performers, heart-warming dialogues and a story that will empower many women. 

Where to watch: Netflix

4. Amar Singh Chamkila

Inspired by the life of legendary Punjabi singer Amar Singh, the movie follows the journey of the singer who was brutally killed at the age of 27 in an assassination along with his wife and two other band members. The movie is directed by Imtiaz Ali, who is known for his timeless romcoms and the way he approaches his subjects’ emotional depth and A.R.R. has done the music score. The duo is joining hands again after 9 years for Amar Singh Chamkila, which is yet another reason to watch the film. The movie has an ensemble cast including Diljit Dosanjh and Parineeti Chopra in the lead roles and Samuel John, Anjum Batra, Anurag Arora, and Nisha Bano in supporting roles

Where to watch: Netflix

5. Baby Reindeer

Based on a true story, Baby Reindeer is a must-watch series for its brilliant storytelling and gripping narrative. Trigger Warning should be given before each episode in this one, since you will be taken by surprise. It is an intense watch, but if you are fond of the thriller-crime genre, then this one is unmissable. Donny is an aspiring stand-up comic who is stalked by a woman named  Martha. It is as unnerving as it is funny, what’s Martha’s story? Does Donny have a soft corner for his stalker? The series is a deep dive into human emotions, trauma, ambition, etc. 

Where to watch : Netflix

6. She Said

Everyone remembers the sensational ‘Me Too’ movement, it was a redefining moment in global history. This movie is the story of 2 women, Megan Twohey and Jodi Cantor who worked relentlessly to get the story out in the world. The movie tracks the story of women who were sexually abused by the movie producer film producer Harvey Weinstein and how it was covered up by his company. This particular case gave rise to the Me Too movement where millions of women came forward and narrated their traumatic experience of workplace sexual harassment. 

Where to watch: Netflix

7. Dead Boy Detectives

A funny-horror series that’s interesting to watch, Dead Boy Detectives is the story of two ghosts who are solving mysteries for their fellow ghosts. It has its jump scares but it’s a quirky, fun genre that can be binge-watched over a weekend. What happens when there is a new joiner to their team? Do the supernatural beings agree with these boys’s ways? Well, these questions will be answered when you watch the series. 

Where to watch: Netflix

8. Ripley

Academy Award winner Andrew Scoot plays Tom Ripley, a series based on the book by  Patricia Highsmith. Tom Ripley is a con man, he is charming, handsome, wicked, intelligent, and yet, an enigma. When he is hired for his service by a wealthy man to convince his prodigal son to return home, he hatches a plan. He is enamored by the wealth, status and lifestyle and ends up stealing the identity of the son, Dickie Greenleaf. 

Where to watch : Netflix

9. Gaami

 Gaami is a Telugu adventure thriller written by Vidyadhar Kagita, an epic adventure thriller anthology taking place around three different parties: Shankar, an amnesiac Aghora on a journey to find Maalipatram, a cure for his fear of human touch, a terminally ill Durga and her daughter running away the grasp of evil village men, CT-333, a medical subject under captive in C.A.T, an illegal medical facility. How the trio’s paths collide and how they save each other out of their predicament is the rest of the story.  The movie’s cast includes Vishwak Sen, Chandini Chowdary Abhinaya, Harika Pedda Dayanand Reddy, Mohammad Samad, and Shanti Rao.

Where to watch: Zee5

10. What Jennifer did

What Jennifer did is a true crime documentary revolving around Jennifer Hann and her Vietnamese immigrant family. The story follows a horrendous incident that took place at the Hann residency in the spring of 2010 when a young Jennifer called 911 to report her parents being shot by three unknown intruders. Jennifers’ father’s testimony after his recovery from a brief coma shifted the entire direction of the case, revealing spine-chilling truths. To find out what happened watch the series this weekend.

Where to watch : Netflix

The tweet read  “Hey guys, been a while no?  Shall we do a quick round of Q&A? #AskMalavika and shoot your questions! “ While the majority of questions were positive and sweet, a few shady and insulting questions were thrown at her as well. But she retaliated immediately!

One such critic in X (Twitter) wrote “ When will you start acting instead of glamour shows #AskMalavika“ to which she replied “ Never. Got a problem with that?”

Never. Got a problem with that? https://t.co/1Y111hw7pK

— Malavika Mohanan (@MalavikaM_) April 29, 2024

Similarly, she stood up for herself when another user wrote “akka eppo acting class poorenga? ” (Akka are starting your acting class? ) to which she responded “I’ll go the day you become relevant in some form and then ask me the same question”

I’ll go the day you become relevant in some form and then ask me the same question https://t.co/LYqxYXBaOj

— Malavika Mohanan (@MalavikaM_) April 29, 2024

On Work Front

Malvavika Mohanan was last seen in Alvin Henry’s Christy alongside Mathew Thomas and has an interesting line up for films including Pa.Ranjith’s anticipated directorial Thangalaan, The Raja saab and Yudhra.

Kalyani Priyadarshan recently took to her X(Twitter) to post a tweet and her Instagram to post a story from the day 1 shooting of the film along with the caption, “And so it begins.. #OdumKuthiraChadumKuthira Day 1.. Very happy to associate with #AshiqUsmanProductions once again after #Thallumaala.. sharing the screen with the phenomenal #FahadhFaasil sir? Pure excitementttt!!!!… every moment on the set is a thrill 🫶🏻 See you in theatres this Christmas 🤍” The film is also said to have a star-studded cast including, Revathi, Dhyan Sreenivasan, Lal, Vinay Forrt, Suresh Krishna, Babu Antony, Johny Antony, Lakshmi Gopalaswamy, Anuraj, and Vineeth Vasudevan.

And so it begins.. #OdumKuthiraChadumKuthira Day 1.. Very happy to associate with #AshiqUsmanProductions once again after #Thallumaala.. sharing the screen with the phenomenal #FahadhFaasil sir? Pure excitementttt!!!!

Surrounded by this exceptional cast & crew.. #AlthafCSalim… pic.twitter.com/d4WZXaDFO3

— Kalyani Priyadarshan (@kalyanipriyan) April 29, 2024

On Work Front

 Her upcoming projects include Genie alongside Jayam Ravi. Fahad Fassil was last seen in the film, Aavesham alongside, Hipzster, Mithun Jai Shankar, and Roshan Shanavas. His upcoming projects include Pushpa 2: The Rule, Maareesan and Vettaiyan.

She recently took to her Instagram to share moments from her 10-day trek. Jyotika along with her friend went on a girl’s trip to Mount Everest where they climbed the Grand Summit Kala Pathar, which is considered to be one of the most challenging hikes in the Everest region with an altitude of 18,514 ft, once again setting the bar high. In her last reel, she shared her overall experience of the trek whilst also thanking the people who helped her on the journey.

“From the Sunny days to the chill freezing nights,
From the steeps climbs to the slippery falls.
From the weakness and medicines to the strength and grit,
From the constipation to the diarrhoea,
From the hot water flask to the cold sleeping bag,
From the laughters to the confusions ,
From the black jack games to the white snow storm,
From the ginger tea to the garlic soups,
From the toilet paper to the nuts we shared.
From the paintings we bought to the real hues we witnessed,
From the most pristine sunrises to the most magical sunsets –
All will always remain a memory in my heart !
We, my soldier friend have truly overcome a Himalayan task!!!
Let’s take pride in ourselves for living our life , there’s only one ! ”

She has also shared a few glimpses from EBC (Everest Base Camp) in an adorable reel. The reel consisted of fun compilations of pictures and videos from their overall itinerary including their stay, duo dancing amidst the woods and much more heart-warming moments. 

 

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On the work 

After the success of her previous film Shaitaan , Jyotika is gearing up for her next film alongside Rajkummar Rao, Srikanth which will be based on the life of Srikanth Bolla. She will also be seen in Netflix’s Dabba Cartel which has a stellar cast Shabana Azmi, Jyotika, Shalini Pandey, Sai Tamhankar, Nimisha Sajayan, Anjali Anand, Gajraj Rao, Jisshu Sengupta and others. 

The actor recently took to her Instagram to reveal the motion poster and a poster of her upcoming film, “Bangaram”. Samantha has also taken up her new role as a producer, introducing “Tralala Moving Pictures”. The actor posted with the caption, “Not everything has to glitter to be golden ✨… Something’s cooking 😁”

 

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On Work Front

She was last seen in the movie Kushi (2023 alongside Vijay Devarakonda, Rohini, and Jayaram. The film revolves around a young man who grows up in an atheist household and falls in love with the daughter of his father’s arch-rival, a devout Hindu leader. Her upcoming projects include Citadel. Samantha also hosts a health podcast named Take20 where she talks about her Myotisis disease.

Nayanthara 

Nayanthara is redefining her style with every look, one day she is dressed in a light organza saree with flowers in her hair, all traditional, and the next, she is wearing a body-hugging, plunging neckline black dress. Her fashion game is on and it’s a testament that she can pull off anything. The dress is by the designers Gauri and Nainika and the jewellery is by Bulgari. The sleek back hair and clean-girl makeup are what add the oomph to the overall look. 

Samantha Ruth Prabhu

We love a look that has a story behind it. This black dress is repurposed from her white wedding dress which was designed by Kresha Bajaj. The entire look is very bold and fashionable, Samantha knows how to rock an edgy ensemble. Her look seems inspired by retro elements, the embellished choker, side-swept curls, rose cheeks, and nude pink lips. 

Keerthy Suresh

Turning heads in an exquisite saree, Keerthy Suresh donned this outfit for director Shankar’s daughter’s star-studded wedding. The saree is from the house of Tarun Tahiliani and costs a whopping amount of almost 3 lakhs. The saree is adorned with phulkari embroidery that’s elevated with the use of sequins, kundan, zardozi, etc. The half up half down hairdo, statement blouse, victorian earrings and glamourous makeup tied the whole look together. 

Rashmika Mandana

Rashmika attended the Heeramandi premiere in Mumbai in this sea-green Anarkali, keeping the look pretty and straightforward. She looked like royalty in this monochrome ensemble. She paired the heavily embellished attire with earrings to match but the hair and makeup were very minimal yet complementing. 

Mrunal Thakur

Mrunal Thakur is the poster child for body positivity at the moment, she is wearing it all, showing off all her curves and inspiring millions of girls in the process. She also attended the Heeramandi premiere in Mumbai and was spotted wearing an off-white saree. The saree and blouse are from the designer Mrunalini Rao’s latest collection. The ivory georgette saree has intricate bandhani embroidery and a stunning scalloped border all over. 

 Aditi Rao Hydari

Aditi Rao is a vision in this bottle green saree from Raw Mango. She exudes royalty in this look, with jhumkas as earrings and malli poo in her hair tied in a bun. Aditi can carry anything with style and grace. But we love her ethnic looks the most, the fresh face, bold lips, tiny bindi and everlasting charm.

Suhail from Lover

While everyone talks about the toxicity in the film, Harish Kumar as Suhail is a great example of a mentally mature man. “Who am I to give her the freedom? Her freedom is hers and my freedom is mine,” with this one dialogue, Suhail silenced everyone talking about ‘giving’ freedom to women. Suhail is self-secure, respects other’s boundaries , and truly understands what means to respect the one you love. Contrary to how Arun is in a relationship with Divya, Suhail is straightforward in saying, ““You wouldn’t have done what you did if you had loved her” since Arun was controlling and suffocating Divya in their relationship. 

Ramesh from Good Night

Standing by your partner during tough times is the backbone of a relationship. A marriage goes through ups and downs, but a couple that faces their hardships as a team comes out victorious and happy. Even though his character keeps quiet when everyone around him are nagging them to have a child, his priority was to ensure that his partner is happy and mentally at peace. In the later part of the film, when Maha goes through a miscarriage, Ramesh’s concern is Maha’s wellbeing, he tries to help her with the grief while also dealing with a broken heart himself. 

Prithvi Raj from Mozhi

Prithvi Raj as Karthik from Mozhi was a such a refreshing change from the quintessential Tamil hero of that time. There was a template for Tamil heroes which he disrupted and became one of the most liked and appreciated characters. Karthik respected Archana’s boundaries, he ensures that she felt safe around him but did not pry into the space she needed to feel comfortable. He understood her need for reassurance, her need for emotional security but never came off as forceful or pushy. He understood her in a way that no one else did and that’s what won her in the end. 

Dr. Tamizhnadan from Pasanga 2

Suriya as Dr. Tamizhnadan in Pasanga 2 is a character that doesn’t get enough credit for what he does and who he is. In a society that is conditioned to raise kids with strict discipline and control, he decides to change the rules. A healthy and open environment at home helps raise kids that are self assured, content and happy. He fosters an environment where everyone is free to express themselves, lets the kids be themselves and that’s what nurturing is all about. He initiates open expression of love as he himself shows affection towards his wife Venba openly and unabashedly.

Viraj from Hi Nanna

Nani as Viraj from Hi Nanna is a dream partner, he is expressive, empathetic, loving, understanding and persistent, but in a healthy way. The best part about this character is that he is flawed too, he is real, he owns his mistakes, is apologetic when he is in the wrong. Varsha had some strong views on love, owing to her parents failed marriage, her fear is understood by him. He reassures her, gives her the emotional security to make her believe that love and family could heal her from her trauma of her past. 

Giri from Ohm Shanthi Oshaana

Nivin Pauly as Giri from Ohm Shanthi Oshaana was a heartthrob when the movie came out, he was the typical older, handsome, dashing young man that girls wanted to be with. Pooja’s infatuation and affection for him is evident to him, but he doesn’t accept her proposal at first, he wants her to focus and succeed in her career as a doctor.  Later, when he realizes that she still feels the same way towards him, he confesses his feelings towards her. In a society where women’s careers aren’t given much importance, Giri puts her career before their feelings for each other and makes sure that she doesn’t compromise or get distracted from her career because of him.

The President of India took to their X(Twitter account) to post about the winners of the honorary awards. The President of India tweeted a picture of Usha Uthup receiving the award along with the caption, “President Droupadi Murmu presents Padma Bhushan in the field of Art to Smt. Usha Uthup. She is an internationally renowned singer. Her music has charmed generations of Indians through her unique style of singing.” The singer also took to her Instagram to post a picture of her at the awards’ red carpet along with the caption, “Graced by the honor of receiving the Padma Bhushan Award in New Delhi. Deepest gratitude to each one of you for your unwavering support and encouragement……”

President Droupadi Murmu presents Padma Bhushan in the field of Art to Smt. Usha Uthup. She is an internationally renowned singer. Her music has charmed generations of Indians through her unique style of singing. pic.twitter.com/gNq326hGld

— President of India (@rashtrapatibhvn) April 22, 2024

 

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Padma Subrahmanyam is a prominent Bharatanatyam Dancer widely known for reviving several forgotten elements of Bharatanatyam including ancient temple dance forms, received the Padma Vibhushan Award from the President, Droupadi Murmu. The President of India tweeted a picture of Padma Subrahmanyam receiving the award along with the caption, “President Droupadi Murmu presents Padma Vibhushan in the field of Art to Dr. Padma Subrahmanyam. She is an internationally acclaimed Bharatanrityam dancer and an Indic scholar. Dr. Subrahmanyam has bridged the gap between the history, theory and practice of Bharatiya Sastriya Natana.”

President Droupadi Murmu presents Padma Vibhushan in the field of Art to Dr. Padma Subrahmanyam. She is an internationally acclaimed Bharatanrityam dancer and an Indic scholar. Dr. Subrahmanyam has bridged the gap between the history, theory and practice of Bharatiya Sastriya… pic.twitter.com/FNuWWZUO0r

— President of India (@rashtrapatibhvn) April 22, 2024

Hailing from humble roots, Aishwarya Rajesh has carved herself as one of the most versatile and critically acclaimed actors in the South film industry. Know for her diverse repertoire of films and valiant selection of roles, Aishwarya, who started her career in Kollywood has also been scouted by directors from the Malayalam film industry and the Telugu film Industry.  The Kakka Muttai actor is now all set to make her debut in the Kannada film industry. The movie is titled Uttarakaanda, an action drama directed by Rohith Padaki. Aishwarya will be playing the role of Durgi, one of the main leads and the love interest of actor Dhananjaya. The movie also has a stellar cast including Shiva Rajkumar, Dhananjay, Diganth, Ramya, and Chaitra Achar. She recently took it to her Instagram today to share this news with her followers, she posted her character reveal poster along with a picture with the director of the film, Rohith Padaki, and her co-actor Dhananjaya.

 

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On workfront

The actor was last seen on DeAr and has an interesting line up of films in Tamil and the malayalam film industry including Karuppar Nagaram,Mohandas,Theeyavar Kulaigal Nadunga,Ajayante Randam Moshanam and Her 

 

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Recently, Aparna Das took to her Instagram to share a sneak peek from the Haldi ceremony, along with the caption, “Golden moments, captured in turmeric bliss. ✨”. The actor also posted a reel of her Haldi ceremony, along with the caption, “In a world of colors, let love shine the brightest✨”

 

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On Work Front

Aparna Das was last seen in the Malayalam film, Secret Home starring, Shivada Nair, Anu Mohan, and Chandhunadh. Her upcoming project includes Anand Sreebala. Deepak Parambol was last seen in the Malayalam film, Varshangalkku Shesham starring Pranav Mohanlal, Dhyaan Sreenivasan, and Nivin Pauly. His upcoming project includes Jananam 1947 Pranayam Thudarunnu and Dear Exes.

Sharmila and Praveen eloped and married last year in October since her family didn’t approve of their relationship and was looking for grooms to marry her off. When Sharmila’s parents filed a missing complaint at the Pallikaranai police station, the couple came with their registered marriage certificate.

On February 24th, Praveen was killed by Sharmila’s brother and 4 others who belonged to a higher caste than Praveen. The accused were arrested by the police under murder charges.

According to the reports, Sharmila refused to consume food and water since Praveen’s demise and was on IV fluids. On April 14, 2024, Sharmila attempted to kill herself but was rescued and was admitted to a private hospital for treatment. On April 15th, her family shifted her to Rajiv Gandhi Government General Hospital.

Sharmila stopped responding to the treatments and passed away on Monday, 22nd April 2024. According to the reports, the family is requesting a CBCID probe as they find her death to be a police negligence.

 It’s heartening to see such conversations on cinema becoming mainstream, and contrary to popular opinion, such discussions don’t “kill” cinema; they contribute to a culture where people engage with the art form seriously. This article is an addition to the discourse. 

Premalu is about an aimless, frustrated youth named Sachin (Naslen), who falls in love at the drop of a hat. When his dream of going to the UK fizzles out, he joins his friend Amal Davis for GATE coaching classes in Hyderabad. In the new city, he meets Reenu (Mamitha Baiju), an IT professional, and loses his heart to her immediately. 

Reenu and her friend Karthiga (Akhila Bhargavan) are friendly with the boys, but while Karthiga is interested in Amal Davis, Reenu doesn’t view Sachin romantically. This is because of a failed relationship in her past, and her current idea of a perfect man – someone who is successful and well-settled. Meanwhile, Reenu’s team leader at work, Aadhi (Shyam Mohan) develops feelings for her and Karthiga is rooting for Reenu to reciprocate. But, Reenu isn’t interested in him either. 

When Sachin finally tells Reenu that he likes her, she rejects him. He’s heartbroken and cold shoulders her when she tries to make him feel better. Eventually, when he’s about to leave for the UK, Reenu realises that she too has feelings for him, and they get into a long distance relationship. 

What many find problematic about this depiction is Reenu’s turn-around. Does she really love Sachin or has she been guilt-tripped into feeling that way? 

Why must she, a young woman who has her life sorted out, fall for a man so unworthy?

These are indeed valid questions, but it’s also necessary to see how a writer-filmmaker builds a story and tells it. Love stories are messy, and if art must mimic life, on screen romances should be allowed the freedom to have imperfect characters doing imperfect things in a relationship. What’s important is their place in the narrative and how we’re meant to view these actions. 

In a gender segregated society where it’s hard for young people to meet and interact without drawing the disapproval of older adults, many romances do start with the idea of pursuit. That is, a young man going after a woman he’s attracted to and “wooing” her. Where this becomes problematic and dangerous is when he’s unable to take it if she doesn’t consent to the relationship and rejects it. Stalking is a pattern of repeated and unwanted attention that makes the victim feel fearful. 

For example, in Selvaraghavan’s 7/G Rainbow Colony, Kadhir (Ravi Krishna) continues to pursue Anitha (Sonia Agarwal) though she’s clearly told him that she isn’t interested. He follows her around, touches her without her consent, and insists that she reciprocates her feelings for him. However, though he doesn’t respect her boundaries, the narrative has Anitha falling for Kadhir. The narrative rewards Kadhir for his behaviour and glorifies it as “sincere” love. 

In contrast, when Karthiga calls out Sachin and Amal Davis for following the girls wherever they go, the men stop it. At the scene in the pub where Karthiga, Sachin and Amal have a conversation about Sachin’s feelings for Reenu, Karthiga clearly labels what they’re doing as stalking. While Sachin doesn’t understand what that means, Amal does and tells him that they have to stop. 

After that, Sachin does not contact Reenu. It is she who calls him to deliver lunch at her workplace, and that’s how they get back in touch. At this point, Reenu does not know how Sachin feels about her. She likes him as a friend and is puzzled when he drops off the horizon. Here, the narrative recognises the behaviour for what it is and Sachin is not validated for doing it. 

Many films have shown young, beautiful and successful women falling for men who don’t seem worthy of their attention. Worse, many of these films also have the man humiliating the woman in some way – physically or verbally – to put her “in her place”. Usually, the woman then bizarrely develops feelings for the man. For example, in Sivakasi (2005), Asin’s character, falls in love with the hero (Vijay), after he justifies a rowdy sexually assaulting her by calling attention to her clothes.

In other instances, the man’s humiliating behaviour is glorified as love even if the woman objects to what he’s doing. The premise of Baby (2023), for instance, is a couple from an underprivileged background growing apart after the woman joins an engineering college and wants better things in life. While there is exactly one scene where she’s allowed to question the hero for calling her a slut, the rest of the film is completely one-sided and justifies the violence unleashed on her. It is as if a woman can’t change her mind about a relationship and what she wants out of it. The narrative deliberately builds a world of sin and deceit around her just because her dreams have changed. 

In Premalu, on the other hand, Sachin does not resent Reenu’s independence or the obvious fact that she is better positioned in life. Reenu likes being the nurturer in a relationship. In the scene on the terrace with her friends, she talks about how her ex-boyfriend did not like her “caring” for him. But not only does Sachin enjoy being taken care of, he also reciprocates it. When Reenu has a tummy upset, he goes to great lengths to get her some medicine. She’s surprised by what he does and tells him that no friend of hers has ever done something like this for her. In the climax, too, it is Reenu who saves Sachin from Aadhi’s goons. She is a nurturer, but not in the conventional sense. She has agency of her own and isn’t a damsel-in-distress.

It’s also clear that despite being popular, Reenu feels lonely. She sticks to Karthiga but when Karthiga decides to move to Bengaluru to be with her fiance, Reenu feels left out. She wants someone for herself, but since she has a certain ideal man in mind, she does not consider a relationship with Sachin as a serious prospect. It takes her time to acknowledge her feelings for this goofy young man who seems to be the opposite of her Mr Ideal. 

We also get a bit of background to explain why the characters might be like this – Sachin’s parents are forever fighting and can’t see eye to eye on anything. Reenu’s parents are the mushy sort and they make reels together for social media. Sachin is used to being pushed around by others and failing at everything. Reenu is used to doing things for others and never expecting anything in return. They’re very different but also similar in their craving for love and acceptance. The writing doesn’t push two generic characters at the viewer, asking us to accept them and their actions only because one is a man and the other is a woman. Instead, we meet individuals with their own traits and personalities that drive them towards each other.

It is true that Sachin reacts in anger when Reenu rejects him. Later, she is sorry about what she said about him being rejected multiple times. But is this gaslighting? Gaslighting in a relationship is when one partner manipulates another to question their own judgement, reasoning and sanity. Here, Reenu is initially annoyed when Sachin proposes to her because she hasn’t seen him that way. But is it only guilt that makes her reconsider? That would be the case if none of the other scenes that set the context and trajectory for their relationship had been present. 

It’s normal for people to go back and forth about their feelings in a relationship, and to be confused about how exactly they see another person. From Jane Austen’s Pride and Prejudice to Girish AD’s Premalu, that is indeed the template for a solid romcom. It is also normal for people to say hurtful things to each other, apologise and make up. Depicting this as such shouldn’t be viewed as gaslighting which is a lot more insidious and criminal.

Moreover, Sachin does not threaten or harm Reenu in any way because of the rejection. He tries to move on. In the end, too, when they become a couple, neither of them “sacrifices” anything to be together. They decide to try out a long distance relationship and see how it goes. The love between them is perfectly ordinary, and it isn’t glorified in any way. It’s possible for them to break up a few months down the line, too.

If characters were perfect from the beginning to the end, there would be no such thing as a character arc in a story. They must be allowed to make mistakes and stumble through the chaos to arrive at clarity. This is especially true of the romcom genre. After all, there is no relationship without drama. 

Recently there was a video that went viral where 3 little girls are dancing to Samantha’s popular item number ‘On Antava’ at, what looks like a wedding. At first glance, you will find the video to be the ‘ cutest thing you would see on the internet’ but then it strikes you, do kids need to be performing songs such as these at a public function? Isn’t this a way we unknowingly sexualize the little ones which could have serious implications? Is being relevant and popular on social media more important than a child’s safety? Can we please let kids be kids?

The movie industry is meant for entertainment, yes. The songs that are meant to go viral are heard by everyone, adults and children. While the children may not entirely understand the meaning of the song they are dancing to, the parents most certainly do. With suggestive lyrics, pelvic thrusts, sensual expressions and bold dance moves, the children start to mimic what they see. A song such as the one in question is a titillating dance number which is not meant for kid viewing. From viewing the song to getting them to perform on it, from it going viral to celebrities sharing and appreciating it, have we lost our sense of awareness? Does no one understand how a ‘cute’ video could become the most threatening thing for a kid. 

Are we, as a generation, failing to understand the consequences of these actions? Social media started for leisure but now has purely turned into a marketing platform. So everyone is trying to sell, everyone is trying to go viral and everyone wants their content to reach millions. Nothing wrong with that, it is meant to be a platform for all of the above and more. But what we aren’t paying attention to are the people who are sitting behind these phones who could be predators. As adults, we are fully compliant with what we share on social media. But putting our kids out there without understanding the dangers related to it is a risk not worth taking. 

Kids dancing and thrusting to songs that are meant for objectification are what these predators are actively looking out for. We must be more mindful about these things. What you might think of as a ‘harmless dance video’ might be fodder for those pedophiles sitting on the other side of the phones. 

We feel emotional when we watch a film or a documentary about child sexual abuse. Siddharth and Nimisha starrer Chithha was one of the most important films to release last year. Everyone appreciates the initiative and applauds Siddharth’s speech about starting a conversation about the sexual abuse of women and children. But we scroll and move on to the next reel, which ironically could be of a kid dancing to songs inappropriate for her age and stage. But do we react? Does it bother us? Or will our conscience feel something only where things have gone too far? 

The problem of child abuse is rampant across the world. It’s a topic that no one openly talks about, and it’s so common that it’s disheartening. How have we brushed this under the carpet for so long? Did you know that 1 in 3 girls and 1 in every 8 boys have been abused sexually? 

The statistics might seem alarming but the truth is scarier than fiction. Let’s be more cautious about the kind of content we consume, share and even upload. 

“By the one n only @anuvardhan U r just the best 🤍🤍”

 

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In the picture, Nayanthara can be seen wearing a carefully crafted cream tissue saree along with a graceful pearl choker paired with a simple pair of studs, resulting in a timeless and classy ensemble.

On the workfront 

The actress was last seen in the film  Annapoorna: The Goddess of Food and last has an exciting film lineup including Thani Oruvan 2, Test and Mannangati : Since 1960. The actor will also be seen in Nivin Pauly’s next, Dear Students, joining hand with the actor for the second time five years later thier last film, Love, Action,Drama.

Also Read : 5 times Nayanthara slayed the Traditional Look!

A junior artist shares some details about #Ramayana from the sets .
The shoot has begun with #RanbirKapoor a few days back pic.twitter.com/EVmjX3yarQ

— Crown_Kapoor 🪓🐢 (@Crown_Kapoor) April 14, 2024

 

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On Work Front

Sai Pallavi was last seen in the film, “Gargi”. Her upcoming projects include Amaran alongside Sivakarthikeyan and Thandel alongside Naga Chaitanya. Ranbir Kapoor was last seen in “Animal” alongside Rashmika Mandanna.

 

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 On Work Front

Other than Vishwambhara, Trisha has an exciting lineup of movies including  Maniratnam’s Thug Life, Ajith’s Vidaa Muyarchi and Mohanlal’s Ram.

DeAr

DeAr, starring G. V. Prakash, Aishwarya Rajesh, Rohini, and Kaali Venkat is a romantic drama that revolves around the challenges the newlywed faces when the husband is a light sleeper and the wife has a snoring problem. Written and directed by Anand Ravichandran, “DeAr” is about how the couple finds a middle ground and moves forward with their relationship. 

Romeo

Romeo, written and directed by Vinayak Vaithianathan is a romantic comedy that revolves around the arranged marriage of a couple wherein the bride gets married because she’s forced to and she makes it clear to the groom. The groom agrees to it and tries to win her heart over after their marriage. Romeo, starring Vijay Antony, Mirnalini Ravi, Yogi Babu and VTV Ganesh. 

Marivillin Gopurangal

Marivillin Gopurangal directed by Arun Bose is a Malayalam drama that revolves around the polarities of two couples where one of them is married and doesn’t plan on having kids yet and the other is having kids but doesn’t plan on getting married yet. The movie starring, Indrajith Sukumaran, Vincy Aloshious, and Sarjano Khalid showcases the challenges faced by these two couples in society.

Aavesham

Directed by the Romancham fame, Jithu Madhavan, Aavesham is one of the most anticipated movies to be releasing this week. The movie has Fahadh Faasil in the lead role and Ashish Vidyarthi, Sajin Gopu, and Mansoor Ali Khan in the supporting roles. The story revolves around 3 college kids who get into a feud with their seniors and the three seek the help from the local gangster, Ranga to get back at them. The rest of the movie holds a sequence of events that are result of the boys meeting Ranga. 

Varshangalkku Shesham

Directed by Vineeth Srinivasan, Varshangaluku Shesham is a period drama revolving around two friends Murali and Venu, who arrive at Kodambakkam, the epicenter of filmmaking in 1970’s, with hopes and dreams of making it in the big dream. The movie has Pranav Mohanlal, Dhyan Sreenivasan, and Kalyani Priyadarshan in the main roles along with  Basil Joseph Aju Varghese, Neeraj Madhav, and Shaan Rahman in supporting roles. Actor Nivin Pauly will also be making an extended cameo in the movie.

Jai Ganesh

Directed by Ranjith Sankar, Jai Ganesh revolves around Ganesh Gangadharan, a paraplegic young man who is a graphic designer by day and a part-time detective by night. Ganesh is also the creator of a superhero Comic called “ Jai Ganesh” which is a reflection of his desire to lead a normal life oblivious to the golden egg he has been sitting on himself. The movie has Unni Mukundan and Mahima Nambiar in the lead roles and  Ravindra Vijay, Jomol, Hareesh Peradi, Ashokan, and Nandhu in supporting roles.

 “ 18 years of togetherness as friends, couple, as parents and well-wishers to each other…The journey has been of growth, understanding, adjusting, and adapting…Today we stand at a place where our paths separate…Aishwaryaa and I have decided to part ways as a couple and take time to understand us as individuals for the better. 

Please do Respect our decision and give us the needed Privacy to deal with this”

The couple met each other in a theatre at the screening of Dhanush’s Kadhal Kondaen, followed by which Aishwarya  Rajinikanth sent him a bouquet as a token of appreciation with a note that read “Good work, Keep in touch”, the duo immediately hit off from there. In 2004 they tied the knot and welcomed their first child Yatra in 2006 and Linga in 2010. After 18 years of marriage, the couple decided to part ways for unknown reasons. 2 years after the official announcement, Dhanush and Aishwarya have recently filed for Divorce by mutual consent at the Chennai High Court. Amidst the divorce, the former couple still maintain an amicable relationship, speaking positively about each other in media interviews and attending their children’s school meetings and events together.

 Ever since she joined Instagram last August, the Naanum rowdy thaan actress has been sharing a lot of sneak peeks from her personal and professional life. Nayanthara and Vignesh Shivan welcomed their baby Twins, Uyir and Ulagam on 26th September 2022. The actress recently reshared an adorable picture of her from childhood along with a picture of her son with the caption “Like mommy, Like son”. The mother-son duo looks striking similar and wholesome in the picture!

On Workfront :

Actress Nayantara needs no formal introduction, her Bollywood debut film ‘Jawan” in 2024, she has established herself as one of the most bankable actresses in the whole South film industry. The actress also turned into an entrepreneur in 2021 after launching her skincare brand  9skin and female hygiene brand Femi9.

The actress was last seen in the film  Annapoorna: The Goddess of Food and last has an exciting film lineup including Thani Oruvan 2, Test and Mannangati : Since 1960.

Amala Paul’s wedding to Jagat Desai was an intimate family affair but she shared every bit of the wedding festivities with her fans and followers via Instagram. She had taken a sabbatical from the public eye for a brief period, embracing the gypsy life in Kerala. She has been very vocal about living a sustainable life. She is often seen posting snippets from her life where she gives us an insight into what kind of life she lives. Her posts are mostly raw and filter-free, a quality we appreciate in public figures who like to keep it real.

 

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Her recent film Aadujeevitham, starring Prithiviraj and her in the lead is one of the best films to release this year. The audience and critics have given raving reviews for the film. We are looking forward to more power packed performances from the actress, but for now her pregnancy fashion is what we are truly enjoying.

Recently, a video of her performing housewarming ceremonies for her new house went viral. In the video, the actor was seen with her mother at the housewarming ceremony along with a few of her closest relatives attending the housewarming ceremony.

On work front

The actor was last seen in the film, Yodha starring Sidharth Malhotra, Raashii Khanna, and Disha Patani in the lead roles is an action thriller film, written and directed by Sagar Ambre and Pushkar Ojha. Her upcoming projects include Aranmanai 4, The Sabarmati Report, TME, and Methavi.

Pammal K Sambandam

Pammal K. Sambandam is a comedy-drama directed by Moulee, starring Kamal Haasan, Simran, Abbas, and Sneha is a story of how Dr. G. Janaki tries to rectify a major mistake she makes while performing surgery on Pammal K. Sambandam. Simran as Dr. G. Janaki is a combination of hilarious and bold. Dr. G. Janaki’s characterization is bold, strong, and career-oriented, one who isn’t afraid to speak her mind but also someone who is equally vulnerable only to the ones she loves and trusts. Janaki is also a friend who doesn’t support one’s delusions and gives them a reality check when needed. Her character arc goes from hating Pammal K. Sambandam or romantic relationships in general to falling for him and becoming one of the hopeless romantics is something every woman could relate to. In short, Dr. G. Janaki is one of the remarkable and relatable characters of Simran.

Priyamanavale

Vijay, the son of a wealthy man, agrees to an arranged marriage with his father’s personal assistant, Priya, on the condition that he will only stay married for a year. Priya’s characterization goes from being a loving and caring woman to a bold, independent, and selfless woman who would go above and beyond for the people she loves. Initially, Priya disagrees with the one-year marriage contract but since she has a family who is dependent on her, she agrees and steps into the marriage life with Vijay. By the end of the one year, Vijay decides to end the marriage leaving Priya devastated. Priya picks herself up after Vijay leaves her and continues to lead her life without needing a man’s help. Priya’s character is an inspiration to those who are let down by people multiple times and yet continue to pick themselves up and become better versions of themselves.

Vaalee

Vaalee, featuring Ajith in double action, Simran, Jyothika, and Vivek, is written and directed by S. J. Surya. The story revolves around Deva, who has hearing and speech impairment. Deva falls in love with his twin brother’s wife and tries to separate them to win her over. Simran as Priya in this film is a free-spirited young woman who has certain expectations of the man she wishes to marry. Priya’s characterization shifts before marrying Shiva and after marrying him and having to go through the emotional turmoil Deva puts her through is beautifully portrayed by Simran. Even today, Simran’s portrayal of Priya in Vaalee remains etched in the people’s hearts.

Thullatha Manamum Thullum

Thullatha Manamum Thullum is a romantic drama starring Vijay and Simran in the lead roles. The story revolves around Kutty who is in love with Rukmani, where an unfortunate incident brings them together but also puts their relationship in jeopardy. Rukmani is portrayed as a kind-hearted and innocent young woman with a strong sense of self-respect. She comes from a humble background and works as a salesgirl in a textile shop. Despite facing hardships in life, Rukmani maintains a positive outlook and believes in the power of love and goodness. Rukmani becomes vision impaired for a period of time during which Kutty helps her through. Her sudden vision impairment doesn’t stop her from moving forward with her life. With the help of Kutty, Rukmani gets her vision back and decides to become a collector and succeeds. Rukmani is one of the prime examples of never giving up no matter what life throws at you. Simran portrayed Rukmani’s character so beautifully that the audience still remembers it.

Mahaan

Mahaan, written and directed by Karthik Subburaj is an action thriller film starring Vikram, Simran, and Dhruv Vikram in the lead roles. The story is about Gandhi Mahaan, a commerce teacher who decides to rebel against his family’s expectations and lead his life differently at the age of 40. Simran as Nachi in this film might have a little screen time but her character created a huge impact on the character arc of Gandhi Mahaan, her husband, and Dadabhai Naoroji IPS, her son. Nachi played a huge role in Gandhi Mahaan’s decision to stop pretending and live his life the way he wanted to and Dadabhai’s decision to become a police officer to seek revenge for what his dad did to him and his mother.

Kannathil Muthamittal

Kannathil Muthamittal is ultimately Simran’s best work in her entire career. Directed by legendary Director Mani Ratnam, Kannathil Muthamittal is one of the finest evergreen classics that doesn’t fail to leave an impact no matter how many times you watch it. Even after 22 years after its release,the movie is still cherished and celebrated by the Tamil audience. The plot revolves around Amutha, a chirpy young girl who discovers that she is adopted. A very lost Amutha starts a journey to find her biological mother with the help of her adoptive parents, Thiruselvan (Madhavan) and Indira Thiruselvan. Indira Thiruselvan played by Simran holds a very crucial role in the movie. Indira is a newsreader and mother of 3. She is witty, smart, caring, audacious and always speaks her mind.  Simran effortlessly embodies the essence of a pining mother who wants the best for her daughter yet is afraid of losing her to her biological mother. Simran’s depiction of Amutha’s mother is so convincing that in certain scenes, she conjures viewers’ memories of their own mother. 

Jodi

Simran’s Jodi is one of the most memorable romantic movies of Tamil cinema, the film was critically appreciated for its unique plotline and music score. The story revolves around a young couple Kannan (Prashanth) and Gayathri (Simran)  belonging to families that are deadset against the idea of love, the duo cooks a unique plan to get their family’s approval, How do they do it? & Will they succeed is what the rest of the movie is about. Simran’s character Gayathri is an ambitious Music student. She is Kind, playful, brave, and goes above and beyond for her Love. Simran’s memorable performance in the movie Climax was widely applauded. She delicately portrays the angst of a woman who is torn between her family and her love. 

Panchathanthiram 

Simran’s character, Mythili in Panchathanthiram stands as one of her Career’s iconic roles. Panchathanthiram is a classic comedy directed by K.S. Ravikumar. The film revolves around Ram (Kamal Haasan) and his 4 friends who try to help him move on as his wife, Mythili (Simran) has applied for a divorce. She is a quintessential South Indian wife with adorable quirks and amusing reactions, she sends everyone into fits of laughter. Mythili always shows up at the wrong place at the wrong time and ends up misinterpreting Ram’s act. Mythili is funny, flawed, independent, and endlessly dramatic. All the more reason to love her !

Vaaranam Aayiram

GVM’s Vaaranam Aayiram has redefined love, life, and family for many. Simran’s character in the movie, Malini, is the love interest of Krishnan (Suriya) and the mother of Suriya (Suriya). Krishnan and Malini together illustrate a healthy relationship that was alien to most of the Tamil Audience at the time of the movie’s release. Malini is soft, and graceful and exudes warmth and love. She also played a prominent role in shaping Suriya’s charcater as a man who upholds chilvarly, respects women and embraces his feminine side.

Petta

Petta marks Simran’s first project with Superstar Rajinikanth. Petta revolves around Kaali (Rajnikanth) a newly appointed Boys Hostel warden on a mission to protect his late best friend’s son, Anwar. Simran plays the role of Mangalam. Mangalam is a pranic healer and a single mother taking a second chance at love. Even with a little screen time, Mangalam’s character manages to captivate the audience with her amiable presence. Simran carries the same charm in Petta that she had in the 90’s. Even after 29 years in the industry,her energy is truly unmatched and unparalleled.

A week ago, actor Revathy took to her Instagram to post about her debut film, Mann Vasanai with a picture of her from the film along with the caption, “Mann Vasanai, my first film in 1983, almost 41 years back. This was the promotion photograph taken that came on the cover of Kunkumam. A Bharathi Rajaa film, Iliaya Rajaa music, written by Panchu Arunachalam, B Kannan cinematography, Lyrics by Gangai Amaran and Panchu Arunachalam… with new faces Revathy and Pandian!!! In 1983, nothing could be bigger. I was blessed and am grateful for all the adoration that the film ran for 365 days in Shanti theatre in Madurai. Those were the days 🙏🏾. Chitra Lakshmanan’s first film production, I thank him for sharing this photograph.”

 

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Recently, the actor shared another photoshoot picture from her debut film as an actor in Mann Vasanai in 1983 on one slide and her debut role as a director in the film Salaam Venky in 2022 on the other slide, along with the caption, “Mann Vasanai promotional cover page in 1983 and working still from Salaam Venky in 2022. Photographs speak volumes – it says it all from a new face actor to a director. What a journey!!! 🙏🏾”

 

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U-turn : On Prime Video

Directed by Pawan Kumar, Samantha’s U-turn is an engaging watch filled with mind-blowing twists and turns. The story revolves around Rachana (Samantha), an intern journalist investigating an incident that takes place on a specific flyover which soon turns into a nightmare as all the people who violate a small traffic regulation by taking a U-Turn on a closed road end up dead by committing suicide, one after another. Rachana’s involvement in the investigation gets her entangled in a series of mysteries, troubles, and accusations. How will Rachana prove her innocence and figure out the reason behind the suicide forms the rest of the film. The movie beautifully depicts how even a little harmless act can cause all hell to break loose. Samantha’s characterization in the movie is bold, independent and very  much scared by all the mysterious phenomena happening around her but still goes out of her ways to seek truth and saves lives

Game Over : On Netflix

Disclaimer to faint hearts, this psychological thriller is an intense one to watch. With Ashwin Saravanan’s perfect execution and Tapsee’s dynamic and convincing performance, the movie will have you at the edge of your seats. The plot revolves around Swapna, a game developer with severe PTSD from being sexually assaulted, as a result of her PTSD Swapna is terrified of darkness but to her misfortune, she is soon put into situations where she has to befriend darkness in order to survive. With a traumatic past, a serial killer on the loose, her anniversary reaction( a condition which triggers memories from a traumatic event on its anniversary), and three mysterious tattoos, Swapna has a lot to cope up with but lucky for her she’s got three lives. Is the Game over? Watch the movie to find out!

Snegithiye : On Amazon Prime and Disney + Hotstar

Snegithiye is an underrated masterpiece way ahead of its time. In an era where female agency in movies was almost non-existent, Priyadarshan decided to break the norms by making a murder mystery revolving around female characters. The movie predominantly revolves around Vasu and Radhika, two best friends pursuing their education in a reputed women’s college in the City. When Radhika’s Aunt, Malathi forces her to marry someone, the duo comes up with a plan to escape the arrangement by making Malathi believe that she already has a boyfriend. This harmless plan soon turns ugly when this made-up boyfriend, Ramesh, enters their life and gets killed by someone when he meets the girls. The movie celebrates female friendship and empowerment and has a dazzling cast including Jyotika, Sharbani Mukherjee, and Tabu in the main roles and Lakshmi, Manorama, Sukumar, Prema Narayanan, and Ishitta Arun.

Imaikka Nodigal : On Amazon Prime

Just as the title implies the movie doesn’t let you blink! Directed by the Demonte Colony fame Ajaya Gnanamuthu, Immaika Nodigal has the right mix of everything, action, romance, drama, and suspense. When a serial killer named ‘Rudra’ who was presumed to be dead resurfaces and goes on a murdering spree, IPS, Anjali Vikramaditya, (Nayanthara) who was in charge of Rudra’s case a few years ago is reappointed to deal with him. ‘Who is Rudra ?’, well that might be a shocker for you cause Rudra has more than one identity and bunch of buried secrets. To know Rudra’s real identity, watch the movie! The movie has a versatile star cast including Nayanthara, Atharvaa Raashii Khanna, Vijay Sethupathi, Manasvi Kottachi, and Anurag Kashyap who have done absolute justice to their roles. Hip Hop Tamizha’s music score also enhances the whole movie experience.

Sanni Kaayidham : Amazon Prime

Sanni Kaayidham is a revenge thriller that revolves around Ponni, a former police constable whose husband and daughter were brutally murdered by Upper caste men driven by hate. Devasted from loss and let down by law, Ponni decides to get her own justice with the help of her Half brother Sangayya, who is also a victim of  Casteism. The duo team up and take down 24 people who are responsible for their family’s lives. Brutal ,one might think but not as brutal as the opperssion and discrimation faced by the voiceless subaltern community on daily basis.

“The opposite of poverty is not wealth, the opposite of poverty is injustice”

Sanni Kaayidham is Ponni’s retaliation against the cruel injustices she suffered. The movie is directed by Rocky fame Arun Matheswaran and has Keerthy Suresh & Selvaraghavan shining in the main roles along with Kanna Ravi, Lizzie Antony and Vinoth Munna in the Supporting roles

Regina : Amazon Prime

Imagine finally being happy after years of childhood trauma and depression. Now imagine the happiness being snatched away from you in just a day, that’s the life of Regina. When Regina’s husband gets killed during a bank heist, she decides to avenge him and get her revenge by targetting her husband’s killers. The rest of the film is about how she executes her revenge and gets justice for her husband in her own ways. The movie is directed by Domin D. Silva with Sunaina as the main lead and Ananth Nag, Rithu Manthra, Nivas Adithan, Vivek Prasanna and Bava Chelladurai playing the supporting roles.

The couple has been together for more than a decade now. The duo met each other right after Taapsee made her Bollywood debut in 2013. “I met him during a Badminton match, I was a spectator and he was a player, we ended up chatting on Twitter a bit and then we met each other since then its been a happy calm, no baggage, no burden relationship”, Taapsee said when asked about Mathias. Although no official announcement has been made by the couple till now, the couple’s close circle has been dropping hints on their social media handles including her critically acclaimed blockbuster- Thappad co-actor Pavail Gulati.

A friend who attended the celebrations posted a group picture from a celebration night along with  Taapsee’s sister Shagun Pannu, Indian badminton players Chirag Shetty, Satwiksai Rankireddy, Abhilash Thapliyal and her cousin and makeup artist Evania Pannu. Shagun also posted a story on her Instagram handle from one of the wedding celebrations. According to reports the wedding was also graced by Director Anurag Kashyap,  Producer Kanika Dhillon, and her husband.

On the work front :

Taapsee is known in the industry for her discerning choice of roles and versatile acting. She was critically praised for her performance in movies like Thappad, Haseena Dillruba, and Pink. The actor was last seen in Dunki. Her upcoming projects include Woh Ladki Hai Kahaan?, Phir Aayi Haseen Dillruba, Khel Khel Mein.

Green Forest

While red and green flags have become common phrases, Gen Z has developed a new one, “Green Forest”. So what does green forest mean? To understand that, we’ll need a brief understanding of what red and green flags mean. Red flags and Green flags are basically categorizing certain traits of someone as red flags meaning they are toxic and green flags meaning they are good character traits of someone. Green Forest is someone who would go above and beyond for their partner, someone who does more than the bare minimum and thinks out of the box to keep their relationship healthy. 

Delulu is the Solulu

You call it being unrealistic, the Gen Zs call it being delulu. “Why worry if someone doesn’t text you back? Maybe your answer left them speechless.” This is what being delulu means. The phrase “Delulu is the Solulu” means that one develops their own positive reasoning for everything that happens to them so that it doesn’t hurt them or disturb their peace. This phrase also expands to “Delulu is the Solulu until it becomes Trululu” which means that being Delusional is the Solution until it becomes true.

It’s a Cannon Event

“I’m late, again. It’s a Cannon Event”. “I’m going to text him. It’s a Cannon Event” “Our farewell was the last time we all spoke. It’s a Cannon Event”. So, what is this Cannon Event? A Cannon Event is something that is bound to happen that will change one’s life. This phrase became trending after the release of the “Spider-Man: Across the Spider-Verse” movie. In the movie, it is said that a cannon event is what binds the Spider-Verse wherein all the versions of Spider-Man get bitten by a spider. Since then, Gen Zs started using the phrase, “It’s a Cannon Event” for things they have no control over and are bound to happen anyways.

In my Era

An Era is basically a particular period in history when something remarkable or something worthy of noticing happens. The “In my Era” trend on social media is all about what one feels or thinks of themselves at the moment. The phrases go like “I’m in my Main Character Era” which means that the person feels like they’re the main character for a period of time. Someone who has been too good to people finally sets their boundaries and claims that “I’m in my Villian Era” meaning, they finally give up on being the people pleasers. Similarly, someone who decides to heal from their past traumas would say, “I’m in my healing Era” which quite literally means that they’re on their healing journey. The “In my Era” simply states what one actually feels or is currently interested in and adds it to the phrase, “I’m in my  “       ” Era”.

Let him cook

“Hold up, Let him Cook,” while the obvious meaning of the phrase might be letting someone cook, that’s not what the Gen Zs mean when they say this phrase. “Let him Cook” is a phrase used by the Gen Zs when they see someone doing something that has a possibility of turning out good. This phrase is used when one lets someone do what they’re doing, trusting their potential and being sure that the outcome will be worth giving them a chance. When there’s an argument and your friend brings out all the valid points, you let her cook because you guys are winning the argument.

This is my Roman Empire

How did an ancient civilization become a Gen Z Phrase? What does even “ This is my Roman Empire mean”? , You might wonder. It turns out it’s not that strange to think about the Roman Empire after all, and, to many women’s surprise, men think about the Roman Empire very frequently. This trend quickly picked up momentum on TikTok after a Swedish Influencer named Sasika Cort, urged her followers to ask their male partners,’ how often they think about the Roman Empire’ to many’s astonishment, their male counterparts replied that they think about the Roman Empire more often then one might assume. Soon the sentence became a catchphrase, as to your Roman empire is somehitsthing you think about a lot. For example:  When someone says ” True Love is my Roman Empire!” it means they think about True love  lot, but I mean who doesn’t? or ” your Roman Empire could even be a movie scene that you think about often.

Understood the Assignment

 The phrase explains itself, it means someone perfectly understood the task and executed it to perfection. For instance: When you ask your friends to cover for you when you sneak out, and they do it convincingly, then ‘they understood the assignment’ or  when someone shows up to a Party acing the theme, then you can tell ‘they understood the assignment’

Main Character

You are the main character of your story, you are the main character of your life. This term is often used by Genz when they finally embrace their selves and do something for themselves or when something special happens to them, like getting asked by their crush to prom. But mostly it’s about romanticizing life and prioritizing yourselves. For instance: let’s just say, you have a weird taste in fashion yet you wear your favorite outfit without worrying about what others might think, then you are living the main character life.

Hits Different

Hits Different is used when something emotionally affects you in a profound and special way. It has more impact on you than how the rest of the stuff impacts you. For example: ‘ listening to soft melodies at midnight hits different ‘ meaning listening to soft songs at midnight has a larger effect on you than just listening to songs, a more famous example is listening to Ilaiyaraja songs on a long journey and rainy weather hits different, it really does! 

Bombastic side eye 

Another TikTok trend that took over the internet by storm. This Genz Pharse is used when you just don’t agree with what someone is doing or saying. It is a look of judgment and disapproval, it is the look of  “Ughh”. For example: When your best friend says she won’t text her ex again, you give her a bombastic side-eye because let’s be real, this is not the first time she is saying it, or when someone says your favorite band is basic then you give them the bombastic side-eye. 

If you are a millennial reading this article, we are assuming you are right now giving GenZ ‘BOMBASTIC SIDE EYS’

She is accoladed for numerous awards from the coffee industry including the Eminent Personality Award for Outstanding Contribution to Indian Coffee” from the Speciality Coffee Association of India, The “Alfred Peet Passionate Cup Award” from the SCAA, Asia’s First Professional Woman Coffee Taster award presented to her by the President of India. in January 2018. But for Sunalini, becoming a coffee cupper was almost an accident, her original plan was to become a doctor, but fate had other plans. While waiting for her Visa to arrive for the USA, she came across an advertisement for a job requirement for the role of a coffee cup taster in the newspaper. 

” It sounded so exotic, Coffee cup taster” Sunalini cleared the interview and was offered the role, which led to her aborting the plan to go to New York.  Sunalini’s primary motivation to remain in India despite obtaining her visa was rooted in her deep connection to her family. Particularly attached to her mother, Sunalini recognized her mother’s need for support, especially with her sister already pursuing a master’s degree in the United States “ I could see that it was making them sad” Sunalini, prioritizing family bonds, chose to stay, reflecting, “I just thought I could go to the US anytime,” ultimately opting to explore the role of the coffee cupper, Sunalini is a big believer in ‘things happen for a reason’, that things will work out in the end even if it doesn’t necessarily work out the way you wanted to at the moment.

When inquired about the hurdles she faced when she joined the Coffee board, ” I was terrified” laughed Sunalini, she was the only woman in this male-dominated industry she was also relatively younger than her colleagues and to add to that, she belonged to another state

This happened when the water disputes were all over the headlines “There was so much animosity back then, I didn’t know the language when I first came here ” she shared. Not only did Sunalini overcome these challenges but also managed to get promoted from Assistant coffee cupper to managing the officer cadre of Coffee Board India when she was just 22.  

She then went on to open the Coffee Lab in 1996,” When the market got liberalized, my colleagues said, the excitement is on the other side They moved on to explore the new coffee industry, as it seemed”. Sunalini almost bid goodbye to the coffee industry, she had decided to finally join her husband who was constantly traveling due to the nature of his job, along with her daughter. She canceled her plans when the farmers requested her to stay back and help them with improving the quality of their beans and that’s how Coffee Lab was born. Looking back she said, there were times when she wasn’t so sure about the venture  

“Business has its ups and downs”.

Coffee tasting is a very complicated process, on the surface it seems smooth and effortless but runs much deeper, discussing the process of coffee tasting, Sunalini humorously shared how people would make fun, they would say ” You’re tasting cups? And you’re getting paid for it ?”. 

She gives us an insight into the complex process, “Coffee tasting is about the aroma, the bean’s form, the acidity of the beans, to keeping up with the varietals in the market” ” There’s always something new to learn, there’s always an innovation, in brewing or roasting or how the bean is being cultivated. It’s science.” 

“Even after 52 years of being in the industry, I sometimes feel like a novice”. Sunalini owes most of what she knows today to the coffee-cupping experts from around the world who took her under their wings, guiding and molding her into the cupper she is today.

Sunalini attributes much of her current achievements to the value system she cultivated at her grandparent’s home. A Madras girl at heart, Sunalini reminisces her childhood days, participating in poojas before breakfast, playing around in the street of Nungambakkam, eating groundnuts with her friends, and accompanying her grandmother to get ‘Leo coffee’, life came full circle for her. Growing up in a conservative household, she said the discipline she gained back in Chennai is something that helped her throughout her career.

An advice she would like to give girls who want to pursue a career in this field is, to pair up coffee cupping with another discipline like brewing or roasting will give them an edge over the rest. The nature of the market is such today, it has become much more competitive than it used to be when I started. Go for it and not care much about the consequences, to not calculate what could go wrong

She iterated “ Where there’s a will, there’s a way. When you want something and you go after it, you’ll ultimately get it. “

Does she ever get tired of coffee?

“No, I could never get tired of coffee.”

 This little bean has taught her and given her so much, even when she had a plan for her life, she was surprised with something that altered the course of her life.  Isn’t that the perfect metaphor? no matter how small you think you are, you have the power to achieve whatever big things you set your mind to, just like how little Sunalini did when she was just 19!

Lover 

Lover, starring the Good Night fame Manikandan, and Sri Gouri Priya, portrays the intricate dynamics of a couple who have been in a bumpy relationship for six years. The movie delves deep into their emotional journey, highlighting their struggles, conflicts, and internal battles, as they try to navigate through their love-hate relationship. It showcases their yearning for each other, and the dilemma they face in deciding whether to resolve their issues or to part ways. The movie promises to be a rollercoaster ride of emotions, leaving the audience spellbound. 

Where to Watch: Disney+ Hostar.

Marakkuma Nenjam

Marakkuma Nenjam, written and directed by Raako Yoagandran is a story of unrequited love between Karthik and Priyadharshini during their schooling who meet again at a reunion. The students of the 2008 batch are forced to spend 3 months of schooling again and write their board exams in 2018 due to a court order. Karthik’s buried feelings resurface, will he finally confess his feelings or will he let go of his final chance at having his happy ending with her? 

Where to Watch: Amazon Prime.

Inspector Rishi

Inspector Rishi starring, Naveen Chandra, Srikrishna Dayal, and Kanna Ravi is an investigative horror series that revolves around a series of unusual murders. The people of the village believe that these murders are committed by the forest spirit, Vanaratchi. However, Inspector Rishi believes in scientific and logical reasoning rather than superstitious beliefs. Will Inspector Rishi be proven wrong about his beliefs?

Abraham Ozler

Abraham Ozler is a gripping crime thriller that has been co-produced and directed by Midhun Manuel Thomas, and written by the Randheer Krishnan. The movie’s plot revolves around the life of veteran cop Abraham Ozler, who serves as the Assistant Commissioner of Police in Trichur. The story takes a dramatic turn when he is assigned to investigate a series of brutal murders, and the hunt for the perpetrator begins and delves deep into the personal and professional life of the protagonist, making it a must-watch for fans of the genre.

Where to Watch: Disney+ Hotstar.

Anweshppin Kandethum

Anweshippin Kandethum, a crime thriller, stars Tovino Thomas, Siddique, and Indrans in the lead roles. The story revolves around two bloody murders that have occurred in the city and a resolute police officer who is determined to catch the killer despite facing opposition from higher authorities who advise him against pursuing the case. Will he stand up against all odds and successfully apprehend the culprit?

Where to Watch: Netflix

Fighter 

Fighter is easily one of the most anticipated movies of 2024, with the heartthrob combo of Hrithik Roshan and Deepika Padukone in the lead, fighter is an all-in-one blockbuster bringing together elements of action, romance, and nationalism. Directed by Paathan fame Siddharth Anand, the story revolves around Patty, an Airforce pilot with a traumatic past, and Mini, a rookie pilot who team up to take down the terrorist group scheming against India.

Where to watch: Netflix

Aae Watan Mere Watan

Inspired by true events, Aae Watan Mere Watan is a period drama movie set in 1942 in the colonial city of Bombay and revolves around a young girl called Usha Mehta who fights in the freedom struggle against the British in her own ways or to be more specific in her own voice. The movie is directed by Kannan Iyer and produced by Karan Johar and has a star-studded cast including Sara Ali Khan, Benedict Garrett, Alexx O’Nell, Sparsh Srivastav, Anand Tiwari, Abhay Verma, Richard Bhakti Klein, Godaan Kumar, Ashton Bessette, Priyanam Das, Ed Robinson, Manya Singh, Ankur Yadav, Garrvil Mohan.

Where to watch:  Amazon Prime

Lootere

Directed by Jai Mehta, this action thriller is set in the international waters of Somalia, where a Ukranian cargo ship is taken hostage by a gang of pirates and Vikrant Gandhi, who tries everything in his power to prevent the ship from reaching Mogadishu. Greed seems to be the driving theme of the series. The showrunners Hansal Mehta and Shailesh R Singh created this gripping thriller and have a versatile cast including ‘Love Enough Sir‘ fame Vivek Gomber along with Deepak Tijori, Rajat Kapoor, Chandan Roy Sanyal, Amruta Khanvilkar, Avanish Pandey, Gaurav K. Sharma, Pankaj Raina, Tuks Tad Lungu.

Where to watch: Disney + Hotstar

Merry Christmas

Merry Christmas is one of the most anticipated movies to be released on OTT, directed by Sriram Raghavan who is known for bringing in Neo-noir elements with a mix of action in movies. The romantic thrillers hold a star-lit cast with Katrina Kaif and Vijay Sethupathi in the main roles and Sanjay Kapoor, Aditi Govitrilkar, and Raadhika Sarathkumar in the supporting roles. The movie is set on a magical Christmas eve where two strangers’ fate meet, what starts as a harmless romance soon takes a dark turn revealing a murky past.

Where to Watch: Netflix

Opphenmier

Christopher Nolan’s Opphenmier is definitely the show stealer among the OTT releases this week. The Oscar-winning masterpiece is a biographical thriller, inspired by the life of  Robert Opphenmier, the brilliant physicist who played a significant role in the development of the atomic bomb during the Second World. Nolan’s Brainchild saw huge box office world wide becoming one of second-highest grossing R-rated movie of all-time. The movie also had a stellar cast including Cillian Murphy, Emily Blunt, Matt Damon, and Robert Downey Jr.

Where to watch : Amazon Prime

Crew is certainly a joyride, you are welcome to watch it, but there are no takeaways from this one. Do not expect to learn a lesson on morality or honesty here, the lesson here is that whatever you do, have fun while doing it. And that’s what we want to see more, women enjoying their existence, women enjoying female friendships, women enjoying independence, and women enjoying a film made solely for fun!

It’s difficult to imagine a heist movie where 3 women take centerstage. We have either seen women ‘supporting’ the male actors or playing a small role in the grand scheme of things. Here we have 3 women, one in her 30s, one in her 40s, and one in her 50s star as leads in a women-driven film. That in itself is commendable and should be appreciated for what it’s trying to offer. They are not damsels in distress or a victim of patriarchy, they are women who want to write their own stories. It might be funny, embarrassing, over the top, or nonsensical, but it is their narrative.

The movie is not without flaws, it’s certainly not a perfect film, there are numerous moments of cringe, forced humour and unnecessary catwalks, but that’s ok in this genre of film. If we tout this as a quintessential chick-flick then we are game to having some fun.

Tabu, Kareena Kapoor and Kriti Sanon play Geeta, Jasmine and Divya respectively who are air hostesses for an airline company that’s in debt. They haven’t gotten their salaries for 6 months and have individual financial commitments to fulfill. When an opportunity to make some extra money comes their way, they are quickly convinced. What ensues after they have plunged themselves into a side hustle is what forms the plot of the movie. It’s not a nuanced film, it’s on your face and it’s proud to be that. The honesty is endearing, you know that the film is not trying to preach a message or break down the patriarchy, the characters are having fun and so should you.

It’s a simple straightforward film, done well. The designer bags and shoes, the ultra-chic styling, the perfect hair and the on-trend makeup make this film a stylish one. Yes, this film is riding high on glamour than substance, but that doesn’t stop it from being an entertaining watch. It’s an Indian chick flick, and who doesn’t love that genre.

There are not 1 or 2 but dozens of films where we see men be over the top – the crass jokes, the double meaning entendre, the unrealistic action, people call it ‘massy’ and deem its commercial successes.

In plain words, if this movie was made by 3 men, it would be the entertainer of the year. Men, especially in this industry need to do the bare minimum to be applauded and appreciated. This movie is a comedy-heist, one which we haven’t seen done by women in a while.

Women fighting battles, women breaking stereotypes, women breaking the glass ceiling, but movies about women just being ‘fun’ are rather missing from our content library.

Talking about performances, Kareena Kapoor is the star of the film, she is a bonafide star. She lights up every frame that she’s in and it’s effortless. Tabu is not given her due, her character isn’t given much to do, and her 2-dimensional character arc doesn’t do justice to her as a performer. Kriti Sanon plays a character that she has played numerous times before, nothing new there, but she does a good job.

The music, the extended cameos, the subtle jab at Kingfisher Airlines and the punch lines work 90 percent of the time making the film a one-time watch at the least.

Rating- 3/5

Director: Vignesh Karthik
Cast : Gouri G Kishan, Ammu Abhirami Janani Iyer, Sandy Master, Kalaiyarasan.

4 standalone stories of 4 different couples, each narrative leaves you with a message and a thought, but also leaves you wondering what you would do if you were in the same situations as the characters in the film. This thought-provoking genre of films is Vignesh Karthik’s forte and he is sincere and effective with his storytelling. The intention is to spark conversations surrounding gender roles, morals, and societal norms, which are prevalent in the society.

We are first introduced to a young couple in Happy Married Life, played by Gouri G Kishan and Adithya Bhaskar who want to get married. We are shown a reversal of gender roles, the fathers are the homemakers, and the mothers are the breadwinners. The women of the house call the shots while the men of the house are left to deal with domestic politics and workload. This was interesting to watch, what happens when a groom moves into the bride’s home after their wedding and is expected to perform all duties as a newlywed bride does conventionally? Do men understand what women have been dealing with for generations? Does this ‘newlywed groom’ crumble under the growing disrespect and disregard given to him by his partner and in-laws? Well, that’s for you to watch and find out.

The second story of the lot, Golden Rules is weaker when compared to the rest, it’s about this girl and boy who wish to marry each other but a twisted truth about their family brings forth a reality that they hadn’t expected. This story has some fine performers but seems underwritten and unfinished. What starts as a fun, comical tale ends up pretty grim and dark.

Thakkali Chutney is a funny one but with a serious message on morals and the double standards of society. You meet this couple, she is beautiful, independent, and instantly likable, and he is fired from his job for being caught masturbating in the office restroom. He loses his job, and his self-respect, he needs financial stability to ask for her hand in marriage and also to support his home and family. His circumstances are dire and in that desperation, he takes a path that’s morally ambiguous. Early on in the story, you hear him say that men’s and women’s desires are different, and love and lust are different, he juxtaposes with his partner saying that he loves only her and that physical intimacy with others means nothing more to him than that momentary pleasure. Are these rules different for him and her? Can she also indulge in physical acts with different people and come back to him at the end of the day? We all know the answer to that one, men and women are not treated equally in our society. And this story asks exactly that question but with a tinge of humour in it.

The fourth and last story in the film hits you the hardest. It’s a societal evil that everyone seems to be enjoying without fully understanding the grave reality behind it. Kids on reality shows are one of the most watched shows across the globe. Kids as young as 7 and 8 are dancing to double-meaning item numbers, performing acts as husband and wife, losing their innocence in the process. Parents want fame and money and their kids become a ticket to that, showrunners want TRP and the audience wants entertainment. We see a family of 4 in this last installment, they are poor but happy when their kids get a chance to participate in a reality show, and they grab it with both hands. They are looped into this whirlpool, it’s a vicious cycle that usually ends in tragedy. This story is extremely relevant to the times we are in today, kids and their exposure to media, their participation, and the lack of supervision and protection are leading them into the hands of pedophiles. It’s a wake-up call for everyone and an extremely important issue to address.

The stories are preachy but that’s the only way one can get a point across to the audience intended. The messaging is progressive and resonates with the audience, the film sheds light onto social issues that everyone is aware of but are normalised to a sad extent.

Rating – 3.5

Hotspot – Written and directed by Vignesh Karthick, Hotspot is one of the most anticipated movies of this week. Known for his distinctive take on cinema and for breaking stereotypical topics, Vignesh’s Hotspot created quite a buzz around the internet after the release of its ambiguous trailer. But one must know Vignesh is familiar with surprising the audience with a substance-worthy movie after a provocative, dense trailer. The movie has an interesting star cast including Kalaiyarasan, Sofia, Sandy, Ammu Abhirami, and Janani Iyer in the main lead roles. The music was composed by Satish Raghunathan. 

The Goat Life – With Malayalam movies taking the pedestal recently, Prithiviraj’s Goat Life has eyes from all over the country awaiting its release. Adapted from Author Benyamin’s Novel  Aadujeevitham, which is inspired by true events, The Goat Life is a survival drama based on the life of Najeeb Muhammad, who was forced into slavery as a goatherd in Saudi Arabia. Directed by the National Award recipient Blessy, the release of The Goat Life marks the Director’s 14 year dream coming to fruition after facing various hurdles in the line of production. The movie has a versatile cast including Prithviraj Sukumaran and  Amala Paul in the lead and  Jimmy Jean-Louis, Shobha Mohan, KR Gokul, Talib Al Balushi, Rik Aby, Nazer Karutheni in supporting roles. The music score for the movie is composed by A.R.Rahman.

Crew:  Written by and directed by Nidhi Mehra & Mehul Suri and directed by Rajesh. A. Krishnan. Crew is a combination of chick flick and heist comedy starring the Bollywood diva trio: Kriti Sanon, and Kareena Kapoor Khan. The movie revolves around three air hostesses who take on a risky job to escape the aftermath of their airline’s bankruptcy. Along with the kriti, Kareena, and Tabu, the film also has Diljit Dosanjh, Kapil Sharma, Saswata Chatterjee, Kulbhushan Kharbanda, Pooja Bhamrrah, Myra Singh.

Godzilla X Kong: The New Empire: When the call of war between the titans and guardians of nature i.e the great apes is announced, the long last archnemesis Kong and Godzilla join hands together to save mankind.  The  movie by Warner Brothers also has a stellar cast including Rebecca Hall, Brian Tyree Henry, Dan Stevens, Kaylee Hottle, Alex Ferns, and Fala Chen. Hall, Henry, and Hottle reprise their roles from the prequel. The movie is directed by Adam Wingard and  Tom Holkenborg  and Antonio Di Iorio has composed the music score. The movie marks godzilla franchise’s 38th film and King Kong franchise’s 13th film .

Netru Indha Neram : Written and directed by Sai Roshan. KR, Netru Indha Neram is a mystery thriller starring Shariq Hassan, Haritha Laxman, Monica Ramesh, Divakar Kumar, Anand Raj and Aaravindh  Ragunathan. The story revolves around 7 friends who take a trip to Ooty, things take a downturn when one of them goes missing. With a serial killer on the loose and six different perspective, will they be able to save their friend ? Watch the movie to find out.

“Happy Happy

Happy Birthday Princess of Heart

@aditiraohydari

I pray all your dreams

The big ones, the small ones

And the ones yet unseen

Always come true, always for you.

Have the best trip around the sun yet

P.S- growing up is for squares. Don’t!❤️”

Beginning of this year, Aditi also posted a picture of her along with Siddharth along with the caption “ Happy blessed grateful. To magic happiness love laughter unicorns rainbows and fairy dust #happynewyear to you all 2024” 

 The couple has also been spotted together, on dinner dates,  Movie Premiers, and celebrations. The newlyweds are yet to make an official statement about their wedding. According to reports, the wedding took place in Sri Ranganayakaswamy temple in Srirangapuram, situated in the Wanaparthy District of Telangana. The choice of destination is owed to Aditi’s family’s special connection to the Temple, as Aditi’s Maternal Grandfather is the last ruler of Wanaparthy Sansthanam. 

On The Work Front: Siddharth was last seen in Chithha, which was celebrated by the audience for its nuanced approach on a sensitive topic and will be next seen in Kamal Haasan’s Indian 2. Aditi was last seen on Vikramaditya Motwane’s Jubliee and has a grandeur line up of work including Sanjay leele Bhansali’s Heeramandi, Gandhitalks and a British- Indian film Lioness.

Day 1:

Morning: 

Sunrise at Besant Nagar Beach  

Begin your day with a serene sunrise experience at the picturesque Besant Nagar Beach in Chennai, also called Edward Elliot’s Beach or the Bessie. Immerse yourself in the peaceful ambiance and enjoy some solitary moments while reading your favorite book. For an added touch of serenity, join “Bessy Reads”, which is being organized every weekend, and indulge in a calming session amidst the soothing sound of the waves. This natural urban beach is a perfect destination to start your day with a sense of relaxation and rejuvenation.

Immerse yourself in the ideal blend of legacy and novelty, and relish an unparalleled culinary haven. Savor a heavenly breakfast of dosa, idly, sambar, and chutney – a perfect blend of tradition and innovation. This heavenly feast is not to be missed!

Kapaleeshwarar Temple: 

The Kapaleeswarar temple in Mylapore, Chennai, is a prominent Shiva temple steeped in deep spiritual significance. Lord Shiva is worshiped as Kapaleeswar, and Goddess Shakthi as Karpagambal. The temple is a magnificent example of the intricate and exquisite architecture of Southern India, and the intricate carvings are a true testament to the rich cultural heritage of the region. 

If you’re looking to indulge in some authentic South Indian non-vegetarian cuisine for lunch, there are plenty of fantastic options to choose from. To help you narrow down your choices, here are six restaurants in Chennai that serve delicious and authentic South Indian non-vegetarian dishes you could go for your Lunch. .

Afternoon

T. Nagar Shopping

T. Nagar, also known as Thyagaraya Nagar, is the go-to place for shopping in Chennai, offering an impressive collection of shops. From Silk Sarees to unique jewelry designs to street shopping, T. Nagar has something for everyone. The vibrant atmosphere and friendly shopkeepers make T. Nagar an experience worth having. Don’t miss out!

Night:

Chennai is a city that offers a unique blend of cultural richness and modern vibrancy. Whether you’re looking for a glimpse into traditional values and heritage sites or an exhilarating nightlife experience at the city’s nightclubs, Chennai has it all, wrap your Day 1 with a vibrant nightlife filled with dance and music. Here are a few nightclubs you could visit in Chennai.

Day 2: 

Morning:   

Dakshanchitra:

Dakshinachitra is an incredible destination that transcends the traditional concept of a museum, offering an unforgettable experience to visitors. This charming place is a repository of the finest examples of South Indian architecture, crafts, performing arts, and lifestyles. It is designed as different villages, showcasing the authentic and traditional way of life of South Indians. With its collection of 18 beautifully restored houses, each featuring a contextual exhibition, Dakshinachitra offers a unique and immersive journey through the history, culture, and heritage of South India. These houses are carefully selected, dismantled, transported, and then reconstructed by skilled artisans or Stapathis who belong to the original regions. By visiting Dakshinachitra, you can gain a deeper understanding of the essence and beauty of this Southern state.

Afternoon:

Cholamandal Artist Village:

Cholamandal Artist Village is a magnificent contemporary art village that is India’s largest self-supporting artists’ village and one of the most successful in Asia. If you have a passion for art and paintings, you simply cannot miss the Cholamandal Artists’ Village in Chennai. It provides insight into the region’s contemporary art movement. The village was established in 1966, and its founders were instrumental in initiating the Madras Movement of Art between the 1950s and 1980s. This artists’ village includes an open-air theatre called Bharathi, which is used for discussions and conferences. They showcase paintings, sketches, and sculptures made of wood, metal, stone, terracotta, handicrafts, batik, pottery, ceramics, etc. in a permanent exhibition within the complex. You can stroll through the gallery’s corridors and appreciate the region’s artistic richness or visit the book and crafts store to make some purchases.

Evening:

Relaxation Time:

When in Chennai, you must not limit yourself to just the traditional cuisine. The city boasts of numerous cafes that serve different cuisines to satisfy your taste buds. Don’t miss out on the opportunity to taste something new and exciting, visit these Cafes and expand your exploration.

Chennai is a city that truly has it all – from stunning heritage sites to modern attractions, delicious food, and a vibrant culture. If you’re looking for the perfect destination that offers a unique blend of tradition and modernity. With this two-day itinerary, you’ll get to experience some of the best places that this charming city has to offer. So why wait? Book your tickets, pack your bags, and get ready to immerse yourself in the beauty of Chennai!

The couple has been together for more than a decade now. The duo met each other right after Taapsee made her Bollywood debut in 2013. “I met him during a Badminton match, I was a spectator and he was a player, we ended up chatting on Twitter a bit and then we met each other since then its been a happy calm, no baggage, no burden relationship”, Taapsee said when asked about Mathias. Although no official announcement has been made by the couple till now, the couple’s close circle has been dropping hints on their social media handles including her critically acclaimed blockbuster- Thappad co-actor Pavail Gulati.

Pavail posted a group picture from a celebration night along with  Taapsee’s sister Shagun Pannu, Indian badminton players Chirag Shetty, Satwiksai Rankireddy, Abhilash Thapliyal and her cousin and makeup artist Evania Pannu. Shagun also posted a story on her Instagram handle from one of the wedding celebrations. According to reports the wedding was also graced by Director Anurag Kashyap,  Producer Kanika Dhillon, and her husband.

On the work front :

Taapsee is known in the industry for her discerning choice of roles and versatile acting. She was critically praised for her performance in movies like Thappad, Haseena Dillruba, and Pink. The actor was last seen in Dunki. Her upcoming projects include Woh Ladki Hai Kahaan?, Phir Aayi Haseen Dillruba, Khel Khel Mein. 

Marakkuma Nenjam

Marakkuma Nenjam, written and directed by Raako Yoagandran is a story of unrequited love between Karthik and Priyadharshini during their schooling who meet again at a reunion. The students of the 2008 batch are forced to spend 3 months of schooling again and write their board exams in 2018 due to a court order. Karthik’s buried feelings resurface, will he finally confess his feelings or will he let go of his final chance at having his happy ending with her? 

Where to Watch: Amazon Prime.

Abraham Ozler

Abraham Ozler is a gripping crime thriller that has been co-produced and directed by Midhun Manuel Thomas, and written by the Randheer Krishnan. The movie’s plot revolves around the life of veteran cop Abraham Ozler, who serves as the Assistant Commissioner of Police in Trichur. The story takes a dramatic turn when he is assigned to investigate a series of brutal murders, and the hunt for the perpetrator begins and delves deep into the personal and professional life of the protagonist, making it a must-watch for fans of the genre.

Where to Watch: Disney+ Hotstar.

Fighter 

Fighter is easily one of the most anticipated movies of 2024, with the heartthrob combo of Hrithik Roshan and Deepika Padukone in the lead, fighter is an all-in-one blockbuster bringing together elements of action, romance, and nationalism. Directed by Paathan fame Siddharth Anand, the story revolves around Patty, an Airforce pilot with a traumatic past, and Mini, a rookie pilot who team up to take down the terrorist group scheming against India.

Where to watch: Netflix

Aae Watan Mere Watan

Inspired by true events, Aae Watan Mere Watan is a period drama movie set in 1942 in the colonial city of Bombay and revolves around a young girl called Usha Mehta who fights in the freedom struggle against the British in her own ways or to be more specific in her own voice. The movie is directed by Kannan Iyer and produced by Karan Johar and has a star-studded cast including Sara Ali Khan, Benedict Garrett, Alexx O’Nell, Sparsh Srivastav, Anand Tiwari, Abhay Verma, Richard Bhakti Klein, Godaan Kumar, Ashton Bessette, Priyanam Das, Ed Robinson, Manya Singh, Ankur Yadav, Garrvil Mohan.

Where to watch:  Amazon Prime

Lootere

Directed by Jai Mehta, this action thriller is set in the international waters of Somalia, where a Ukranian cargo ship is taken hostage by a gang of pirates and Vikrant Gandhi, who tries everything in his power to prevent the ship from reaching Mogadishu. Greed seems to be the driving theme of the series. The showrunners Hansal Mehta and Shailesh R Singh created this gripping thriller and have a versatile cast including ‘Love Enough Sir‘ fame Vivek Gomber along with Deepak Tijori, Rajat Kapoor, Chandan Roy Sanyal, Amruta Khanvilkar, Avanish Pandey, Gaurav K. Sharma, Pankaj Raina, Tuks Tad Lungu.

Where to watch: Disney + Hotstar

3 Body Problem

The television series 3 Body Problem, based on Liu Cixin’s novel series of the same name, a significant decision made in China during the 1960s has a lasting impact on the present day. The plot follows a detective and a team of scientists confronting a critical existential threat to the planet. The story centers around Ye Wenjie, an astrophysicist whose decision during the 1960s profoundly spans time and space. Later on, the plot shifts to the present day, where a group of scientists join forces to confront humanity’s most significant challenge.

Where to Watch: Netflix.

Argylle

Elly Conway, a talented novelist known for her gripping suspense novels, finds herself facing a series of unexpected obstacles when a group of individuals begins targeting her. What is the reason behind their actions? Elly’s stories are coming to life, and the group believes that she is a fortune teller and they need to know what will happen next. While, Aidan who knows about this, tries to save her from them.

Where to Watch: Netflix.

Shirley

“Shirley (2024)” is a biographical drama film on the inspiring story of Shirley Chisholm, written and directed by John Ridley. Chisholm was a political trailblazer who was the first Black woman elected to Congress. The movie details her revolutionary 1972 run for the Democratic presidential nomination.

Where to Watch: Netflix

X Men’97

The nostalgic series marks the resurrection of the original series of   X-Men: The Animated Series (1992–1997), seamlessly continuing the legacy from where it ended, this animated series is an absolute treat for all Marvel Comic fans. Helmed by Beau DeMayo the series revolves around mighty mutants who use superpower gifts to protect the world. The original cast of the series has also got together to reprise including Cal Dodd, Lenore Zann, George Buza, Catherine Disher, Chris Potter, Alison Sealy-Smith, Adrian Hough, Christopher Britton, Alyson Court, Lawrence Bayne, and Ron Rubin.

Where to watch : Disney + Hotstar

Opphenmier

Christopher Nolan’s Opphenmier is definitely the show stealer among the OTT releases this week. The Oscar-winning masterpiece is a biographical thriller, inspired by the life of  Robert Opphenmier, the brilliant physicist who played a significant role in the development of the atomic bomb during the Second World. Nolan’s Brainchild saw huge box office world wide becoming one of second-highest grossing R-rated movie of all-time. The movie also had a stellar cast including Cillian Murphy, Emily Blunt, Matt Damon, and Robert Downey Jr.

Where to watch : Amazon Prime

 

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On work front

Jyothika was last seen in the film Shaitaan, a horror thriller film, starring Jyothika, Madhavan, and Ajay Devan, Her upcoming project includes ‘Dabba Cartel’ starring, Shabana Azmi, Jyotika, Shalini Pandey, Anjali Anand, and Gajraj Rao.

The Tamil action drama directed by Noah, and written by Noah, Tamil Prabha, and Prabhu Kalidas showcases a star-studded cast, including Nasser, Sathyaraj, Nimisha Sajayan, Easwari Rao, Ashok Selvan, and Ritika Singh. Set in the 1970s, the movie portrays a story of revenge and power struggle within the first organized gang in a port city, with lots of action and drama.

On the work front.

Ashok Selvan was last seen in Blue Star, a comedy sports drama written and directed by S. Jayakumar. The movie revolves around two cricket players struggling to make a name for themselves as a cricketer and their challenges while climbing the ladder to achieve their goals. Ritika Singh was last seen in King of Kotha, where she did a cameo for a song. Her upcoming project includes Vettaiyan. Nimisha Sajayan is her reigning era, her latest series Poacher is gaining great popularity. Last year, all who watched the films appreciated and recognized her work in Tamil movies Chithha and Jigarthanda Double X.

At the Mumbai event, Pushkar gave some insight about the series, “There are some pertinent thought in it, which I think will connect with a lot of people all across India”. The writers also revealed that season 2 will be set in a sea backdrop and will have a lot more action, mystery and grandeur compared to the first season. The Writer Duo also revealed that the series will have “huge jail sequence “. Along with Aishwarya Rajesh and Kathir, the series also has a star-studded cast including Lal, Saravanan, Manjima Mohan, Gouri G. Kishan, Monisha Blessy, and Samyuktha Vishwanathan.

Prime Video has confirmed the Indian series within the Citadel universe will be called Citadel: Honey
Bunny.
Citadel: Honey Bunny has a riveting narrative that fuses the pulse-pounding elements of a gritty spy action thriller with the heartwarming allure of a love story, all set… pic.twitter.com/lPqUsPhHrb

— prime video IN (@PrimeVideoIN) March 19, 2024

Amazon prime video has also made an official announcement on their twitter handle  along with the first look of the series.

” Prime Video has confirmed the Indian series within the Citadel universe will be called Citadel: Honey Bunny. Citadel: Honey Bunny has a riveting narrative that fuses the pulse-pounding elements of a gritty spy action thriller with the heartwarming allure of a love story, all set against the vibrant tapestry of the 90s. Honey Bunny is the Indian series within the Citadel universe.”

Along with Samantha and Varun, the series also has a vibrant ensemble cast including Kay Kay Menon, Simran, Soham Majumdar, Shivankit Parihar, Kashvi Majmundar, Saqib Saleem and Sikandar Kher. 

Raj & DK’s D2R Films, Amazon MGM Studios, and the Russo brothers’ AGBO collaborate in producing the series. Executive producers Anthony Russo, Joe Russo, Angela Russo-Otstot, and Scott Nemes from AGBO, along with David Weil (“Hunters”), oversee “Citadel: Honey Bunny” and all other series within the expansive “Citadel” universe including the Spanish, Italian and Mexican spin-offs.

On the Workfront :   Rashmika Mandana was last seen in Sandeep Reddy Vanga’s most controversial film Animal and has an very Interesting film lineup including a bilingual film ‘Rainbow’ directed by Shantharuban, Pushpa 2, The girlfriend and Laxman Utekar’s Chaava in which she will be playing the role of Maharani Yesubai Bhonsale

The JFW Movie Awards 2024 was a star-studded event that featured an incredible lineup of actors, directors and singers from the Tamil film industry. The title sponsor of the event were Twin Birds, powered by V Care Clinic and Jos Alukkas with colour partner Indicus Paints and Perfect Partner Prithvi Innerwear, co-presented by Chik Shampoo with Associate Sponsors Sparrow Tiles, Cookr India, and Finesse Mattress.
The red carpet was witness to exceptional talent, from Aishwarya Rajesh to Siddharth, Shakthisree Gopalan to Srinivas, Bhavani Sre to Meetha Raghunath and many many more. To find out who won at the JFW Movie Awards 2024, see the full list

BEST COSTUME DESIGNER

Poornima Ramaswamy won the award for Best Costume Designer for the movie Irugapatru where she worked on the costumes for Shraddha Srinath and Vikram Prabhu. The award was presented to her by Vaibhav.

BEST DIRECTOR OF A WOMAN-LED FILM

Yashwanth Kishore won the award for Best Director in a woman-led film for the movie Kannagi. He was presented with the award by director Mohan Raja.

BEST ACTRESS IN AN OTT SERIES

Abi Nakshatra from the series Ayali won the award for Best Actress in an OTT Series at the JFW Movie Awards 2024. The award was presented to her by Mithran.

BEST DUBBING ARTIST

Chinmayi won the award for Best Dubbing Artist for her work in the movie Leo dubbing for the lead actress, Trisha. The award was presented to her by Khatija Rahman.

BEST SUPPORTING ACTRESS

Abarnathi won the award for Best Supporting Actress for her fabulous performance in the movie Irugapatru. The award was presented to her by Vinay Rai,  and Sureshkant from Finesse Mattress. Vinay Rai and Abarnathi set the stage on fire when they danced to his popular song from the movie Unnale Unnale.

BEST CHILD ARTIST

Sahasra Sree from the movie Chithha won the award for Best Child Artist for her exceptional work in the film. The award was presented to her by the director of the film Arun Kumar.

BEST ACTRESS IN A COMIC ROLE

Deepa Shankar won the award for Best Actress in a Comic Role for her work in the film Sopanna Sundari. She set the stage on fire when she danced her heart out, proving that she truly is the most sporty. The award was presented to her by Abhirami.

BEST SINGER

Shakthisree Gopalan won the award for Best Singer for the song Aga Naga from Ponniyin Selvan 2. The award was presented to her by Abhirami, Unnikrishnan and Praba, CEO and Co-Founder of Cookr India.

BEST SINGER- CRITIC

Karthika Vaidyanathan won the award for Best Singer Critic for her melodious voice in the song Kangal Edho from the movie Chithha. The award was presented to her by Srinivas.

BEST DEBUTANTE

Nimisha Sajayan won the award for Best Debutante for her role in the film Chithha. The award was presented to her by veteran actress Ambika.

WOMAN DIRECTOR OF THE YEAR

Brinda Gopal won the award for Woman Director of the Year for her film Thugs. She was presented with the award by Shobana.

BEST ACTRESS IN A LEAD ROLE

Meetha Raghunath was awarded Best Actress in a lead role for her brilliant work in the movie Goodnight. The award was presented to her by Arun Vijay, Ramanathan, Group Brand Manager and Misha, Media Head Of Cavinkare Group.

BEST ACTRESS IN A WOMAN-LED FILM

Aishwarya Rajesh won the award for Best Actress in a woman-led film for her exceptional portrayal of Farhana in the movie Farhana. The award was presented to her by Poornima Bhagyaraj, Paul Alukka and John Alukka, Managing Director of Jos Alukkas.

BEST ACTRESS IN A LEAD ROLE – CRITIC

Bhavani Sre was awarded Best Actress in a Lead Role- critic for her role in the movie Viduthalai. The award was presented to her by none other than the director of the movie, Vetrimaran, and a special surprise by her brother and ace music director and actor GV Prakash.

MAN OF THE YEAR – SIDDHARTH

Truly owning the stage with his words, Sidhharth won Man of the Year at the JFW Movie Awards 2024. His movie Chithha started an important conversation around child sexual abuse which he spoke about on the stage. His speech was emotional, real and impactful as he talked about how movies have the power to influence and one should be careful about the kind of content that goes out. The award was presented to him by Suhasini Maniratnam.

MAN OF THE YEAR – NELSON DILIPKUMAR

Nelson Dilipkumar won the Man of the Year Award at the JFW Movie Awards 2024. His movies such as Doctor, Beast, Kolaamavu Kokila and Jailer have truly been game changers for the Tamil film industry. The award was presented to him by the director of Manjummel Boys, Chidambaram.

There have been several buddy films in Indian cinema that revolve around male friendships – Dil Chahta Hai (2001), Zindagi Na Milegi Dobara (2011), Goa (2010), Chennai 28 (2007), Saroja (2008), Neelakasham Pacha Kadal Chuvanna Bhoomi (2013), Ee Nagaraniki Emaindi (2018) and so on. These are films where men travel or have fun, get into trouble big and small, and eventually find themselves.

In comparison, the female buddy film is still a largely unexplored area in Indian cinema, particularly the south. In the rare one that comes by, the “adventure” happens to be either escaping from men or breaking the patriarchy. There’s nothing wrong with this per se. For instance, the American film Thelma & Louise (1991) is a female buddy film about two women – a homemaker and a waitress – who go on a road trip. They end up killing a man who attempts to rape one of them. From then on, they go from one sticky situation to another, but their friendship keeps them afloat. Thelma & Louise is considered a classic for the way it explored the deep bond between two women, and its showcasing of women’s lived realities. 

Padmarajan’s Deshadanakili Karayarilla (1986) is perhaps one of the earliest examples of a film revolving around female friendship in the south. The film is about two girls who run away together when on a school trip. Though it is not spelt out, there is a suggestion of romantic love between them or at least, one of the characters harbours such an interest towards the other. The film ends on a tragic note, with the two girls killing themselves.  

In Tamil, Magalir Mattum (1994), an unofficial adaptation of American film 9 to 5 (1980), is still considered to be among the best Indian films to have explored workplace sexual harassment. Here, three women from different social classes take on their boss who is a sexual predator. Despite the grim theme, the film is uproariously funny, ensuring its popularity across decades. Its sequel-in-soul, Magalir Mattum 2 (2017) is about three school friends – each constrained by social norms –  who reunite in their middle age. Then there was Snegithiye (2000), with an all-woman cast, and revolving around the murder of a rapist.  

We’ve also had films like Rani Padmini (2015) where a traditional woman meets a wilder counterpart and forms an unlikely friendship. Anjali Menon’s Wonder Women (2022) looked at pregnant women from different walks of life bonding in a prenatal class – from divorce to miscarriage and patriarchal norms, the film is about how female friendship can be uplifting. 

In recent years, coming-of-age Malayalam films like June (2019) and Super Sharanya (2022) have looked at women’s lives, their friendships, romance and other concerns, with a lighthearted gaze. There’s also the Tamil adult comedy 90ML (2019), directed by Anita Udeep, that is on female friendship but was criticised widely for showing women drinking alcohol and exploring their sexuality. But, such not-so-serious films are few and far between. 

The tendency, rather, has been to centre women’s experiences around violence or oppression of some sort – as if there is nothing more to women’s lives. Further, many filmmakers also feel compelled to include every kind of woman in the story in a bid to make it “inclusive”. While diversity is to be welcomed, the writing has to be organic or it ends up looking forced.

All stories need a conflict to drive them forward, and it’s true that women undergo several struggles because of their gender. But, should that define the plot all the time? Should that be the conflict always? Can’t the films acknowledge the difficulties that exist but move beyond those to give us fresh stories that are also original and fun? Isn’t it time to focus on empowering narratives where women don’t have to be victimised first for them to have a voice? 

There are women who do solo trips, women who are part of biker groups, women who travel to international destinations through people they meet on online groups, women who climb mountains in their fifties and sixties, new moms who become entrepreneurs together – there are so many possibilities for stories around female friendship. So many adventures that women have in real life that don’t define them in relation to men. When will our cinema get there? 

As a woman, I would like to be appreciated and celebrated throughout the year. Just allocating one day to us is not enough. Also, to put things in perspective, we have a lot of things that one can help us with instead of giving us a 20 percent discount today.

1. Equal Pay

For generations, women have fought for equal opportunities. There is a significant pay gap between the genders across the globe. Women in our country make substantially less than men because of the gap that exists in the occupational sector. Many reasons attributed to this cause, for example, for a very long time, women were segregated to doing only a few ‘jobs’ while the higher paying jobs were reserved for women. Companies, across different industries discriminate against women in the workforce. The reasons that a company would cite include commitment to work, educational qualifications, family responsibilities, etc. There are fewer women in leadership roles in big companies, which means that it’s mainly men who are the decision-makers on how much a candidate is paid. Yes, women are breaking the glass ceiling and taking on roles that weren’t even considered for women until a decade ago, but there has to be a more conscious change for the disparity to go away.

2. Safer Public Places

Catcalling, stalking, and verbal abuse on the streets are the most common forms of harassment that a woman faces daily. We have all heard harrowing experiences from our colleagues, friends and family members where they have been subjected to this. The normalization of this is the root cause of the problem. More than a Women’s Day wish, what we wish for are safer streets, safer public places and safer public transportation for women. These incidents limit a woman’s independence and autonomy. Many public figures have come

3.Freedom of Choice

Why do people think that they have any rights over our decision-making? When to get married, not get married, work or study, have kids or not, even something as simple as going outside the house are all our decisions. We know our biological clocks, and we know our safety is of prime importance. The society takes away a woman’s basic right to choose. All our choices are somehow tied to marriage and childbirth. If you cut your hair short, which boy would like to marry you or if you delay marriage, how will you bear children late in your adulthood? These questions are regressive, they show how we haven’t progressed from looking at women from that one perspective, of them being nurturing mothers and wives. It’s time we take the power in our hands and create our narrative.

4.Right to wear whatever I want

This thought dawned on me when I was visiting a beach here and it took me 2 hours to decide my outfit for the outing. My first thought was to wear a swimsuit, but then I realised that ‘Indian’ beach outings have a different dress code. A straightforward beach day turned out to cause so much anxiety that by the end of that hour, I no longer wanted to head to the beach. What does my clothing choice have to do with my safety? Why do I have to worry about how men would ‘ look’ at me if I’m wearing a western outfit which is funnily the most appropriate outfit for the situation? And the worst part is how my clothing is not even a problem, it’s the mindset.

5.Equality at the home front

A recent study revealed that 73 percent of women leave their jobs after childbirth. The reasons for this could be many, but primarily it’s the lack of support at the home front. A lot of women choose to be stay-at-home mothers, but for a lot of others, that’s not the case. Equally dividing parenting responsibilities between a father and a mother is the first step in the right direction. Women have to feel secure in leaving behind their homes and children and stepping back into the job market.

6.Acknowledgement for unpaid work

A big problem of putting women on a pedestal is that we are then expected to do it all, and do it with grace and no remorse or regret. We may not want to be multi-taskers, we may want to excel at one thing and not do anything else at all. Especially the work that a woman does at home is undervalued and overlooked. Division of household chores should be the norm, that’s when men and women will truly be equals. The social attitudes need to change, the barrage of tasks that a woman is expected to handle is unreasonable. This unpaid work that usually goes unnoticed is holding households together. Redistributing the workload will cause a shift in mindsets and slowly bring about a change in societal structures.

Revathy – Mouna Ragam – Mani Ratnam

Divya is a fun-loving and extrovert college-going girl who brings joy to whoever she meets. She is a ray of sunshine for her family and brings joy to the lives of those around her. Her character was ahead of her time. She voices her opinions unabashedly, this was a refreshing change of character especially at a time when women were mostly expected to keep to themselves. The movie sheds light on the double standards of society, as girls are initially advised to stay away from boys in school and college but are then forced into marrying a complete stranger. Divya doesn’t agree with ‘arranged’ marriage and openly defies it. She takes her time to get to know her husband and slowly builds a relationship with him, showing us what it means to live life on her own terms. 

Aishwarya Rajesh – Kaaka Muttai – M. Manikandan

Kaaka Muttai revolves around two curious kids from the slums who want to know what pizza tastes like. Aishwarya Rajesh plays the mother to them and single-handedly manages the house, the kids, and her mother-in-law while also fighting to get her husband out of jail. While the movie entirely focuses on whether or not the kids get to taste ‘pizza’, Aishwarya Rajesh’s character truly stands out. Her character has many dimensions, she’s a woman who is struggling to feed her family, a wife who is trying everything she can to release her husband from prison, and a mother who does her best to fulfill her kids’ wishes. She is the definition of a strong, determined woman who would strive to protect her family through everything. This is evident with her saving money to pay for her husband’s lawyer and when she comes to know about her kids being insulted by the Pizza shop supervisor, she defends and fights back for them. While facing tough choices and challenges in life, she doesn’t lose hope and fights back. 

Aditi Balan – Aruvi – Arun Prabhu

From being daddy’s little girl to an independent woman, the transition is full of hurdles for Aruvi. Played by Aditi Balan, the character’s journey is what the movie is all about. When she is forced out of her own house by her father, she has a lot to deal with. Her hardships are what make her a strong woman because she refuses to give up. She is treated as an outcast because she is HIV positive, finding just one friend who is a transwoman who stands by her as she fights along. She is constantly judged by society even though they are the ones who wrong her, but that doesn’t deter her spirit. Aruvi brings a whole new level of meaning to the word ‘ empowerment’ when she decides to take matters into her own hands and punish her wrongdoers in her own way. 

Jyothika – Mozhi – Radha Mohan

Archana’s character is a remarkable example of strength and empowerment for all women, reminding us to embrace our true selves and live life with confidence and independence. Initially, she comes across as an introvert and prefers to keep to herself, but as the movie progresses, her guards go down and she starts to come out of her shell. She is confident and isn’t afraid to call a spade a spade. Her insecurities do not define her, and she refuses to let them limit her life in any way. Archana is a woman who can take care of herself and doesn’t rely on anyone for happiness. Her straightforward approach, quick decision-making skills, and friendly nature make her an iconic character.  

Nithya Menon – Oh Kadhal Kanmani – Mani Ratnam

Mani Ratnam truly knows how to write meaningful and layered women characters, one such favorite is Tara from OK Kanmani. She is a spirited woman who is full of life, she is unapologetic and lives her life on her own terms. She is a modern Indian woman, she balances her respect for culture and tradition but doesn’t let that come in her way of living life. She is created with complexity, her personality is captivating and intriguing at the same time. She defies the stereotype, she is a hopeless romantic and a career-oriented woman, Tara can do both. She doesn’t compromise or give up on one because she needs the other more. 

Simran – Kannathil Muthamittal – Mani Ratnam

In the critically acclaimed Tamil film “Kannathil Muthamittal,” Simran’s portrayal of Indira, Amutha’s mother, is regarded as one of her most versatile performances to date. Indira is an efficient news reporter, a doting mother, and a loving wife, she knows what she wants in life and goes after it. She captured the hearts of the audience with her nurturing nature, compassionate personality, and independent spirit, Indira serves as a strong and reliable anchor for her family. She supports her daughter, Amutha, in her journey to find her birth mother, which shows how secure she is as a person. Every mother’s worst fear is separation from their beloved children so understandably, Indira is seen breaking apart with every step that Amudha takes towards Shyama. Indira’s portrayal in the film showcases the depth of a mother’s love and the sacrifices she is willing to make for her family.

Madhoo – Roja – Mani Ratnam

Roja’s journey from a carefree young woman to a fearless fighter exemplifies her character’s development. Initially, she marries against her wish but stands her ground on her disinterest in the marriage. Only after knowing the truth behind Rishi choosing her to marry instead of her sister whom he intended to marry in the first place, does Roja decide to give him a chance. When militants abduct her husband, she refuses to give in to despair. Instead, she takes matters into her own hands by negotiating with the terrorists and even infiltrating their ranks to rescue her beloved. Roja’s character is portrayed as a woman of action rather than a passive victim. She is a strong example of how a woman can be assertive and take control of her own destiny. She defies traditional gender roles, showing that women can be just as capable and courageous as men.

Revathy – Marupadiyum – Balu Mahendra

Thulasi is the torchbearer of female agency, her journey of self-discovery served as an inspiration to many women. She is considered one of the strongest female characters in Tamil cinema due to her unwavering determination and steadfast nature. Despite facing many hardships, she remains resolute, which makes her a symbol of strength. Thulasi’s character is truly ahead of her time. Even when her marriage crumbles and she is pushed to her lowest point, she rises like a phoenix and finds new meaning in her life. Thulasi’s character never needed a man to back her up, she was capable of taking care of herself. Even when Gowrishankar, a man who expressed his affection for her, approaches her, she firmly rejects his offer. She was on a journey of self-discovery and wanted to discover life on her own. 

Police suspect that the victim was allegedly raped and the killed by a gang. Police have accused and arrested a gang of 6 including a 19 year old boy and 54 year old man. The 19 year old, identified as Karunas, belonging to the same neighborhood, confessed to the killing. Karunas reportedly took Aarthi to his terrace, where he sexually harassed the child, later joined by the 54 year old Vivekanandan, who also admitted to the crime. This incident caused outrage among the Public and in Social media, with people demanding justice for the child. 

Recently, Jyotika took to her Instagram to share a reel of her workout session along with the caption, “Fitness is not about the weight you lose, but the life you gain.”

 

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Many celebrities and fans commented on the reel, praising her dedication. Celebrities including,  Radhika Sarathkumar commented, “OMG 😍😍😍😍😍😍💪🏻💪🏻💪🏻💪🏻💪🏻” Soha Ali Khan commented, “Amazing!!!”, Nidhi Parmar Hiranandani commented, “Tooo goood Jo 💥❤️❤️❤️🎉🎉 just wow 🤩”, Choreographer Brinda commented, “Wooooow Joe veralevel”, and Rayane R Mithun also commented on her reel.

On Work Front

Jyothika was last seen in the film Kathal – The Core, Starring Mammooty in the lead role. The movie received critical acclaim and was one of her finest performances. Her upcoming projects are Shaitaan, a horror thriller film, starring Jyothika, Madhavan, and Ajay Devan, and ‘Dabba Cartel’ starring, Shabana Azmi, Jyotika, Shalini Pandey, Anjali Anand, and Gajraj Rao.

Manjummel Boys was released in theatres in February this year, but even to this day, the conversations are still around the movie. 

The movie is set in the late 2000s in Kodaikanal and is based on a real story. that’s when the intrigue begins. When you know an incident happened in real life, the appeal multiplies because now there are real people involved. 10 boys (men) are part of a sports club and their favourite activity is ‘tug-of-war‘. They have grown up together, they know each other’s families, their struggles, their successes, and their shortcomings. They are the typical gang of boys one would disregard in a town. They exist, and that’s pretty much what they do. 

They plan a trip to Kodaikanal, they are carefree and living in the moment, they explore the city like any group of boys would. You get a sense of their group dynamics and who they are. When they visit the infamous Guna caves, they have no care in the world. There are warning signs and a tour guide who advises them to steer clear of the dangers but to no avail. They aren’t the types to listen or even fathom the dangers of the said ‘ Guna caves‘.   

When Subash falls into a pit, 900 feet deep, which could be more because no one knows the exact depth, their world stands still. The group doesn’t understand the severity of the situation at first but as they speak to the local authorities the guard and the police, they understand that it’s grave. 

There have been a lot of survival thrillers in the past, but what makes this one special is that it rides heavily on the bonds of friendship. How strong is that relationship, are you willing to jump into a pit for your friend or do you have a friend who would do that for you? These are questions that your mind will ponder around even after you are done watching the movie. 

Dialogues play a pivotal role in the narrative here, you ought to pay attention because a lot is said in the first half of the movie that makes complete sense in the second half. It’s not that you don’t know what’s going to transpire, you wish and hope that Subash is rescued and alive, and you know that he will make it. It’s in the small details in the film, the reactions and the way they use music to tug at your heartstrings.  The movie is not just an average flick about friendship, it is a perfectly wrapped survival thriller whose heart and soul are these boys and their bond. 

Chidambaram, the director, and writer of the film shows very light-hearted scenes and tries to explain their dynamic and what they do on a day-to-day basis. The premise is set well. Subash, at the beginning of the film, questions what God is, and when he is rescued, the locals around him consider him God, it’s such a full circle moment. 

There are a lot of films that talk about friendship and this film will be considered one of the finest in that specific genre. Kuttan volunteered himself to get into the pit, knowing full well there was a possibility that he and his friend wouldn’t come back, and still not hesitating a bit made even the authorities wonder about their bond. It is not just Kuttan and Subash, it is about all ten of them, and even they say it when one police officer asks, “Are you sure you want to get in and rescue him? Kuttan responded with yes and asked his other friend what would friends do if it was you and him responding. If you are not rescuing him, I will go in and rescue him. It is one of the major hopes that the authorities have to save him at any cost. Not just one guy, everyone is ready to jump in and save them.

Another essential aspect of the film is the iconic song Kanmani anbodu kaadhalan from the Kamal Haasan film Guna. The song, originally a love ballad is used here to bring out the meaning of their friendship. The lyrics get a new meaning, the song gets a new meaning and it would now be associated with the Manjummel Boys for years to come, 

The cinematography, editing, and music deserve special appreciation in this film. Shyju Khalid’s cinematography, Vivek Harshan’s editing and Sushin Shyam’s background score are what make one feel all the emotions. A lot more depth, a lot more details, and a whole lot of friendship are what make Manjummel Boys a celebrated movie across all languages. 

Manithar unarnthu kolla

Ithu manitha kaadhal alla

Athaiyum thaandi punithamanathu!

Where to watch: Disney + Hotstar

Poacher 

Poacher tops the list with its intriguing plot. Poacher, a Malayalam language crime drama TV miniseries is created by Richie Mehta. The show features Nimisha Sajayan, Roshan Mathew, Dibyendu Bhattacharya, Kani Kusruti, Ranjitha Menon, and Maala Parvathi. The plot revolves around a group of Indian Forest Service officers, NGO workers, police constables, and Good Samaritans who take a great risk to track down the biggest elephant ivory poachers in India’s history and bring them to justice. 

Where to watch: Amazon Prime

Captain Miller on Amazon Prime

Captain Miller, streaming from February 9th, starring Dhanush and Priyanka Mohan, is set in the 1930s. It tells the story of a courageous rebel who bravely stands up against his oppressors – the Britishers and the King. However, fate throws him a curveball, and he finds himself with only one chance to escape. Now he faces a choice: to live in anonymity or to fight for his people and his land. As the hero makes his decision, he realizes that the road ahead is much more challenging than he expected. However, he is not alone, and the noble people he meets along the way will stand by him all the way.

Where to watch: Amazon Prime

Blue Star

Blue Star, featuring Ashok Selvan, Shantanu Bhagyaraj, and Keerthi Pandian is a comedy sports drama, written and directed by S. Jayakumar and produced by Pa. Ranjith’s production house, Neelam Productions. Ashok Selvan playing Ranjith and Shantanu Bhagyaraj playing Rajesh are two crickete players who are struggling to make a name for themselves as a cricketer. The movie revolves around the challenges they face while trying to climb up the ladder to achieve their goals. 

Where to watch: Amazon Prime

Saba Nayagan

Saba Nayagan, aired on February 14th, starring  Ashok Selvan, Megha Akash, Karthika M, and Chandini, written and directed by C. S. Karthikeyan is a romantic comedy, that revolves around the series of love stories in Aravind aka Saba’s life. Saba, who gets arrested for a nuisance narrates his love stories to the constables who tag along with Saba since his arrest.

Where to watch:  Disney+ Hotstar

Ayalaan

Ayalaan, aired on February 9th, is a sci-fi comedy film starring Sivakarthikeyan, Yogi Babu, Rakul Preet Singh, Sharad Kelkar, and Isha Kopikkar. The film’s plot revolves around a lost alien who lands on Earth and seeks the assistance of four friends to return to his home planet. However, the group must navigate through a series of obstacles as they are relentlessly pursued by hostile scientists who want to capture the alien for their own nefarious purposes. The character of the alien is voiced by actor Siddharth.

Where to watch: SunNxt

Malaikottai Valiban

Malaikottai Valiban is one of the most anticipated movies to be released on OTT. The epic action drama is directed by Lijo Jose Pellissery and written by P. S. Rafeeque from a story by Pellissery. The film features Mohanlal playing a dual role, along with Sonalee Kulkarni, Hareesh Peradi, Danish Sait, Manoj Moses, Katha Nandi, and Manikandan R. Achari in supporting roles. Malaikottai Vaaliban is the story of an aging fighter or warrior, who wanders from village to village, taking part in fights and winning accolades. One day, he gets into an argument with Chamathakan and then challenges him to a fight in his village, Mangodu. 

Where to watch : Disney+ Hotstar

Guntur Kaaram

Guntur Kaaram is an action-packed family drama, directed by Trivikram Srinivas. The film has Mahesh Babu. The film The story revolves around Ramana, a simpleton from Guntur, who cares for no one and keeps himself always busy with his work. Suddenly, his identity drags him into a political conspiracy against Minister of Law and Justice, Vasundhara. He is left with two options – either giving up that identity or fighting against the conspirators.

Where to watch: Netflix

 Naadu

Naddu is a thought-provoking Tamil film written and directed by M. Saravanan. The movie has Tharshan and Mahima in the lead roles with Praveen Kumar Sobti, Singapuli, and R.S.Shivaji in supporting roles. The plot revolves around an urban-educated doctor who is transferred to a village to help mitigate the frequent spread of illnesses and diseases in the rural area. The movie portrays her efforts to adjust and adapt to the ways of the villagers.

Where to watch: Amazon Prime

Bhakshak

Bhakshak is a gripping movie featuring Bhumi Pednekar, Sanjay Mishra, and Aditya Srivastav. The movie is inspired by the true story of the Muzaffarpur women’s shelter case. The movie was produced by Gauri Khan and Gaurav Verma under their production company – The Red Chillies  Entertainment. The movie is written and directed by  Pulkit. The story revolves around a local journalist who is fighting to make a name for herself in the industry. She stumbles upon a shocking discovery of harrowing cases of abuse being covered up at a shelter for young girls and decides to investigate the matter doggedly. 

Where to watch: Netflix

Singapore Saloon 

Singapore Saloon, written and directed by Gokul. RJ Balaji and Meenakshi Chaudhary play the lead roles. In addition, Lokesh Kanagaraj and Jiiva appear in cameo roles in the film. The coming-of-age film revolves around Kathir and Basheer, two friends from a village with big dreams. Kathir gets inspired by a local salon owner named Sacha and aspires to become a hairstylist. The story revolves around how he handles prejudices, and challenges in the way his passion, is and how he opens his salon, the “Singapore Saloon”. 

Where to watch: Amazon Prime

The couple has been in the headlines for quite some time following their wedding. They kickstarted their pre-wedding festivities with dhol night in Mumbai followed by sangeet, mehendi, and haldi at ITC Goa. The couple returned to Mumbai this week and has been sharing glimpses from all events with their fans on social media.

 

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This post is from their fairytale wedding, Rakul is seen wearing a custom Tarun Tahiliani bridal lehenga donned with exquisite hand embroidery. Its a peachy salmon colour which has embellished flowers all over it. The tulle drape just adds that drama to her outfit and gives her the look of a new-age bride. 

 

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For her sangeet, Rakul wore a custom Falguni and Shane Peacock lehenga in off white and silver. The outfit was embellished with Swarovski stones, crystals, sequins, beads and silver acrylic flowers. Paired with a handcrafted blouse with full sleeves and a toasted beige shoulder cape ties the look together beautifully. 

 

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For her mehendi, Rakul is seen in a vibrant pink and orange phulkari outfit incorporating her Punjabi roots into the look, the whole fit is designed by Arpita Mehta. The intricate embroidery on her outfit took 680 hours to complete and is a fine example of excellent craftsmanship.

 

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For her haldi ceremony, Rakul wore a vibrant glass beaded choli with Swarovski stones + a sequinned moonlit jungle-printed lehenga with metal and embellishments by Papa Don’t Preach by Shubhika. The bride and groom were adorned with haldi on their faces, they could be seen smiling ear to ear and one might say looking”yellow”.

Work front

Rakul Preet was last seen in Ayalaan, a Siva Karthikeyan starring sci-fi film, and has two movie lineups for 2024 including Meri Patni Ka Remake and Indian 2. Jackky was lastly involved in the production of Ganapath and will be acting as a producer the upcoming films like Bade Miya Chote Miyan and Ganapath 2.

 

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The premise of the story appears to be captivating as it centers around a group of five housewives who run a Dabba service in Mumbai. However, the intriguing aspect of the first look is that these 5 women aren’t selling “just food” in those boxes. The teaser gives us a glimpse into their lives, their personalities and how they find a way around their dubious schemes. Things start to unfurl when investigations around their dabba begin. 

On Work Front

Jyothika was last seen in the film Kathal – The Core, Starring Mammooty in the lead role.The movie received critical acclaim and was one of her finest performances. Her upcoming project is Shaithan, a thriller film, starring Jyothika, Madhavan, and Ajay Devan. Nimisha Sajayan is her reigning era, her latest series Poacher is gaining great popularity and she is getting exceptional reviews for her work in it. Last year, her work in Tamil movies Chithha and Jigarthanda Double X was appreciated and recognised by all who watched the films.  Shalini Pandey is known for her character in the film, Arjun Reddy. The actor was last seen in the film, Jayeshbhai Jordaar. Her upcoming projects are Maharaja and Dabba Cartel. Shabana Azmi was last seen in the romantic drama, Rocky Aur Rani Kii Prem Kahaani and Ghoomer. Anjali Anand was last seen in the film Rocky Aur Rani Kii Prem Kahaani.

The couple got married in 2018, after dating for six years. Their intimate wedding ceremony took place at Villa del Balbianello in Lake Como, Italy. Surrounded by the stunning natural scenery, the ceremony was intimate and romantic, a true testament to the couple’s love for each other. Later, the couple organized grand receptions in both Bengaluru and Mumbai.

Recently, they announced their pregnancy by posting on their respective Instagram accounts. They made an official announcement through a heartwarming post, sharing the exciting news with their followers.

 

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On Work Front

Deepika Padukone was last seen in the film, Fighter, starring Hrithik Roshan and Anil Kapoor. The actor’s upcoming projects are Kalki 2898 AD, and Singham Again. Ranveer Singh was last seen in the film, Rocky Aur Rani Kii Prem Kahaani, starring Alia Bhatt, Jaya Bachchan and Darmendra. Ranveer Singh and Deepika to star together again in their upcoming project, Singham Again.

Taapsee Pannu has always kept her relationship under wraps, although she does talk about him every once in a while. They have been together for a decade, but have maintained to keep their private life, private. They both belong to diametrically opposite career paths, with her being an actor and him being a badminton player, both being supportive of each other during their relationship.  The couple is reported to have a one-of-a-kind Sikh-Christian ceremony as she is  Sikh family. The wedding will be an intimate affair with just the close circle invited for the ceremonies. 

Taapsee is known in the industry for her discerning choice of roles and versatile acting. She was critically praised for her performance in movies like Thappad, Haseena Dillruba, and Pink. The actor was last seen in Dunki, which had a huge box-office success and has an interesting line of films including Woh Ladki Hai Kahaan, Alien, Jana Gana Mana, and Phir Aayi Haseen Dilurba.

The depiction of sexual violence in Indian cinema has gradually changed since 2012 when the Nirbhaya case triggered widespread conversations on the subject. In earlier decades, sexual violence was used as a plot point to justify the hero’s anger against the villain. The victim would either be killed or conveniently exit the film through suicide. After 2012, however, the rape-revenge drama became popular, with women survivors choosing to fight for justice by themselves, with or without the support of a male character.

But, most of these films revolved around sexual violence committed by strangers and did not look at rape culture as such. That is, society’s complicity in the act that emboldens perpetrators. Three recent Malayalam films, however, offer a much more nuanced and deeper understanding of sexual violence – Mahesh Narayanan’s Ariyippu (2022), Anand Ekarshi’s Aattam (2024), and Don Palathara’s Family (2024). In all three films, the focus is not so much on the violence itself as it is on the social fabric in which the crime occurs. The reactions and responses of those around the survivor(s) are under the spotlight.

In Ariyippu, set during the COVID-19 pandemic, a Malayali couple – Reshmi (Divya Prabha) and Hareesh (Kunchacko Boban) – is living in Noida and working at a glove factory. A video that shows Reshmi working at the glove factory is edited and joined along with a clip of a masked woman performing a sexual act on a man in the factory. While Hareesh initially supports his wife, he later begins to suspect that it was indeed Reshmi in the video. He takes out his anger and frustrations on her, even assaulting her in the process. 

The woman who was actually in the video – it is suggested that she was from a Dalit caste with a photo of BR Ambedkar pasted inside her locker –  is dead, and it is revealed that the man who shot the video is the employer’s brother. When the couple discovers the truth, Hareesh is keen to accept the bribe offered by the employer’s family to cover up his involvement while Reshmi refuses to do so. 

In Aattam, the only woman actor in a progressive theatre group is sexually assaulted during a party. Anjali (Zarin Shihab) doesn’t see the face of the perpetrator but is convinced that it was Hari (Kalabhavan Shajohn), the popular star of the group. She confides in her boyfriend Vinay (Vinay Forrt), who is also part of the same group and resents Hari’s success. At first, most members of the theatre group seem united in their support for Anjali, but slowly, their priorities shift. It also turns out that Vinay, in whom Anjali had trusted so much, was using her to further his own career prospects.

The film is a resounding answer for all the scepticism and questions surrounding the #MeToo movement. Why didn’t she speak up when it happened? Why didn’t she slap him immediately? Why did she wear those clothes? Why did she drink with the men? Anjali finds out that she is quite alone, and that the men around her care very little about the trauma that she has experienced.

In Family, a man belonging to a prominent family in an Idukki hamlet systematically abuses children in his familial and social circle. Sony (Vinay Forrt) pretends to be a Good Samaritan but is actually a predator who grooms young children – boys and girls – and assaults them whenever he has the opportunity. This includes his younger brother. 

But, that isn’t the most shocking aspect of the film. It is that everyone in his family is aware that he is a paedophile, including his aunt who is a nun. Their solution, however, is to brush it under the carpet and expect Sony to change by going for religious retreats or praying. Even when someone witnesses the abuse and brings it up, the family’s instinct is to silence the person and make sure the secret never comes out. The film ends on a disturbing note, with Sony becoming a teacher in a school. 

Here are five points about sexual violence that these films expose:

1. The perpetrator is usually someone known to the victim/survivor: Every year, data from the National Crime Records Bureau (NCRB) reveals that in over 90% of cases of sexual violence, the perpetrator is someone acquainted with the victim/survivor. In Ariyippu, the woman in the video is sexually exploited by the employer’s relative. In Aattam, the woman is assaulted by her colleague, and in Family, the children are in Sony’s family and social circle and they’re entrusted to his care. 

2. The survivor’s family and social circle rarely supports them: The trauma of sexual violence becomes all the more difficult to confront and process when survivors don’t have support from their loved ones. This is why many survivors are afraid of speaking up. In Ariyippu, Hareesh becomes violent towards Reshmi because he feels emasculated by the video. The real woman in the video ends up dead and her family is bought off by the privileged employer’s family. In Aattam, the theatre group turns hostile and leaves Anjali to fend for herself after their initial show of support. In Family, nobody even wants to acknowledge what’s happening to the children.

3. The perpetrator is protected by those around him: In all three films, the perpetrators are at an advantage because they’re protected by their family and society. In Ariyippu, the wealthy and caste privileged employer protects the perpetrator. An employee who is aware of the truth also sides with them because his job is at risk. In Aattam, the perpetrator dangles a rare opportunity for the theatre group to go abroad and make a lot of money, and this is enough for them to abandon the survivor and take his side. In Family, the perpetrator isn’t confronted by anyone who knows what he’s doing. They go to great lengths to ensure that he isn’t questioned for his actions. 

4. The shame of sexual violence is pinned on the victim/survivor: The shame of a crime usually rests with the perpetrator but not so for sexual violence. Here, it is the victim or survivor who has to bear the shame, even as they struggle to deal with the violence meted out to them. In Ariyippu, the husband is unable to look at his wife with empathy and humiliates her for what has happened. In Aattam, the woman actor is blamed for her choice of clothes and behaviour, as if any of that justified what happened to her. In Family, when one of the characters brings up the perpetrator’s behaviour with children, she is told not to talk about it because it will affect the survivor’s family badly. 

5. The abuse continues because there is social sanction: Perpetrators of sexual violence commit the crime over and over again because they are rarely punished for what they do. In Ariyippu, one of the employees confesses to the couple that the perpetrator is known for his wayward behaviour. Yet, the impulse is to cover up his actions rather than stop him. In Aattam, the perpetrator behaves badly with the survivor even before the assault but faces no serious repercussions. The theatre group later decides in his favour, even if some of them believe he must have committed the assault. In Family, the perpetrator is gifted a wider pool of victims when he becomes a school teacher. Nobody wants to stop him and he is free to prey on the children. 

43 years of togetherness 🥰❤️🥰❤️🥰my darling amma & appa !!!! .. always standing by each other rock solid 💜🥰😘😘😘 amma cherishes and makes appa wear the chain and rings they exchanged 43 years ago, every year 😊🥹❤️ !!!!! Love you both too much and more 🩷❤️🧡#CoupleGoals pic.twitter.com/NyLEtZcovI

— soundarya rajnikanth (@soundaryaarajni) February 27, 2024

Rajinikanth fondly called as “superstar” by his massive fan following met his now wife in the 1980s. The couple met each other on the set of Thillu Millu, Latha Rangachar, who was then pursuing her English literature at Ethiraj College and was the cultural secretary of the college got an opportunity to meet the actor to interview him for their college magazine. soon after their first conversation, the couple realized they had a lot of common interests and an unexplainable connection.”It felt like we’ve known each other for a long time” Latha shared in an interview when asked about their first meet. Soon after their interview Rajini confessed his feelings to Latha and asked her parents for her hand in marriage. The couple got married on February 26, 1981, at Balaji Temple in Tirupathi, and have remained a devoted and loving couple ever since.

Recently, the female lead of the film, actress Simran, took to her Twitter handle to repost a post where a fan appreciated Ajith’s and Simran’s acting skills. The actress said, “OMG this scene. I will never forget the way SJS enacted for me,” to which, actor and director, S. J. Suryah replied, “I did my job, but Simran ji the way U and Ajith Sir carried it like anything people r still celebrating like a new movie”.

OMG this scene 🎬 I will never forget the way SJS enacted for me 😊@iam_SJSuryah real talent 👌 https://t.co/nwsWqRJwGR

— Simran (@SimranbaggaOffc) February 27, 2024

😍🙏 i did my job , but @SimranbaggaOffc ji the way U and Ajith Sir carried it like anything people r still celebrating like a new movie https://t.co/EHKo0gDDCi

— S J Suryah (@iam_SJSuryah) February 27, 2024

The movie is known for its portrayal of Ajith, who brilliantly plays the roles of both the protagonist and antagonist. Jyothika, on the other hand, made her debut in the film and played the character of Shiva’s imaginary girlfriend.

Director and actor, Dhanush, recently took to his Twitter handle to announce the addition of two more actresses, Aparna Balamurali and Dushara Vijayan, to the cast of Raayan with similar black and white photos he’d used to reveal the other cast members of the film. 

The super talented Aparna balamurali pic.twitter.com/WjLGZmEfBD

— Dhanush (@dhanushkraja) February 25, 2024

Introducing @officialdushara from the world of #Raayan 💥@dhanushkraja @arrahman @iam_SJSuryah @selvaraghavan @prakashraaj @kalidas700 @sundeepkishan @omdop @editor_prasanna @PeterHeinOffl @jacki_art @kavya_sriram @kabilanchelliah @theSreyas @RIAZtheboss pic.twitter.com/620nYOWpAY

— Sun Pictures (@sunpictures) February 24, 2024

His previous directional film, Pa. Pandi revolves around the story of Pandi, a retired stuntman, who has an argument and leaves home to find his long-lost love, Poothendral. He finds Poonthendral and their buried feelings resurfaces. Poonthendral resolves the conflict between Pandi and his son and later reunites with Pandi with a message that love has no age.

Ye Maaya Chesave

“Ye Maaya Chesave” is a captivating Telugu movie that is a remake of the Tamil film “Vinnaithaandi Varuvaayaa”. The movie was written and directed by Gautham Vasudev Menon. The film’s plot revolves around the complex relationship between two individuals, Karthik and Jessie, who come from contrasting backgrounds. Karthik, belonging to a Hindu family, dreams of making a career in the film industry, while Jessie, who hails from an orthodox Christian family, has no interest in watching movies. The female lead in the Telugu version is played by Samantha, who portrays the character of Jessie. In the Tamil version, Samantha played the role of Nandini, the female lead in Karthik’s film. 

Naan Ee

Naan Ee is a fantasy action movie featuring Nani, Samantha, and Kiccha Sudeep. The movie is written and directed by S. S. Rajamouli. The story begins with a father narrating a bedtime story to his daughter. The story revolves around Nani, who is in love with Bindu, played by Samantha, who is killed by Sudeep, a wealthy industrialist who is also attracted to Bindu. Nani reincarnates as a small fly (Ee), and seeks revenge against Sudeep while also protecting Bindu from him. The movie takes viewers on a thrilling adventure as they watch Ee, in his tiny form, take on the powerful Sudeep to avenge his death and keep Bindu safe.

Neethaane En Ponvasantham

Neethaane En Ponvasantham is yet another film that revolves around the complex relationship between Varun and Nithya from childhood to adulthood. Written and Directed by Gautham Vasudev Menon, the film features, Jeeva, Samantha, and Santhanam. The story revolves around the constant disagreement and contrasting ideologies of Varun and Nithya who, towards the end of the film find their way back to each other. Samantha’s character, Nithya is a strong, independent woman despite her heartbreak from Varun. 

Super Deluxe

“Super Deluxe” directed by Thiagarajan Kumararaja, is a Tamil film that has captured the attention of alternate mainstream cinema. The movie features Vijay Sethupathi, Fahad Faasil, Samantha, and Ramya Krishna. Each actor has delivered a career-defining performance, but Samantha stands out in every scene she appears in. Her character is that of an unfaithful wife who is compelled to hide her lover’s body from her husband after experiencing a series of bizarre events. Samantha’s portrayal in the film was unconventional and considered a milestone in her career.

Yashoda

Samantha has established a reputable name for herself across multiple industries. Last year, “Yashoda” the audience witnessed an action-packed thriller, with Samantha, Unni Mukundan, and Varalaxmi Sarathkumar as the leading cast. In the movie, she is the protagonist who is on the run after uncovering a medical fraud. She adeptly portrayed the role of an action hero in the film, with her many action sequences looking remarkably believable. The film successfully perfectly balanced romance and action, showcasing her innate ability to perform both genres with effortless ease.

At the JFW Movie Awards 2024, we celebrate the women who are a part of the tapestry of cinema, from Best Actress in a Lead role to Best Dubbing Artist, the night brings together the best of the best from Tamil Cinema. The 10 categories include Best Actress in an OTT Series, Best Supporting Actress, Best Debutante, Best Woman-Led Film, Best Dubbing Artist, Best Singer, Best Costume Designer and Best Director of a Woman-Led Film. In addition to the aforementioned categories, we also have special mentions and critics’ choice awards to celebrate the outstanding contributions of the artists and technicians who work behind the camera.

This year, films like Goodnight, Farhana, The Road and Chithha bagged several nominations in different categories. For our very first list of nominees in the category, Best Actress in a lead role, we have Trisha for Leo, Meetha Raghunath for Goodnight, Bhavani Sre for Viduthalai, Dushara Vijayan for Aneethi, Rashmika Mandana for Varisu and Aparna Das for Dada. Under the category, Best Actress in an OTT series, we have Abi Nakshatra for Ayali, Wamiqa Gabbi for Modern Love Chennai, Ritu Varma for Modern Love Chennai, Vani Bhojan for Sengalam and Lakshmi for Sweet Karam Coffee. For Best Supporting Actress, we have Nadiya for LGM, Abarnathi for Irugapatru, Raichal Rebecca for Goodnight, Ammu Abhirami for Kannagi, Deepa Shankar for Soppana Sundari and Mullaiyarasi for Are You OK Baby?.

This time for best women-led films, we have nominated Annapoorani, Kannagi, Farhana, The Road and The Great Indian Kitchen and the leading actresses namely Nayanthara, Keerthi Pandian, Aishwarya Rajesh, Trisha and Nimisha Sajayan have been nominated for the Best Actress in a woman-led film.

The Best Singer nominees this year include Dhee for Mamadurai from Jigarthanda Double X, Shakthisree Gopalan for Aga Naga from Ponniyin Selvan 2, Aditi Shankar for Vannarapettayile from Maaveeran, Karthika Vaidyanathan for Kangal Edho from Chithha, Ananya Bhat for Kaatu Malli from Viduthalai 1 and Shweta Mohan for Vaa Vaathi from Vaathi. The next set of nominees for the Best Debutante is Nimisha Sajayan for Chithha, Saniya Iyappan for Irugaptru, Preethi Asrani for Ayothi and Malavika Manoj for Joe.

For the costume designer category, we have Eka Lakhani for Ponniyin Selvan 2, Pallavi Singh for Leo, Poornima Ramasamy for LGM, and Shimona Stalin for Kolai. The Best Dubbing Artist’s Nominees are Deepa Venkat for Annapoorani, Chinmayi Sripada for Leo, and Krithika Nelson for The Road.

The nominations are officially open, click the link to vote for your favourite! To witness this extraordinary event and to celebrate the women in cinema, follow JfwDigital and JfwBinge to get tickets to watch this feat!

Archana – Breaking the Silence Within

The film revolves around Archana’s character development, where she goes from being an introverted and closed-off person to someone who finally steps out of her shell and stops questioning every good thing happening in her life. At the beginning of the film, Archana is depicted as being introverted yet self-assured. Archana is not one to rely on men for protection – she is perfectly capable of taking care of herself despite her having hearing and speech impairment. However, her past experiences have left her with deep-rooted trauma and a fear of being hurt again.

Throughout the film, a push-and-pull relationship is what Karthik and Archana go through for a while where, Karthik lives in the moment, trying to reassure Archana that he’s here to stay and Archana can’t find it in her to accept things the way they’re without questioning its validity. Archana’s character depicts how one’s childhood trauma can affect their life growing up. Despite her interest in Karthik, her insecurities overtook her interest and made her shut him down and push him away.

Towards the end of the film, Archana avoids attending Sheela’s wedding to avoid Karthik who has been keeping his distance to respect Archana’s rejection. However, when Karthik hears about Archana’s decision, he gets angry and confronts her. He tells her that she needs to stop pushing people away when they try to be there for her and accept life the way it is. He assures her that he won’t leave her like her father did, even if their future child is born with hearing and speech impairment. Archana finally breaks down and cries, which marks a turning point in her life. She realizes that the shell she had built to protect herself from getting hurt was actually hurting her and stopping her from living the life she wanted to live. The movie ends with Archana confessing her feelings to Karthik and them finally uniting at their friends’ wedding.

Karthik – Love Needs No Language!

Karthik is a thriving musician who sees Archana helping a woman by fighting with her husband who was abusing his wife. Upon seeing this, Karthik falls for Archana. To his surprise, he finds out that she lives in the same apartment as his’ as tries to develop a conversation with her but, she remains silent throughout. He then finds out that she has speech and hearing impairment. Karthik, a musician, whose talent can only be heard is in love with a woman who can hear anything. After discovering her speech and hearing impairment, he only loves her more than before and constantly reassures her even though she keeps pushing him away throughout the film. Karthik understood her in a way no one else tried to and stayed despite her constant push. He knew she needed that reassurance, she needed to hear him say that he’ll stay and that he’ll not leave her like her father did and he kept his word.

Professor Gnanaprakasam – Bottling Up Is Never A Solution!

Another character who finally finds their way back makes it feel like our personal victory would be Professor Gnanaprakasam who lost his son in an accident in 1984 and is stuck in 1984. Throughout the film, Professor Gnanaprakasam builds conversation with his neighbors as if it is 1984, informing them about the current affairs of 1984. When Karthik asks about it the professor’s wife informs Karthik that he hasn’t cried ever since he heard the news of his son’s death and that he is stuck in 1984 ever since then. Professor Gnanaprakasam bottling up his emotions mentally affected him. Towards the end of the film, When the professor asks Karthik to drive him to the hospital to go see his son, Karthik shakes some sense into Professor Gnanaprakasam reminding him about his son’s demise and that he needs to cry and let it all out and find his way back to the current year. That is when Professor Gnanaprakasam finally breaks down in Karthik’s arms and mourns his son’s death. Years of bottled-up emotions are finally out and Professor Gnanaprakasam accepts his son’s death and becomes normal.

Sheela – Love Can Happen Twice!

Sheela is a ray of sunshine who can lighten up the people around her with just her presence but, behind those sunshine vibes hides a woman who lost her husband in an accident. Sheela is a widow who has accepted her fate and doesn’t plan on falling in love again after her husband’s death but, her fate had other ideas. While throughout the film Vijaykumar is portrayed as a free-spirited, easy-going man who hasn’t found his one true love, towards the end of the film, something sparks inside him when he looks at Sheela and falls for her. While Sheela had just been a friend to him all along, he suddenly sees her from a different perspective and realizes that she might be the one and immediately confesses his love for her. Sheela, who had lost her husband at a young age finds love again in Vijaykumar.

Vijaykumar – Love happens when you least expect it!

Vijaykumar aka Viji is a free-spirited easy-going man who is also a thriving musician and a best friend of Karthik. At the beginning of the film, Viji’s goal is to find someone for Karthik since bachelors aren’t allowed at their apartment. That’s when he meets Sheela, Archana’s friend. At first, they are shown as just friends who are rooting for their friends’ relationship but during the later part of the film, something inside him sparks and he falls for Sheela despite her being a widow. He also clarifies that he’s not marrying her to give her a life since she was widowed at a young age and that he’s marrying her because he likes her for who she is. On his quest to find someone for his friend, Vijaykumar finds his one true love.

Singapore Saloon – Amazon Prime

Singapore Saloon, written and directed by Gokul, is a Tamil film that depicts a coming-of-age story. Vels Films International produced the film, with Ishari K. Ganesh as the producer. RJ Balaji and Meenakshi Chaudhary play the lead roles. In addition, Lokesh Kanagaraj and Jiiva appear in cameo roles in the film. Kathir and Basheer, two friends from a village, dream big. Inspired by a local salon owner named Sacha, Kathir wants to be a hairstylist. The story follows Kathir as he faces challenges, pursues his passion, and opens his own salon, the “Singapore Saloon”.

Naadu – Prime Video

“Naadu” is a Tamil language action drama film, written and directed by M. Saravanan, and produced by Narayanan Sri Arch Media and Entertainment. The movie features Tharshan and Mahima Nambiar in the lead roles. The plot revolves around an urban-educated doctor who is transferred to a village to help mitigate the frequent spread of illnesses and diseases in the rural area. The movie portrays her efforts to adjust and adapt to the ways of the villagers.

Poacher – Amazon Prime

“Poacher” is a Malayalam language crime drama TV miniseries, created by Richie Mehta. The show features Nimisha Sajayan, Roshan Mathew, Dibyendu Bhattacharya, Kani Kusruti, Ranjitha Menon, and Maala Parvathi. The plot revolves around a group of Indian Forest Service officers, NGO workers, police constables, and Good Samaritans who take a great risk to track down the biggest elephant ivory poachers in India’s history and bring them to justice.

Indrani Mukerjea Story: Buried Truth – Netflix

“Indrani Mukerjea Story: Buried Truth” is a true crime docuseries that delves into the chilling and mysterious story of one of the most notorious crimes that took place in India. The docuseries revolves around the Sheena Bora murder case of 2012, where Indrani Mukerjea, the mother of Sheena, was suspected of being involved in her daughter’s murder. The series features Anurita Jha, Annsh Shekhawat, and Vivek Kumar.

Malaikottai Vaaliban – Hotstar

“Malaikottai Vaaliban” is an epic action drama film in the Malayalam language. It is directed by Lijo Jose Pellissery and written by P. S. Rafeeque from a story by Pellissery. The film features Mohanlal playing a dual role, along with Sonalee Kulkarni, Hareesh Peradi, Danish Sait, Manoj Moses, Katha Nandi, and Manikandan R. Achari in supporting roles. The story is about the journey of Malaikottai Vaaliban, an undisputed warrior who transcends time and geography, overcoming every opponent he encounters.

The actress got hitched to her long-term love interest and film producer, Jackky Bhagnani earlier this week at  ITC Grand South Goa. The couple reportedly had a twin ceremony, an Anand Garaj ceremony followed by a Sindhi wedding ceremony. Rakul shared sneak peeks into her dreamy wedding on her Instagram this morning. The actress has shared a video post along with the caption “It’s not you or me, it US”  The video offered glimpses into the happy couple’s haldi, Rakul’s entry, and Sangeet.

 

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A post shared by Rakul Singh (@rakulpreet)

The video has been making waves around various social media platforms with fans have been gushing over the adorable couple, sending love and blessings to them. The actress was last seen in Ayalaan, a Siva Karthikeyen starring sci-fi film, and has two movie lineups for 2024 including Meri Patni Ka Remake and Indian 2

The actress’s upcoming movie Shaitaan’s trailer was released today.”Shaitaan” (translated as “Devil”) is an upcoming Bollywood supernatural horror thriller. Directed by Vikas Bahl and produced by Ajay Devgn FFilms, Jio Studios, and Panorama Studios, the film features an ensemble cast including Ajay Devgn, R. Madhavan, Jyothika, Janki Bodiwala, and Anngad Raaj. Notably, it’s a remake of the 2023 Gujarati film “Vash.” This movie marks Jyothika’s return to Hindi cinema after 25 years since her debut in “Doli Saja Ke Rakhna” (1998). The trailer portrays an illustrious picture of a family of four, who are troubled by the arrival of an unwelcome guest, Shaitaan played by Madhavan. Jyothiks is playing an anxiously worried mother of Janki Bodiwala, who appears to be controlled by Shaintaan and as the wife of Ajay Devgn.

Jyothika temporarily moved to Mumbai last year after which she is experimenting with other language films other than the Tamil film industry. The actress was last seen in Kathal – the Core, alongside Mammootty, for which the actress received numerous praises from the critics and has two other Hindi movie lineups including Sri and Dabba Cartel.

In a recent press meeting, Ex-MLA of AIDMK, A. V. Raju put forth defaming allegations against actress Trisha. The actress stood up for herself on her social media handles. “It’s disgusting to repeatedly see low lives and despicable human begins who will stoop down to any level to gain attention. Rest assured, necessary and severe action will be taken. Anything that needs to be said and done henceforth will be from my legal department,” said actress Trisha on her Instagram and Twitter handle.

Today, the actress took to her Instagram and Twitter handle to share the lawyer’s notice, filing a defamation case against the ex-MLA of AIDMK, A. V. Raju. In her lawyer’s notice, the actress demanded a certain amount of money as compensation for the defaming comments, to cease giving any other defamatory statements, to take down the videos posted on social media, and an unconditional apology to be published in a reputed English and Tamil newspapers, youtube channels and a press interview. The actress also posted a “Thank You” note extending her gratitude to those who supported and stood by her side on this issue.

pic.twitter.com/DmRXHibIYx

— Trish (@trishtrashers) February 22, 2024

 

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A post shared by Samantha (@samantharuthprabhuoffl)

Samantha was last seen in the film Kushi (2023) alongside Vijay Devarakonda. The actress then finished her parts in the TV Series, Citadel, playing Nadia Sinh’s (Priyanka Chopra) mother, before taking a break from the Film industry. The actress also recently released her first health podcast on Feb 20, 2024, called Take 20 along with her friend and wellness coach & nutritionist Alkesh Sharotri in which she shared some insight about her autoimmune condition and her separation from Nagachaitanya.

The actress has been making headlines for winning the Best Actress award at the Dadasaheb Phalke Awards 2024, for her film Jawan. The 2024 edition of the Dadasaheb Phalke International Film Festival unfolded in Mumbai on Tuesday. The actress was seen wearing a solid Lime yellow saree, paired with an elegant choker. This isn’t the first time the Jawan actress made the audience go “awe” with her saree traditional look, here are five times Nayanthara slayed the traditional looks and tips to achieve the look.

Adorned in a maroon soft silk saree, the actor looked timeless in this Simple yet elegant look. She paired this saree with a V-shaped low-neckline blouse. The actress completed the whole look with a gold choker, minimalist rings, a bangle, and dewy makeup, perhaps the magical element thing about this whole outfit was how her eyes and bindi complimented each other, the actress had her signature smoky eye look that captivated the audience.  

Style tip:  Pair borderless sarees with a statement necklace of any length to enhance the look.

 This ethereal look is from her movie ‘Connect”’s promotional days, the actress is seen wearing an ivory organza saree featuring cute lavender-colored floral motifs with thin embellished borders. This elegant ensemble is complemented by a modest sleeveless blouse. Accessories include a pair of subtle earrings, a ring, and a bangle. Completing the look with kohl-rimmed eyes, muted lips, and neatly pleated hair with a simple bindi she exuded grace and sophistication.

Styling tip: when wearing a pastel-shade organza saree try to avoid traditional Indian gold jewelry.

This famous look is her first public appearance since her wedding, with her long-term love Vignesh Shivan.In this look, Nayan is seen wearing a vibrant yellow hue cotton silk saree, which boasts a soft and flowing texture adorned with gold buttis throughout. Paired elegantly, the look includes a sleeveless turquoise blouse, maintaining a clean and embellishment-free look. The actress wore a long statement necklace and a choker along with a simple jhumka giving out the perfect “just married” look.

Styling tip: Don’t forget your jasmine flowers when putting your hair in a bun for traditional outfits.

Nayanthara stuns in this monochromatic attire with her grey linen saree. She paired it up with a Chinese collar blouse. The actor served a chic yet stylish look in this attire with minimalist statement jewelry and her mesmerizing smoky eyes.

Styling tip: When wearing a Chinese collar avoid wearing heavy neck jewelry go with statement earrings instead.

This unforgettable look is from her wedding that took place in June 2022. This look immediately created a buzz on the internet with everyone gushing over her and recreating this look. The actor selected a meticulously crafted vermillion red saree, personally designed by Monica Shah. The intricate, monochromatic embroidery drew inspiration from the exquisite carvings of the Hoysala temple. In a thoughtful nod to the actor’s reverence for tradition, Monica and Karishma ingeniously reimagined motifs of Goddess Lakshmi, adorning them as Bajubandh on the blouse sleeves. This bespoke ensemble stands as a sophisticated tribute to both artistry and cultural heritage. The actor paired it with heavy emerald jewelry for her big day.

Styling Tip: The most important thing a bride should wear on her big day is her happiness, enjoy your big without being too caught up on how you look.

The first episode of the podcast was released on 19th February 2024, where Samantha along with her friend Alkesh educates the viewers on what autoimmunity is and why autoimmune cases are increasing surprisingly. An autoimmune condition is when our immune system can’t differentiate normal cells from foreign cells and mistakenly attacks normal cells causing problems. Samantha is surprised by the number of autoimmune cases that has been surprisingly increasing to which Alkesh explains the reason behind it, Stress, Bad Eating Habits, and Overemphasis on Work or Career could be the major reasons for the rise in autoimmune conditions. Furthermore, Samantha and Alkesh discuss the toxic input and detox output, how can one prevent too much toxic input, and how proper sleep helps in body detox. Apart from this, Samantha shares the hurdles she faced trying to fight through this condition. Alkesh then gives the viewers 3 takeaways to prevent Autoimmunity, which include, Eating a Clean Diet, that is, minimally processed food, drinking filtered water (add a pinch of Himalayan pink salt on your drinking water), Use Clean Personal Care Products, one’s deodorants, makeup production which contains clean ingredients, de-stress yourself now and then, and move more frequently, don’t be stagnant. 

She was last seen in the movie Kushi (2023), where she played a pivotal role alongside famous actor Vijay Devarakonda. The film narrates an interesting tale of a young man who grows up in an atheist household and falls in love with the daughter of his father’s arch-rival, a devout Hindu leader. Samantha then went on to finish her parts in the highly anticipated TV series, Citadel, where she played the role of Nadia Sinh’s (Priyanka Chopra) mother and decided to take a break from the film industry, Samantha is now back in the industry and hosts a health podcast named Take20.

Recently, Trisha shared a fascinating update on her Instagram account. She took to the sets of Thug Life, an upcoming movie featuring Kamal Hasan, Jayam Ravi, and Dulquer Salmaan, directed by the legendary Mani Rathnam. In her post, she shared a glimpse of the script of her scene and captioned it “Days Like Today.” Thug Life is an upcoming Tamil, action drama film directed by Mani Ratnam, who co-wrote the script with Kamal Haasan and produced by Raaj Kamal Films International, Madras Talkies, and Red Giant Movies. The film was officially announced in November 2022 under the tentative title KH 234, as it is Haasan’s 234th film as the leading actor, and the official title was announced in November 2023.

Trisha was last seen on Leo, featuring Thalapathy Vijay, Mysskin, Arjun, Sanjay Dutt, and Gautham Vasudev Menon, directed by Lokesh Kanagaraj. Leo revolves around the life of Parthiban, a mild-mannered cafe owner in Kashmir, who fends off a gang of murderous thugs and gains attention from a drug cartel claiming he was once a part of them. Trisha played the role of Sathya, Parthiban’s wife, who is unaware of Parthiban’s shady past.

Heart-wrenching storyline 

“And if love be madness, may I never find sanity again”  stands certainly true for our protagonist, Srinivas, although Lakshmi was the one, who is diagnosed as mentally unstable, Srinivas becomes equally insane by the end of the movie, things one does for love. While the movies of the 80s were certainly patriarchial, where women were expected to do the chores and take care of the man and the household, Srinivas stands apart from your everyday protagonist, he devotionally takes care of his lady love, doesn’t shy away from doing the household chores, goes above and beyond to make sure she is alright and most importantly he is helplessly in love with her. Srinivas is the symbol of unconditional love, she is mentally unwell? I still love her, She can’t understand or reciprocate what I am doing for her? I still love her, she might not love me once she remembers everything? doesn’t matter I still love her. “Viji, Cheenu, Viji” Srinivas runs behind Lakshmi begging her to remember him as her train leaves the station, unlike your typical Tamil cinema climax Lakshmi won’t step out of the train and run to Srinivas, the train leaves, leaving him behind broken, wounded and longing. Moondram Pirai is a tale of yearning and unconditional love of an unfortunate orphan, whose last hope abandoned him.

Direction and Cinematography

The movie was directed by the legendary filmmaker Balu Mahendra. Balu Mahendra is known for the way he handles realist subjects with an artistic approach. Balu Mahendra effortlessly marries tragedy with romance in this film, resulting in wonderful box office success and a theatrical run for over a year.  His Cinematography brilliantly complemented and overall enhanced the whole visual storytelling. The director had wonderfully captured the landscape of Ooty, the emotions of the character, and experimented with lights creating a timeless classic as a result the legendary Balu Mahendra said in his own words “Moondram pirai will be the same Moondram pirai even after 50 years”.

Versatile Acting

Moondram Pirai was undeniably both Sri Devi’s and Kamal’s one of the most acclaimed works. The movie bagged Kamal Hassan his first national award. Actress Sridevi perfectly portrayed a mentally unwell character bringing the balance of child-like innocence and child likeantics. Both the actors impeccably cracked what was required of their roles with their subtle nuances and attention to detail. Although it was their eyes that did all the talking, the audience were the ones who couldn’t take their eyes off them.

Mesmerizing Music

The film’s music was composed by Isaignani Ilaiyaraja. Like all his other works, Moondram Pirai’s music leaves you in a dream trance-like state. The film’s music  is responsible for evoking intense emotions, brilliantly augmenting the whole movie-watching experience. The film’s soundtrack “Kanne Kalaimanne” is still loved and listened to to by the Tamil cinema audience.

Director: Antony Bhagyaraj

Siren is the only Tamil release this weekend. With expectations already set and nowhere to go, Siren becomes the only target and the audience are the victims here.

Siren starts with a murder and cuts to a teen girl Malar ( Yuvina Parthavi) giving a speech on father’s day and winning a prize. The father, Thilagan ( Jayam Ravi) is serving a sentence for an unknown murder. Reportedly, he didn’t commit the murder and he is a model prisoner certified by the police themself. He goes on a 15 days parole as his father is unwell, but it is clear that he is onto something and there is no hiding in there. Velankanni ( Yogi Babu) is Jayam Ravi’s shadow police and Nandhini ( Keerthy Suresh) is Inspector of a particular station, Thilagan is reporting everyday. Nandhini is back from suspension the day Thilagan is reporting and it is said that Nandhini was under suspension for custodial violence. Even though Nandhini proved that she didn’t kill anyone and proved it, not a lot took that to their head.

Both of them are being accused for something they didn’t do, parallelly 2 politicians are killed. Nandhini is suspecting Thilagan but reports and evidence say otherwise but it is clear, Thilagan has something to do with both the murders. Did Thilagan murder the politician? What was he like, before 15 years? Does Nandhini find out who killed them? Does an estranged father and daughter mend their relationship? Siren is all about that.

Siren started out as a crime thriller then went on to become an emotional drama and the second half is a mindless revenge thriller.
First half of the film was busy creating an emotional connection between the daughter and father. Despite them trying too hard, the audience cannot connect with the emotional scenes . After establishing his past then it becomes a proper revenge story with unnecessary fight and chase scenes.
Antony Bhagyaraj and Siren tried to talk about a lot of things like custodial violence, caste, corruption among politicians and police and the life of a convict. Even if it just stuck to any one genre, there won’t be much change in the movie. Siren, gave a major tamil movie from 2015 times vibe with unnecessary thriller, emotional, fights and songs.

Looking at the acting part, Jayam Ravi’s younger Thilagan is expressive and vibrant and older Thilagan sporting a gray beard and hair has very reserved reactions and emotions. Keerthy as an unapologetic cop is always serious and has the same reaction for most of the movie. Yogi Babu’s one- liners worked but not all the time and he delivers what is required.The songs and music were composed by GV Prakash Kumar, and they are okay but not memorable either. Anupama as Thilagan’s wife is deaf and mute nurse and she is pretty and was pretty while dying too. 

Overall, Siren is an unimpressive timepass  and too melodramatic to be a crime thriller.

Rating: 2/5

Here are times when Tamil Cinema normalized toxic masculinity portrayed by the male protagonist:

Sivakasi

In the introduction scene of Hema, played by Asin, she’s wearing a short skirt and a tank top and a creep tries to grope her. Like any woman would and should do, she stands up for herself and hits him. Chaos erupts and the entire crowd stands by and watches the creep getting beaten up by her. That’s when our male protagonist comes in and acts as a savior, calling out on the creep. He then takes a look at Hema’s outfit, and comments about it, justifying the creep’s act saying if a woman wears anything other than a Saree or half-saree, men tend to get these thoughts. The protagonist’s friends calps and cheers for his misogynistic speech. The female protagonist in the later scene is shown wearing a half-saree. So, objectifying women and justifying groping by saying that her outfit is at fault is normalized and glorified because it is done by the male protagonist who is supposedly the “hero”?

Padayappa

There are a lot of instances in this film where the male protagonist preaches misogyny and is being celebrated and glorified for it. In the scene, after Padayappa meets Vaundara, he’s sitting with his friends, playing the harmonica, lost in his thoughts. He then asks his friends about Vaundara where he delivers a speech describing 3 characteristics of women. One who looks divine, the ideal woman for marriage or love, one who is suitable for just physical relationships, and one who is feared and thereby unfit to be categorized as a woman. This scene is meant to be comical but, nothing about describing and categorizing women as fit or unfit for love and marriage is comical. In another scene, our “hero” advises Neelambari that a woman is supposed to be silent, not authoritative. She should be composed, not loud. She has to be soft-spoken, not aggressive, in short, a woman must act like a woman. This again is glorified and normalized because it was said by a supposedly “hero”.

Yaaradi Nee Mohini

Stalking and forcing a woman into a relationship despite her clear rejections is one of the prominent plots of Tamil Cinema. Our “hero” Vasu, goes behind Keerthi, whom he randomly meets on the street and immediately falls for her, and starts stalking her. He then takes stalking to the next level by joining the company she works for and stalks her at her workplace too. Despite her clear rejections in the song, “Nenjai Kasakki” he constantly pulls her into dancing with him while trying to get intimate with her. Keerthi removes herself from the situation, expressing her displeasure as openly as possible, and sets her boundary with Vasu saying that she’s already engaged. Even after that, Vasu continues to pursue her and later loathes her for accidentally slapping his father who shows up at their workplace to convince Keerthi to choose Vasu over the guy she’s engaged to. Later the “hero” guilt trips her and finally makes her fall in love with him.

Varalaru

In the backstory of Shivashankar, he’s shown as a dancer who has feminine mannerisms. His mother and Gayathri’s mother decide to get them married. Gayathri who saw his photos and dance videos alone and is unaware of his feminine mannerisms, agrees to the marriage prospect. Gayathri becomes aware of his feminine mannerisms on the day of the wedding and she immediately calls off the wedding. Her mother is enraged by this and seeks reasoning to which Gayathri questions Shivashankar’s manhood. Due to the chaos, Shivashankar’s mother dies of a heart attack, and enraged Shivashankar decides to rape Gayathri to prove his “manhood”. When Gayathri’s mother questions him for raping her daughter, he justifies it by saying that if someone says you can’t do something, you can prove them wrong by doing it but, if someone questions your manhood, you’ve to prove them like this aka prove them by raping them and the mother turns into a huge supporter of her daughter’s rapist and roots for their reunion. The trauma of a rape victim is joked upon when she tries to abort the kids he impregnated by raping her. 

Something Something

Once the “hero”, Santhosh successfully makes the female protagonist, Kavitha fall in love with him by constantly stalking, forcing, and gaslighting her, he initiates a kiss to which the female protagonist says she needs time to be comfortable with kissing someone. Our hero, like most of the Tamil heroes, doesn’t listen nor acknowledge her discomfort and continues to pursue her for a kiss. She continues to refuse and accidentally slaps him. Now, the “hero” gets angry and ignores Kavitha while being grumpy to everyone else, and guilt trips her subtly. Kavitha feels sorry for refusing the kiss and apologizes to Santhosh. Santhosh stops her from apologizing and apologizes to her later. While “no means no” should be understood by the “hero”, he grew angry with her for saying no and her consent was not taken into account. Instead, she was pushed into feeling guilty for setting her boundaries.

The actress shared an adorable post of her getting ready on her Instagram handle this morning, along with the caption “Finding some moments of CALM in the chaos every day”. She has been an active participant on Instagram, sharing glimpses and pieces from both, her professional and personal life after joining the platform in August 2023.

 

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The actress was last seen in the film  Annapoorna: The Goddess of Food and last has an exciting film lineup including Thani Oruvan 2, Test and Mannangati : Since 1960.