“The film is a reinforcement of the power of stories, of the stories each of our lives are. This is why there are multiple characters with their own short stories, including those of Selvi (Abhirami), the sex worker, and Kani (Sshivada), the guilt-ridden doctor. The implication is that no one story is necessarily more important than another.”
“It turns out that there’s a fantastic modern interpretation in there somewhere, an idea that is the genesis of Balaji Tharaneetharan’s Oru Pakka Kathai. The film is wonderfully unpredictable for the most part, and I enjoyed that Balaji desists from going the usual sentimental route in handling the uncomfortable topic of an unmarried middle-class girl finding that she’s pregnant.”
“For one, they are all about conflicted parents frightened of social persecution, parents who are not above considering murder. All of these films speak of the pressure of a big, bad system and how it influences individuals to do that which they would otherwise shudder to even consider.”
“The problem is—and it’s a big one—the dialogues are mirthless, the situations generic and predictable. Pampers get thrown into handbags, there are sexual innuendoes concerning shoes and socks, digs are aimed at the RCB cricket team, and there are even car chases and convenient coincidences to spice up proceedings… but this web-series never amounts to anything more than mundane chatter between cardboard characters.”
In fantasising over the possibilities of science, it must be noted that Christopher Nolan is stretching the possibilities of cinema too.