Sudhir Srinivasan

Oru Nalla Naal Paathu Solren: A mirthless, bizarre attempt at a comedy

“Towards the end, Sowmya stands surrounded by tribespeople who explain to her the weird story of why she’s been abducted. She has a look of absolute bewilderment, and I immediately empathised with her. It’s the same look I had been wearing for the previous two hours.”

After Maa, I’m motivated to make a short film myself: Gautham Menon

“Imagine if directors like Selvaraghavan and Lingusamy released such short films on YouTube every once in a while. These films barely take a couple of days of shooting, after all.”

Maa: An extraordinarily sensitive foray into the world of a middle-class family

Maa feels like Sarjun sneaked into your average middle-class family household and shot them without their knowledge.

Nimir: Udhayanidhi Stalin emerges unscathed, the film not so much

But for Nimir to be a truly great remake, the setting needed to feel more real, its characters more alive. Here, you never truly feel the spirit of what it is like to be part of such a languorous village.

Bhaagamathie: A clever end urges you to forget insipid beginnings

It’s a tad disheartening when even in a story that has an educated, independent woman at its heart, you need to have her be rescued from a fabricated situation, and later, have a song, in which you get her gaze helplessly at the alpha male.