Akhil Pillai

3 More Days in Udon Thani: Wat Santi Wanaram & 2,000‑Year Footprints

This is the second part of my 8-day Udon Thani itinerary. It covers 5 unique temples over 3 days—each one quieter, and impactful for a workation and vaction at temples like Wat Santi Wanaram.

From a giant Buddha on a hilltop to ancient footprints carved into sandstone, this isn’t a checklist for temple-hopping. It’s just what I saw, felt, and noted—maybe it’ll help you feel Udon better, or maybe it’ll just make you slow down a bit when you’re in Udon.

3 Days in Udon Thani Part 1: Wat Kham Chanot, a Floating-Island and A Museum

Day 4: The Giant Buddha and the Forgotten Hands

It was 7 AM in Udon. I opened the balcony door with a hot Green Tea; the air smelled of dust, jasmine, and hot tea. The streets were calm—no honking, no hurry, just people moving as if they had time.

I had an omelette and Jok soup at a nearby shop, watching a city that wakes without noise.

By 8 AM, I was headed to Wat Phu Thong Thep, about 50 minutes from Udon Central.

Wat Phu Thong Thep – Udon Thani

It is known for its large statue called “Phra Phutthachai Mongkhon Mahachan Aphipujanee,” or, in our style, we could say a Reverend Father. This statue has a white body and measures 12 metres in width and 17 metres in height, including the base.

I was curious: why do we need a giant Buddha to pray? According to the monk, the giant Buddha isn’t just about worship—it’s about making peace visible from far away.

The entire height of the Buddha, including the base, is 22 metres, making it a prominent sight that can be easily seen from a distance.

You have to climb at least 100 steps or more to reach the top; the temple walls are filled with paintings, beautifully depicting Buddha stories.

From there, after lunch, I went to Wat Phu Taphao Thong.

Wat Phu Taphao Thong & 2000 Year Old Footprints

It took me around one hour to reach Wat Phu Taphao Thong (วัดภูตะเภาทอง). Imagine a peaceful hill where big, natural rocks lie scattered around.

On top of this hill stands a Buddhist temple. Beautiful railings shaped like snake idols called Nagas surround pools of water. You can find special places like a footprint of Buddha formed in the stone and a quiet cave. From a wooden shelter high up, you can get a lovely sunset view.

On some rocks there, you will find handprints and drawings.

They say those footprints are over 2,000 years old. No one knows exactly who left them behind, but many believe it belongs to Buddha.

Mystery Behind the Footprints

Footprints like these appear in many temples across Thailand. I remembered the word pareidolia—our habit of finding meaning in random shapes. Show us any dent, and the brain can spot a heel and five toes. It is the same trick that lets us see animals in clouds.

The scientist in me felt proud of that thought, but on the way back, a foreigner explained it to his child in simpler words: “The temple sits on soft sandstone. When the rock is wet, it is easy to scratch. A monk—or any pilgrim—could press a shallow foot shape, then let the sun harden it.”

Wow! That can be possible, interesting theory, he might be a geologist.

Now that footprint is a reminder that someone stood exactly where I was standing and wanted to be remembered.

The walk was silent. The rocks, scattered like old bones in a graveyard. The sun is harsh but not unbearable becuase of some rainy clouds. I didn’t take many photos; the lighting wasn’t great for a classy shot.

And for a while, I didn’t think about work, or writing, or the next place, just sat, still, breathing. A lot of butterflies were there, dancing around the stones and orchids.

I don’t know why, but while I was there, I thought about my forefathers. Maybe it’s because ancient places like this remind us that we are not the centre of time. We’re just a dot in the same circle, walking where others have walked, wondering the same things.

By 4:30 PM, I was on my way back to Udon. The city looked the same, but I wasn’t.

I logged in and started my corporate day.

Day 5: A Lake, a Lotus, and Some Fish

Today I have to visit two temples, as coming days I will be going for a long ride.

Around 8 AM, after eating some Tom Yum noodles and a protein shake, I booked a Grab to Wat Pa Sawang Tham. It took me around 40 minutes to reach.

Wat Pa Sawang Tham

Once you reach Ban Don Kloi town, you will start getting the vibes of temple. Almost 40 km away from Udon Central.

The temple welcomes you with a long green snake sculpture. After walking along the long-tailed snake, you will reach the temple, where a standing Buddha statue awaits. The chapel and the surrounding lake are so serene. You will find a few Naga statues and monks sitting here and there.

I couldn’t find many devotees. Inside the chapel, you will find another walkway beautifully designed with Nagas and hanging gardens. A few people were near the lake feeding fish. Thai people consider it a holy act to feed fish at temple premises.

Pu Chao Sri Sutho & Lucky Draw

Devotees of Pu Sri Sutho believe this place brings good fortune. Do you remember Pu Chao Sri Sutho, the same Naga King at Kham Chanot?

It’s common for visitors to respectfully ask Pu Chao Sri Sutho for lottery numbers. Many return regularly, convinced the Nagas blessed them after their wishes were granted.

I lit incense, stood under a tree, and watched a group of elderly women laugh while folding garlands. I didn’t know what they were laughing about, but I smiled anyway.

Wat Santi wanaram -Ban Chiang

Around 2 PM, I reached Wat Santiwanaram, the lotus temple. Another 40 km from Wat Pa Sawang Tham. It’s actually close to Ban Chiang musuem.

This is my second visit to this temple. Last time, I came here and acted like a child, clicking too many pictures and wandering here and there. But this time, it affected me differently.

The temple is very similar to the Lotus Temple in Delhi. You don’t expect to find something like this in Udon: a giant white lotus floating on a still lake, like a dream someone forgot to wake up from.

Temples are built for worship, but sometimes, they become mirrors.

We don’t just see the god; we see ourselves—what we long for, what we’ve lost, what we’re quietly carrying. That Tat Tvam Asi (It’s you) moment.

You walk across a bridge guarded by naga serpents, remove your shoes, and enter.

The inside is even quieter than outside. Murals of Buddha’s life wrap the walls. A big Buddha image sits in the centre, calm and complete.

But what stayed with me the most was the silence. It wasn’t the kind of silence you get from emptiness; it was full, as if the temple had something to say but didn’t want to interrupt your thoughts.

I really felt it would be good to hold someone’s hand while sitting there in the peace.

It’s not just memory; it’s how the mind works.

We don’t miss people only in noise; we miss them more in peace.

Lotus Temple and its Impact

I went out and sat beside the pond, just me, the temple’s reflection, and a sky that looked like it forgot how to rain. There were fish looking up with some expectations.

By 5 PM, I was back in the city, logged into work, answered emails, and replied to messages.

But my mind was still wandering. Wat Santiwanaram is a place that changes you without saying a word.

I sat quietly, staring at the spinning fan. At high speed, the blades disappear. You hear only a steady hum, drowning out everything else. Most days, I keep the fan running fast, not because I feel hot, but because I need its noise—a noise that helps me forget other noises, other thoughts, other worries.

But if you slow the fan down, something changes. The blades become clear, and I can see the dust that needs to be cleaned. The soft sound isn’t loud enough to hide the quieter thoughts—the ones we push away, the ones that wait patiently inside us.

Wat Santiwanaram slowed me down, just like that fan.

This day just reminded me what peace feels like.

Day 6: A Morning with Garudas and Nagas

Some days begin like a blank page. Day 6 felt like that: no expectations, just breakfast and go somewhere.

I looked through Google Maps and found Wat Hai Soke, about a 50-minute journey away.

Wat Hi Sok – Udon Thani

I left for Wat Hai Soke after breakfast. The road was quiet, the trees looked half-asleep, and then suddenly, there it was—Wat Hai Soke, standing like an old palace (similar to West Bengal’s terracotta palaces) in the middle of Nong Han district.

The architecture felt… proud. Not grand, not flashy, it just stood quietly—as if it had been waiting for someone who notices the details.

This is the first time I’ve seen a temple with this shade of architecture in Udon.

A temple For Garuda and Nagas

Another interesting thing was the Garuda statue. While many temples might have Naga statues, here, along with Nagas, we can see a giant Garuda as well.

I heard it was designed by a local architect. I wanted to meet him but couldn’t, but I think I encountered his thoughts. You could see them in the staircases, in the curve of the railings, in the way sunlight touched the corners.

People come here to pray for luck and for happiness. I didn’t pray; I just stood and watched others do it, and somehow, that was enough. Sometimes, watching someone else believe feels more healing than praying for yourself.

Wat Sa Manee aka Wat Sa Mani

By 12 PM, I was at Wat Sa Manee, also known as Wat Sa Mani. The temple follows the Thai golden-textured architecture. At the entrance of the temple, you can find Vinayaka and Brahma idols.

A lot of Naga idols and statues can be seen here. It is written that the temple was built in the year 1795, and Phra Athikarn Ban Buddhachitto was the first abbot of this temple.

The chapel is surrounded by four serpent clans—statues, yes, but they don’t feel like stone. They feel like guards, as if they’re protecting something precious inside the temple.

The Four Naga Clans

There are some interesting stories behind this.

In Isaan culture, as in many parts of Southeast Asia, Nagas are revered as powerful, semi-divine beings. They are often seen as guardians of water sources (rivers, lakes, ponds), the underworld, and sacred sites like temples.

They are generally considered benevolent, bringing rain, fertility, and prosperity. There is a categorisation of Nagas in Isaan beliefs and art: the Golden Family (Phaya Wirupanka), the Black Family (the Kanha Khotmanakarat), the Rainbow Family (Phaya Chapphayaputtanakharat), and the Green Family (Phaya Erawat Nakarat) are the four categories of Nagas in Isaan.

Golden Nagas

According to locals, the golden Naga family descended from the heavens to protect the temple’s relics from thieves and invaders. It is said that during times of danger, the golden Nagas emit a radiant light to blind enemies and guide devotees to safety.

Their shimmering scales are believed to be fragments of the sun, gifted by the gods for their unwavering loyalty to the Buddha’s teachings. I believe the word Phaya Wirupanka might be inspired by Virupaksha.

Black Nagas & Rahu

Another story I heard from Nakhon Phanom Province is that the black Naga family once battled a fearsome river demon that caused floods and drowned villagers.

The demon, Rahu (the same Rahu from Hindu mythology), hid in the Mekong’s (the Mekong is the Ganges of Thailand) depths. He used illusions to pretend as a giant algae, but the black Nagas used their immense strength and vision to drag it to the surface and crush it with their coils.

I was able to connect this story because during my childhood, my grandma told me that Rahu is the master of illusion (Maya). He creates hallucinations in our minds. To overcome this, we should pray Nagaraja (Naga Lord) at Vettikodu temple.

To honour the black Naga’s victory, villagers began weaving black Naga motifs into Bai Sema (temple boundary stones) to ward off evil spirits. Some say the black Nagas still patrol the Mekong at night, their eyes glowing like embers in the dark.

Rainbow Nagas

I believe Rainbow Nagas are likely connected to water, agriculture, and the monsoon. This is related to the Naga fireball phenomenon on the Mekong. A folktale from Bueng Kan Province describes how the rainbow Nagas once ended a devastating drought by weaving their multicoloured bodies into a bridge between the clouds and the earth, coaxing the rain to fall. Farmers still invoke their name during Bun Bang Fai (rocket festivals) to ensure abundant harvests.

Green Nagas

I don’t know much about the Green Naga Family, but one story from Sakon Nakhon, a village in Isaan cursed by a witch’s spell, causing crops to wither and rivers to dry, tells how the green Naga family emerged from a sacred pond, their scales dripping with medicinal dew, and restored fertility to the land.

They taught the villagers to plant rice in harmony with the seasons and to honour the spirits of the forest. Today, green Naga motifs adorn spirit houses and rice barns in Isaan, symbolising their role as stewards of nature.

Some elders claim the green Nagas still dwell in the Phu Phan Mountains, guarding ancient forests from destruction.

An End to the Day, Not to the Mythhh!!

I tossed a coin into the water, not wishing for anything, just thanking the day for being kind. By 3 PM, I was back in Udon, logged in, replied to two dozen emails, fixed some ad copies, took a nap, and woke up calm at 10 PM.

I went out and had some beer. And while sipping it, I kept thinking: You don’t have to believe in spirits or stories, but when the air feels heavy and peaceful at the same time, you just know something sacred is happening—even if science can’t explain it.

Next Two Days – A Road Not Taken

These three days slowed me down in ways I didn’t expect. Somewhere between giant Buddhas, fading handprints, and temples floating on silence, I stopped chasing meaning—and started noticing it. Udon Thani still isn’t done whispering. But you have to walk slowly enough to hear it.

Next, 2 days—if this were a TV serial, the preview might go like this:

Who built a temple deep inside the forest and filled it with murals no camera can capture?

And why do some temples feel like they’ve been waiting—not for worship, but for someone to simply arrive without answers?

For now, I leave you with this thought:
Does a footprint last 2,000 years because sandstone resists the weather, or because humans resist being forgotten?

3 Days in Udon Thani: Wat Kham Chanot, a Floating-Island and A Museum

Here begins my workation. This is the first part of my 8-day Udon Thani itinerary, it covers 3 peaceful, offbeat temples and costs just around 5,000 baht. Wat Kham Chanot is the highlight here. This isn’t ‘Everything You Need to Know on a Workation’; it’s simply a personal journal about temples in Udon Thani. But maybe it will help you plan things a little better.

Day 1: Flying to Isaan

I boarded the Thai Airways flight from Bengaluru at 00:40 AM. Not a minute late. Compared to Indigo, I always recommend Thai Airways because the seat reclined well, with more check-in allowance and more leg room.

By the time we landed in Bangkok, it was still dark, but I could see the red-orange spreading over the blue sky. After my immigration process, the sky became clear white, and the city was waking up to the hustle and bustle. I took a cab to Don Mueang because my next flight was from DMK Airport.

Booked my room at Don Muang Hotel because they offer early check-in. I slept for three hours and woke up groggy.

I picked up a protein shake, sandwich, and banana from 7-Eleven for around 100 baht. 7/11 is a blessing for every budget traveller.

By evening, I was on a Nok Air flight to Udon Thani. The flight lasted an hour, but something inside me slowed down. The Udon Thani airport is small. Everything was quiet.

I booked a Grab and reached The Old Inn Hotel. Every time I am in Udon, I book this hotel; its vintage architecture and interior are something that makes me feel better. Even the location is convenient; it’s just five minutes from the night market.

That night, I didn’t go out. I didn’t open my laptop. Just sat at the window and listened to the pouring raindrops outside. I didn’t call anyone, and I didn’t eat anything, just had Lactosoy milk.

Udon is a place where I am not alone. This city allows me to listen to the part of myself I usually ignore. When we stop chasing inputs, the mind starts recovering what it already knows.

Day 2: Walking into 5,000 Years of Silence

Ban Chiang isn’t a name you’ll often hear in travel vlogs or those fancy Instagram reels. But it should be.

Ban Chiang is a museum in Nong Han District, near Udon Thani. It is one of the oldest places in Southeast Asia where people lived, worked, and left art and stories behind. Before the pyramids or big cities, people here made clay pots, used metal tools, and buried their dead with care in pots. Ban Chiang’s pottery is a symbol of Udon Thani.

In Udon province, you will see the Big Clay Pots frequently.

The bus ride was about one and a half hours. Any bus to Nakhon Phanom or Sakon Nakhon will take you to Ban Chiang for less than 100 baht. The closer I got to Ban Chiang, the more rural everything became.

You will find rice fields, barren land, and small townships in between. Most farmers in Isaan grow sticky rice. Farmers wear a chequered cloth called pha khao ma on their head or waist—part towel, part hat, part tool, depending on the hour.

While watching them, I was thinking how Kerala has changed in the last 30 years. What I am seeing now here is something I used to observe in my childhood, but never after.

At Ban Chiang Museum

The museum stood quietly, surrounded by some shops and sleepy dogs.

150 baht is the charge for foreigners. You will be welcomed by ladies in traditional Thai costume, which is an indigo-coloured petticoat and top. But you will find this costume only on Thai Airways, in temples, and some places like this.

The museum has a fascinating collection of artefacts unearthed from the Ban Chiang archaeological site. This includes thousands of ceramic vessels of various shapes, sizes, and intricate painted designs, as well as bronze tools, jewellery, and even human skeletal remains. These findings span a remarkable period, from the Late Neolithic to the Iron Age (roughly 2100 BCE to 200 CE). No wonder it’s a UNESCO World Heritage site.

Pots, Mor Lam and Udon Thani

It’s fascinating to see pots that were buried with the dead. Spiral designs in burnt ochre. The bones of those who once believed the earth was flat and the sky was a god. The sophisticated spiral designs on the pots show how advanced their thoughts were.

While walking through the museum corridors, I remembered a line I once read: “Pottery is the first global language.” It makes sense. Every culture has hands, clay, and fire. Before writing, this was how people said, ‘We live here. We eat together.’

Outside the main museum, there’s Wat Pho Si Nai, just 300 metres away—the open-air excavation site.

I spent four hours there. Didn’t feel like enough.

By 3 PM, I was back at the hotel, logged in, sent some emails, and fixed two landing page copies. Then I shut the laptop.

By 8 PM, I was at the night market.

Udon’s night market isn’t noisy. I remember once a taxi driver told me, ‘In Bangkok, the clocks chase people; in Udon, people chase sunshades.’

I had grilled chicken and some rice. Normally, there would be some music band playing songs, but today I couldn’t find any singers here. But someone played Mor Lam—Isaan folk music with a bouncing khaen flute. The beat is steady, almost like a heartbeat. I enjoyed my dinner with that music.

Mor Lam Music

I walked through the Walking Street, had a beer, and by 10, I was back at my desk. I worked until 1 AM. No pressure, just a chill vibe.

Maybe when you start the day looking at 5,000-year-old bones, you may feel more relaxed. Maybe that’s what ancient places do. They don’t change your life; they just change the way you look at it.

Day 3: Sacred Wells & Kingdom of Naga – A Day That Didn’t Feel Real

My day began the usual way—Jok soup at the market. It cost me 35 baht. Jok is Thai rice porridge. Cooks simmer jasmine rice until it turns thick like oatmeal. Some shops use charcoal stoves, so a light smoke sits on the bowl. My Jok came within 15 minutes with small pork meatballs and fresh ginger strips on top. I added a spoon of thin soy sauce and a pinch of white pepper.

In Bangkok, people eat it when sick. In Isaan, they eat it as a healthy breakfast. Same bowl, two reasons.

Today I wasn’t visiting just another temple. I was visiting stories. Folk Legends. Places people whisper about- Nagas. Not for any proof. But for a hope.

Wat Pa Dong Nong Tan – The Well That Looks Back

The first stop was Wat Pa Dong Nong Tan. It’s not on the typical tourist route, and you won’t find many influencers here with selfie sticks. But that’s the point.

The architecture and sculptures feel very similar to Indian Hindu styles. You’ll find a long serpent sculpture at the entrance. It’s located in Kutsa, Mueang District—a calm space surrounded by trees. The paths are laid with mud bricks.

Inside, there are ten ancient wells. People believe they’re at least 1,000 years old.

I wondered why there were 10 wells in a few square metres of land. I couldn’t find any convincing answers at the location, but I observed that this area has a high water table and soft laterite soil. Digging a shallow well was easy, but the walls would erode. Instead of deepening one, people might have dug a new one every few years, leaving a ring of short wells.

After the wells, I walked to the temple. It’s simple but beautiful in a quiet way. On the chapel walls, you’ll find paintings that tell Buddha’s stories.

Locals believe these wells connect our world to the underground city of Nagas. The wells aren’t decorated or dramatic, just still water surrounded by silence and guarded by Naga King.

I couldn’t sit near the wells—it was too hot, with no trees nearby, just open land and the Naga King’s idol. The entire well area is covered with the Naga King’s tail (as fencing).

So I sat inside the chapel for 20 minutes. I didn’t take a photo, and I didn’t write anything. I just stared at the Buddha as if I was waiting for him to blink.

If you ever go, don’t rush. Let it make you uncomfortable. That’s when the place begins to speak.

The Journey to Kham Chanot – The Island That Doesn’t Sink

After visiting the ancient wells, I headed to Ban Dung district—about 1.5 hours away. My driver didn’t speak much English, but he was good with Google Translate. He told me, “This island never sinks.” Even during floods, he said, it floats, like it’s protected by something.

The road felt wild: forest on one side, dry land on the other. No homes, no shops, just silence. But as we got closer, Kham Chanot started to reveal itself—rows of tuk-tuks, small shops, and a proper car park. From there, it’s a short walk to the temple. The entrance is marked by a massive serpent sculpture, curling over the gate as if it’s guarding something sacred.

Once inside, you walk barefoot. The path is lined with the long, green tails of the Naga—Phaya Nak, as locals call him. The naga is sculpted in vivid green, stretching alongside both sides of the walkway. Some palm species trees (in Thai called Chanot) grow along the way; they look like a mix of a coconut and a palm tree.

Kham Chanot isn’t a usual temple in Udon. It’s an island in the middle of a lake—Wang Nakhin. For devotees, it’s the home of the Naga King—Pu Chao Sri Sutho and his consort Ya Tha Thip. In Thai, Pu Chao means ‘reverend ancestor’, like a great-grandfather. This concept of addressing Naga Lords as Grandfather also exists in Kerala; near my home, there is a Naga temple called Kalloor Appooppan temple, which means Kalloor Grandfather or Kalleli Appooppan temple.

Perhaps some believed Nagas are the reincarnation of ancestors. Who knows?

Kham Chanot Temple – World of Nagas

You don’t see them, but you do see their guards—dozens of serpent statues guarding the paths. There are idols of the Naga King, depicted as a naga in semi-human form. The face and upper body are human-like, with a long tail coiled as a cushion to sit on, and around nine naga heads as a crown.

Once you reach inside the chapel, it’s a different world: wooden floor, pebbles, a calm and serene atmosphere, a few monks chanting Buddhist mantras, and a holy pond. There is another big Naga statue near the Holy Pond. People leave coins near the holy pond; they believe it brings good luck. And this pond is believed to be the way the Naga comes to land. The orchids and palm species trees, along with the Naga stories, all together gave me a different feeling, a different way of Vipassanā yoga that I experienced in three hours.

The air smells of wet bark. For fifteen minutes, I walk alone. Then I saw a gentle tide of families joining the path, carrying serpent offerings covered in marigold petals and some prayers.

I touched one Chanot tree; it was cold, like stone. Their roots knit the peat together and keep the island whole. Ten acres of these tall fan palms feel like a green cathedral.

Magic of Kham Chanot

Now I understand the magic of this floating island.

The island rests atop a thick, spongy layer of peat—a dense mat of partially decayed vegetation accumulated over centuries. This peat acts like a natural raft: when water levels rise in the surrounding lake or wetlands, the peat absorbs moisture, swelling like a soaked sponge and gently lifting the land by a few centimetres. During dry spells, it releases water, shrinking back down.

This slow, rhythmic movement is like our lungs “breathing,” creating the myth of an immortal island. Adding to this stability are the palm trees that dominate the area, their tangled roots binding the peat into a cohesive mat. Species like the Nipa palm (Nypa fruticans) grow well in waterlogged soils, their roots reinforcing the peat like a biological net, preventing erosion and anchoring the land. Together, peat and palms form a dynamic, self-regulating system—nature’s answer to floating architecture.

Kham Chanot: A Harmony between Nature and Humans

I felt proud of polytheism; it’s beautiful when people respect and admire nature.

Long before churches or mosques, humans worshipped nature itself. I remember reading about Nefertiti’s Sun Temple (1350 BCE).

Historians say ancient Egyptians prayed to the Nile. Greeks built temples for Poseidon by the sea. We Indians worship the Ganges and the Cow. Even early Thai cultures saw the gods in the river Mekong.

I felt this ancient connection clearly here: an island protected by Nagas. It wasn’t superstition; it was gratitude. When you see the land as a god, you think twice before hurting it. Maybe polytheism protected nature by teaching humans to see it as something powerful, not a resource.

And while walking back, I kept thinking: This is how mythologies are born, through places like this that don’t behave the way land is supposed to.

After writing my notes, sitting under a Chanot tree, listening to trees, trusting old stories, I called my driver.

I returned to my hotel by 5 PM, logged in at 5:30, finished two reports, took a break, and worked again from 9 to 2 AM. Not once did I feel tired.

I should’ve been tired. Two temples and a head full of questions. But I wasn’t. My mind was calm. I remembered what my grandma used to say when I am impatient: “You should pray Naga Lords, If the Naga blesses you, Rahu can’t reach you.” Rahu, is the master of illusions, he play with our mind. He will make us restless, anxious, and obsessed..

No one will be ever satisfied. But tonight, that noise was gone. No craving, no loop, no thoughts spinning in circles. Just silence.

Like someone pressed pause on the algorithm inside me. Maybe the Nagas blessed me, they guarded the mind. I don’t remember when I fell asleep. Only that it felt like something had let go before I did.

A Pause Before the Climb

I came here to see temples, but I began to see myself. Udon Thani does not shout its secrets. It waits for you to sit still enough to hear them.

Next, 6 Days, the journey continues. If I have to tell you that in a TV Serial format. It might sound like-

Why does a twenty-two-metre Buddha keep watch from Wat Phu Thong Thep?

Who pressed those perfect handprints into the hill of Wat Phu Taphao Thong?

How can a white lotus hover on a lake without rotting, and why does its silence feel louder than prayer?

For now, I leave you with this thought: Why did ancient hands paint spirals, not stars or squares? Are we drawn to curves because galaxies and Nagas share them—or because the human mind sees itself in every twist?

3 More Days in Udon Thani: Wat Santi Wanaram & 2,000‑Year Footprints

OTT Releases This Week: April 05, 2025

What are the OTT releases, this week? With so many releases across platforms, here are 2-3 picks that I think are worth checking out. Murmur, Shivamma Yarehanchinnala, and Paru Parvathy are my suggestions. Why I pick those; scroll down to read more.

Test (2024): Cricket, Choices, and Chaos

OTT Platform: Netflix
Director: S. Sashikanth
Cast: Nayanthara, R. Madhavan, Siddharth, Meera Jasmine

Test Trailer

Plot & Review Test (2024)

A cricketer struggles with his career while his life becomes complicated by money problems, family stress, and betrayal.

✅ The cricket scenes feel intense and engaging

❌ The story starts strong but gradually loses its charm, becoming confusing

❌ Unnecessary twists and slow pacing make the 145-minute runtime feel longer

My Opinion: Skip this. Even Nayanthara’s performance can’t save “Test” from becoming tedious and frustratingly long. You’re better off re-watching something else.

Murmur (2025): Tamil Cinema’s First Found-Footage Horror

OTT Platform: Amazon Prime
Director: Hemnath Narayanan
Cast: Devraj, Richie Kapoor, Yuvikha Rajendran, Aria Selvaraj, Suganya Shanmugam

Murmur Trailer

Plot & Review Murmur (2025)

Four YouTubers explore a haunted forest to uncover supernatural mysteries but soon face terrifying consequences.

✅ Technically brilliant with immersive sound design and realistic cinematography.

❌ Story pacing is uneven, sometimes dragging despite tense moments.

✅ Unique found-footage style feels authentic and adds genuine scares.

My Opinion: Give Murmur a watch for its fresh style and solid technical execution, especially if you’re a horror fan seeking something new in Tamil cinema.

Machante Malakha (2025): An Outdated Drama of Gender Stereotypes

OTT Platform: Manorama Max
Director: Boban Samuel
Cast: Soubin Shahir, Namitha Pramod, Shanthikrishna, Dhyan Sreenivasan, Dileesh Pothen

Plot & Review Machante Malakha (2025)

A bus conductor marries a regular passenger, but soon realises marriage isn’t what he expected.

❌ Soubin Shahir struggles to convincingly play the serious parts.

❌ Outdated filmmaking style and poor humour make the viewing uncomfortable.

My Opinion: Skip this one. Machante Malakha is frustratingly old-fashioned and reinforces negative stereotypes without any meaningful storytelling.

14 Days Girlfriend Intlo (2025): A Fun Lockdown Rom-Com

OTT Platform: Amazon Prime
Director: Sriharsha Manne
Cast: Ankith Koyya, Shriya Kontham, Vennela Kishore, Indraja, Prashaant Sharma

14 Days Girlfriend Intlo Trailer

Plot & Review 14 Days Girlfriend Intlo

A carefree guy secretly visiting his girlfriend’s house ends up trapped there for 14 days when her conservative parents unexpectedly return..

✅ Vennela Kishore provides some solid laughs with his comic timing.
❌ The story stays lighthearted but never moves beyond its basic premise.
❌ Predictable plot, lacking depth and emotional payoff.

My Opinion: Watch it only if you’re in the mood for a light cringe binge watch. Good for casual viewing, but unlikely to leave a lasting impression.

Kaafir (2025): A Powerful Journey of Justice and Humanity

OTT Platform: ZEE5
Director: Sonam Nair
Cast: Dia Mirza, Mohit Raina, Dishita Jain

Plot & Review Kaafir (2025)

Based on true events, Kaafir follows a Pakistani woman falsely imprisoned in India and the Indian journalist determined to free her.

✅ Dia Mirza gives a deeply emotional performance as Kainaaz Akhtar.

❌ Story effectively highlights themes of prejudice, resilience, and humanity.

✅ Powerful writing by Bhavani Iyer keeps the narrative engaging and heartfelt.

My Opinion: If you are too bored, watch Kaafir for its performances and moving storyline. It’s a more of a drama that stays relevant but not that impactful.

Paru Parvathy (2025): A Feel-Good Road Trip of Self-Discovery

OTT Platform: Amazon Prime
Director: Rohit Keerti
Cast: Deepika Das, Poonam Sirnaik, Fawaz Ashraf

Paru Parvathy (2025) TRailer

Plot & Review Paru Parvathy (2025)

A young vlogger and a neglected elderly woman bond on a life-changing road trip from Bengaluru to Uttarakhand.

✅ Beautiful cinematography captures scenic roads and landscapes effectively.

❌ The film drags initially and struggles with lip-sync and dialogue delivery issues.

❌ Attempts at deeper messaging feel overstretched and lack clarity.

My Opinion: Watch it if you’re patient enough for a slow start. Paru Parvathy has heartwarming moments and beautiful visuals but needed tighter editing and clearer storytelling.

Shivamma Yarehanchinnala (2025): A Spirited Tale of Ambition and Humour

OTT Platform: Sun NXT (Where to watch or streaming Shivamma Yarehanchinnala)
Director: Jaishankar Aryar
Cast: Sharanamma Chetti, Shivu Abbegere, Chennamma Abbegere, Shruthi Kondenahalli

Shivamma Yarehanchinala – Official Trailer

Plot & Review Shivamma Yarehanchinnala (2025)

Shivamma, a spirited village woman, invests in a risky marketing scheme to escape poverty, leading to humorous yet heartfelt situations.

✅ Sharanamma Chetti is superb with her authentic and lovable performance.

❌ Story remains simple and character-driven, avoiding unnecessary complexities.

✅ Humorous dialogues and Shivamma’s charming confidence bring consistent laughs.

✅ Realistic portrayal of village life and the innocent dreams of ordinary people.

My Opinion: Definitely watch Shivamma Yarehanchinnala. Its warmth, humour, and strong lead performance make it an enjoyable, feel-good experience.

For more updates on movies and theatrical releases, click here.

What To Watch on OTT: March 21, 2025

What are the OTT releases this week? So many titles out but most of them feel average or above average. But if you’re in the mood to watch something worthwhile, Officer On Duty, Dragon, and Nodidavaru Enantare (2025) are the ones I’d recommend this week. Why I picked these three? Scroll down to read a short review without spoilers.

Gandhi Tatha Chettu (2025): A Tree, A Grandfather, and a Young Girl’s Promise

📺 Where to watch: Amazon Prime
🎬 Director: Padmavathi Malladi
⭐ Cast: Sukriti Veni Bandreddi, Anand Chakrapani, Rag Mayur, Bhanu Prakash

Gandhi Tatha Chettu (2025) Trailer

Plot & Review Highlights

Set in a Telangana village in the year 2000, this film follows Gandhi, a schoolgirl, who promises her dying grandfather to protect a neem tree planted in memory of Mahatma Gandhi. As the village faces pressure to sell land to a factory, young Gandhi uses non-violent methods to resist.

❤️ Sukriti Veni gives a natural, bold debut — she even tonsured her head for the role
❤️ First half is simple, grounded, and emotionally strong
❤️ Captures rural life with warmth and honesty

❌ The second half turns weak and dramatic
❌ The climax feels rushed and unrealistic

My Opinion: This is not a perfect film — but it dares to speak gently in a loud world. If you have the patience for a quiet story with an honest heart, give it a watch. Sukriti makes it worth it.

Dragon (2025): A Massy Ride With Two Climaxes and One Honest Heart

📺 Streaming on: Netflix
🎬 Director: Ashwath Marimuthu
⭐ Cast: Pradeep Ranganathan, Mysskin, Anupama, Kayadu Lohar

Dragon 2025 trailer

Plot & Review Highlights

Ragavan, a gold medalist, turns into ‘Dragon’—a college don—for love. Then comes redemption, success, and a second fall. But wait, there’s more. This film gives two full arcs: one downfall and comeback, then another. Almost like watching two stories in one.

❤️ Pradeep Ranganathan goes full mass and full emotion
❤️ Mysskin as the calm, moral principal is a surprise package
❤️ Every small scene has a smart callback — no filler

❌ Second half feels too convenient at times
❌ Women characters deserved more than being plot bridges

My Opinion: Dragon is like a Rajini-style redemption tale for this generation. Over the top, yes — but sincere. If you’re okay with some cliched moments, this one rewards you with good drama, comedy, and that rare cathartic moments.

Baby and Baby (2025): Old Wine in an Older Bottle

📺 Where to watch: Sun NXT
🎬 Director: Prathap
⭐ Cast: Jai, Yogi Babu, Sathyaraj, Pragya Nagra

Baby and Baby (2025) trailer

Plot & Review Highlights

Two friends mix up their babies on a flight back home. One family wants a baby boy, the other believes a baby girl is lucky. Lies, confusion, and kidnapping plans follow.

❤️ Yogi Babu’s one-liners (some land, some don’t)
❤️ A couple of emotional scenes save it from total collapse

❌ Cringe comedy and dated visuals
❌ Wastes veterans like Sathyaraj and Nizhalgal Ravi
❌ Feels like a 2005 DVD re-release

My Opinion: This isn’t a comedy; it’s a time capsule. Even nostalgia can’t save it. Watch only if you want to test your patience—or enjoy chaos with zero logic.

Nodidavaru Enantare (2025): A Soul-Searching Journey That Doesn’t Play Safe

📺 Streaming on: Amazon Prime
🎬 Director: Kuldeep Cariappa
⭐ Cast: Naveen Shankar, Apoorva Bharadwaj, Padmavati Rao, Ayra Krishna

Nodidavaru Enantare (2025) trailer

Plot & Review Highlights

Siddharth loses love, loses his job, and then loses his father. Instead of fixing things, he hits the road — to escape, to think, and maybe, to start over.

❤️ Naveen Shankar delivers a raw, silent, and moving performance
❤️ Road trip mood meets existential crisis — slow but deep
❤️ Strong visual storytelling, with emotions that don’t need dialogue

❌ Begins clunky and a bit preachy
❌ Not for those expecting commercial payoffs

My Opinion: This is not a feel-good film. It’s a feel-real one. A quiet but sharp look at loneliness, pressure, and choosing dreams over stability. Not perfect — but it lingers.

Officer On Duty (2025): First Half Hooks, Second Half Cooks

📺 Where to watch: Netflix
🎬 Director: Jithu Ashraf
⭐ Cast: Kunchacko Boban, Priyamani, Muthumani

Plot & Review Highlights

CI Harishankar, demoted and damaged, takes up a fake gold case. From their case moves to a deeper, darker past. The first half builds tension. The second half… flips the genre.

❤️ Kunchacko Boban’s intense, layered performance
❤️ Tight first half with solid investigative buildup
❤️ Jakes Bejoy’s background score keeps the grip

❌ Second half turns too commercial
❌ Emotional drama weakens the thriller tone
❌ Same old cop tropes and character shifts

My Opinion: Starts as a gripping police procedural, ends up as a stylised supercop story. Watch it for the craft, not for surprises.
📖 Want a deeper review? Read More Here

Sky Force (2025): A War Hero’s Story Hijacked Mid-Air

📺 Streaming on: Amazon Prime
🎬 Directors: Sandeep Kewlani & Abhishek Anil Kapur
⭐ Cast: Akshay Kumar, Veer Pahariya, Sara Ali Khan, Nimrat Kaur

Sky Force (2025) Trailer

Plot & Review Highlights

Based on India’s first air strike on Pakistani soil, the film should’ve flown high with the forgotten hero Vijayan. Instead, it turns into an Akshay Kumar show — again.

❤️ Veer Pahariya gives it soul, especially in the final act
❤️ Real story behind the 1965 Sargodha strike is powerful

❌ Akshay Kumar overshadows the real hero
❌ Female characters written like props
❌ Too much posturing, too little emotional weight

My Opinion: This could’ve been a landmark war film. But it forgets whose story it is. Watch for the visuals, stay for the last 20 mins, skip the star worship.

Khakee: The Bengal Chapter (2025): Familiar Faces, Flat Storytelling

📺 Where to watch: Netflix
🎬 Creator: Neeraj Pandey
⭐ Cast: Jeet, Prosenjit, Saswata, Parambrata, Ritwik, Chitrangada Singh

Khakee: The Bengal Chapter

Plot & Review Highlights

Set in 2000s Bengal, this cops vs gangsters drama shows the rise of don Shankar Barua and the honest cop Arjun Maitra trying to clean the city. But beyond the setup, the show struggles to rise.

❤️ Saswata Chatterjee nails the flashback portions
❤️ Jeet fits well as the upright officer
❤️ A few interesting twists in the middle

❌ Too many clichés, too little depth
❌ Wasted talents like Parambrata & Chitrangada
❌ Bengal setting feels generic — not rooted

My Opinion: A show with top Bengali actors but no real Bengali soul. It starts with promise but quickly becomes just another slow-moving crime drama. Nothing you haven’t seen before.

Nilavukku Enmel Ennadi Kobam (2025): Love, Closure, and a Scene-Stealing Friend

📺 Streaming on: Amazon Prime
🎬 Director: Dhanush
⭐ Cast: Pavish, Anikha Surendran, Mathew Thomas, Priya Prakash Varrier

A song from NEEK

Plot & Review Highlights

Prabhu attends his ex’s wedding hoping for closure — while a new match awaits back home. What follows is a cocktail of confusion, nostalgia, and young love.

❤️ Mathew Thomas & Anikha steals every scene — the true MVP
❤️ Light-hearted take on Gen Z love & heartbreak
❤️ Dhanush’s flavour is everywhere — from house interiors to ringtone choices

❌ Lead pair lacks chemistry, performances feel uneven
❌ Too many threads, not enough depth
❌ Some scenes feel like extended Instagram reels

My Opinion: It’s Dhanush’s weakest directorial so far, but it’s still likeable — not loveable. Watch it for its charm, subtle callbacks, and a reminder that love today comes with 2x speed and emoji reactions.

For more updates on movies and theatrical releases, click here.

What To Watch on OTT: March 14, 2025

What are the OTT releases this week? With so many releases across platforms, unfortunately, I couldn’t find many great options for you this week, since most releases are average; if you have time, try Ponman (Malayalam) or Kaadhal Enbadhu Podhu Udamai (Tamil) Why I Pick That; scroll down to read more.

Ponman (2025): A Gritty Drama That Goes Beyond the Gold

📺 Streaming on: JioStar
🎬 Director: Jyothish Shankar
⭐ Cast: Basil Joseph, Lijomol Jose, Sajin Gopu, Anand Manmadhan

Ponman Trailer

Plot & Highlights

This is not just another film about dowry; Ponman doesn’t preach; it shows; it makes you feel the pain; finally, it’s your judgement, not the writer’s.

Gold dealer Ajesh lends gold for a village wedding in Kollam. However, the reluctant bride, Steffi, is not ready to return the gold after the marriage. The story takes a tragic turn when Mariano (Sajin Gopu), her husband, confronts Ajesh.

❤️ Basil Joseph shines —far from his comfort zone
❤️ A realistic, layered take on dowry, without cliché melodrama or preachiness
❤️ Well-written screenplay with gripping moments set in unexpected places
❌ A slow-burn that demands patience

My Opinion: Ponman doesn’t just criticise a system—it immerses you in it, making you see its victims and perpetrators as flawed, complex individuals. A smartly written, must watch film, considering the impact it is worth more than just its weight in gold.

Ramam Raghavam (2025): A Gritty Tale of Family, Betrayal & Redemption

📺 Streaming on: Sun NXT
🎬 Director: Dhanraj Koranani
⭐ Cast: Dhanraj Koranani, Samuthirakani, Satya, Pramodini, Harish Uthaman, Sunil, Mokksha

Plot & Highlights

Raghava (Dhanraj Koranani) is stuck in life, making one bad decision after another. His father, Ramam (Samuthirakani), tries to guide him, but the gap between them only grows. One day, Raghava does something shocking, changing everything. From there, the film becomes a tense battle of emotions and consequences.

❤️ A raw, intense family drama that doesn’t sugarcoat emotions
❌ Misses the emotional depth needed to fully connect with Raghava’s journey
❌ Some characters feel underdeveloped, limiting their impact

My Opinion: Ramam Raghavam takes a complex moral dilemma and presents it in a brutal, unfiltered way. While the execution stumbles, the film stays with you—especially in its haunting final act. Can give it a try if you have time.

Kaadhal Enbadhu Podhu Udamai (2025): A Bold Step for Queer Cinema

📺 Streaming on: Tentkotta
🎬 Director: Jayaprakash Radhakrishnan
⭐ Cast: Lijomol Jose, Anusha Prabhu, Rohini, Vineeth, Deepa, Kalesh Ramanand

Trailer

Plot & Highlights

Kaadhal Enbadhu Podhu Udamai isn’t just about love; it’s about how society decides who deserves it.

When Sam (Lijomol Jose) reveals she is in love with Nandhini (Anusha Prabhu), her mother Lakshmi (Rohini) and father Devaraj (Vineeth) struggle to accept it. The film focuses on their hypocrisy, their contradictions, and the silent pain of those forced to justify their existence.

❤️ A rare Tamil film that puts queer identity at the centre
❤️ Rohini delivers a stunning performance as a mother caught in conflict
❌ Sam and Nandhini’s relationship feels underdeveloped
❌ At times, the film feels more like a debate than a story

My Opinion: Kaadhal Enbadhu Podhu Udamai is not perfect, but it’s important. It doesn’t just argue—it demands to be heard. A much-needed step for Tamil cinema, even if it leaves you wishing for a deeper, more personal look at its queer leads.

2K Love Story (2025): A Forced Take on Friendship That Lacks Heart

📺 Streaming on: Aha Tamil
🎬 Director: Suseenthiran
⭐ Cast: Meenakshi Govindarajan, Jagaveer, Bala Saravanan

2k Love Story Trailer

Plot & Highlights

Can a man and a woman just be friends? 2K Love Story sets out to prove they can, but instead of exploring their bond naturally, it forces the message with clichés and weak storytelling.

Karthik (Jagaveer) and Moni (Meenakshi Govindarajan) run a wedding planning business together. Despite being constantly thrown into situations where love could bloom, they stick to their “friends forever” pact. But when a new person enters their lives, their friendship faces the ultimate test.

❤️ A refreshing idea that challenges relationship stereotypes
❌ Tries too hard to be progressive, but lacks emotional depth
❌ Tonally confused—part love triangle, part comedy, but never compelling
❌ Shallow character development makes it hard to care about their struggles

My Opinion: 2K Love Story wants to be different but ends up feeling staged and empty. Friendship deserves a better story, one with real emotions—not just a forced message.

Emergency (2025): A Selective Retelling of History

📺 Streaming on: Netflix
🎬 Director: Kangana Ranaut
⭐ Cast: Kangana Ranaut, Anupam Kher, Shreyas Talpade, Satish Kaushik, Mahima Chaudhary

Plot & Highlights

Kangana Ranaut plays Indira Gandhi, recreating the events surrounding the 1975 Emergency. While the film captures key moments—the power struggle, the political arrests, and the press censorship—it often feels like a highlight reel rather than a layered exploration. Indira’s strengths are downplayed, her insecurities exaggerated, and her adversaries glorified, creating an uneven narrative.

❤️ Kangana delivers a powerful performance, capturing Indira’s intensity
❤️ Cinematography and music elevates the storytelling
❌ More a political statement than a balanced biopic
❌ Key historical events feel oversimplified or conveniently left out
❌ Fails to provide a nuanced take on Indira’s political journey

My Opinion: Emergency is ambitious but one-sided. While Kangana shines as Indira, the film picks and chooses its facts to fit a narrative rather than offering an honest portrayal. Watch it for the performances, but don’t expect the full picture.

Vanvaas (2025): Nana Patekar Shines in a Predictable Tearjerker

📺 Streaming on: Zee5
🎬 Director: Anil Sharma
⭐ Cast: Nana Patekar, Utkarsh Sharma, Khushboo, Simratt Kaur, Ashwini Kalsekar, Rajesh Sharma

Vanvaas Trailer

Plot & Highlights

A familiar story of an aging father abandoned by his children, Vanvaas follows Deepak Tyagi (Nana Patekar), a man battling memory loss and betrayal. Left alone in Varanasi, he finds an unlikely ally in Veeru (Utkarsh Sharma), a small-time crook with a heart of gold.

The film sticks to the Baghban-style formula, where the noble parent suffers, the children are heartless, and the saviour arrives in the form of a selfless outsider. While it tugs at the emotions, the storytelling feels outdated and exaggerated.

❤️ Moments of poetic monologues add emotional weight
❤️ Visually rich with glimpses of Varanasi’s culture
❌ Predictable, melodramatic, and overly theatrical
❌ Utkarsh Sharma struggles to match Nana Patekar’s intensity
❌ One-dimensional characters with little depth

My Opinion: Vanvaas is powered by Nana Patekar’s presence, but the film itself feels like a relic of the past. It has moments of emotion, but the outdated storytelling and forced drama hold it back. Watch it if you love old-school family dramas, but don’t expect surprises.

Moana 2 (2025): A Visual Spectacle, But an Unnecessary Voyage

📺 Streaming on: JioHotstar
🎬 Directors: David Derrick Jr., Jason Hand, Dana Ledoux Miller
⭐ Cast: Auliʻi Cravalho, Dwayne Johnson, Hualālai Chung, Rose Matafeo, David Fane

Moana 2 Trailer

Plot & Highlights

Moana is back on the seas, but this time, the waves aren’t as thrilling.

When her ancestors warn her about an ancient storm god’s curse, Moana (Auliʻi Cravalho) sets out on a mission they failed—to reunite the islands and restore balance. Unlike her first solo journey, she’s joined by a crew of fellow islanders, along with the ever-charismatic Maui (Dwayne Johnson).

❤️ Visually stunning, with breathtaking ocean landscapes
❤️ Kakamora pirates steal the show in their brief screen time
❌ Lacks the emotional depth of the first film
❌ Music fails to match the magic of the original soundtrack

My Opinion: Moana 2 is beautiful to look at, but it lacks the soul that made the first film special. While kids might enjoy the adventure, it feels like Disney is just trying to keep the franchise afloat. Not a disaster, but definitely not smooth sailing.

For more updates on movies and theatrical releases, click here.

What To Watch on OTT: March 07, 2025

What are the OTT releases this week? With so many releases across platforms, unfortunately, I couldn’t find many great options for you this week, since most releases are average; if you have time, try Rekhachithram (Malayalam), Kudumbasthan (Tamil) or Baapu( Telugu). Why I pick that; scroll down to read more.

Rekhachithram (2025): A Smart Thriller That Blends Mystery with Cinema Nostalgia

📺 Streaming on: Sony LIV
🎬 Director: Jofin T Chacko
⭐ Cast: Asif Ali, Anaswara Rajan, Indrans, Saikumar, Manoj K Jayan

#Rekhachithram Trailer

Plot & Highlights

Rekhachithram is a gripping investigative thriller. The film follows Vivek Gopinath (Asif Ali), a cop trying to redeem himself, as he investigates a 40-year-old skeleton linked to an 80s film set. As Vivek pieces together clues from a time when technology was limited, the case becomes a thrilling.

❤️ A refreshing take on crime thrillers with a unique premise
❤️ Anaswara Rajan shines as Rekha, adding depth to her character
❤️ A treat for cinephiles with nods to 80s Malayalam cinema

❌ The film’s slow-burn pace may not work for everyone
❌ Manoj K Jayan feels underutilised

My Opinion: Rekhachithram isn’t just a mystery—it’s a love letter to Malayalam cinema.Though it takes its time to build up, the final twist is worth the wait. If you love thrillers with a nostalgic touch, this one is a must-watch!

Kudumbasthan (2025): A Fun Family Comedy with Manikandan’s Winning Touch

📺 Streaming on: ZEE5
🎬 Director: Rajeshwar Kalisamy
⭐ Cast: Manikandan, Guru Somasundaram, Saanve Megghana, R Sundarrajan

Kudumbasthan Trailer

Plot & Highlights

Being the sole breadwinner of a middle-class family is no joke—literally! Kudumbasthan follows Naveen (Manikandan), a newly married man juggling endless financial responsibilities, from funding his mother’s pilgrimage to paying for his wife’s Civil Service exam. Adding to his stress is his brother-in-law Rajendran (Guru Somasundaram), who constantly undermines him. As Kudumbasthan—surviving it is the real challenge.

❤️ Manikandan nails another relatable underdog role
❤️ Hilarious moments keep the film lighthearted and engaging

❌ Some jokes may not work for everyone
❌ The film feels slightly stretched at 155 minutes

My Opinion: Kudumbasthan blends classic family drama with modern humour, making it funny and relatable. Strong performances from Manikandan and Guru Somasundaram keep it engaging. A good watch for those who enjoy heartwarming comedies.

Nadaaniyan (2025): A Glossy but Shallow High-School Rom-Com

📺 Streaming on: Netflix
🎬 Director: Shauna Gautam
⭐ Cast: Ibrahim Ali Khan, Khushi Kapoor, Suniel Shetty, Dia Mirza

Nadaaniyan | Official Trailer

Plot & Highlights

Fake relationships, social class struggles, and high school drama—Nadaaniyan brings them all together in a lighthearted rom-com. Pia (Khushi Kapoor) is a rich girl who needs a boyfriend to keep her friendships intact. Arjun (Ibrahim Ali Khan), a scholarship student with big career dreams, becomes the perfect candidate. But as their fake relationship unfolds, they must navigate class differences, family expectations, and their own changing feelings.

❤️ Khushi Kapoor and Ibrahim Ali Khan bring youthful charm
❤️ Fun, breezy moments make it watchable
❤️ Nods to classic Karan Johar films add nostalgia

❌ A predictable, surface-level story
❌ Social themes feel forced rather than impactful
❌ Characters and settings don’t feel real or relatable

My Opinion: Nadaaniyan is a glossy, high-school rom-com that feels superficial despite its attempts at depth. The lead actors try their best, but the film remains predictable. Skip if you watched movies like Love Today (Tamil) or Perfect Date.

Manamey (2024): A Lighthearted Rom-Com That Plays It Safe

📺 Streaming on: Amazon Prime Video
🎬 Director: Sriram Adittya
⭐ Cast: Sharwanand, Krithi Shetty, Vennela Kishore, Rahul Ravindran

Manamey Trailer

Plot & Highlights

What happens when a carefree man is forced to take responsibility? Manamey follows Vikram (Sharwanand), a happy-go-lucky guy who avoids commitments—until his best friend’s sudden passing leaves him as a temporary guardian for their two-year-old son. Subhadra (Krithi Shetty), a responsible and practical woman, also steps in as the child’s caretaker. As they clash over parenting styles, love slowly blossoms between them.

❤️ Sharwanand shines in a fun, laid-back role
❤️ A few genuinely funny moments keep it entertaining
❤️ Hesham Abdul Wahab’s music adds charm

❌ Predictable story with familiar rom-com tropes
❌ Supporting characters feel underused
❌ Antagonist subplot feels unnecessary and weak

My Opinion: Manamey is a breezy, feel-good rom-com that plays it safe. Sharwanand’s playful performance adds charm, but the film remains predictable. Worth a casual watch, but nothing fresh or surprising.

Thandel (2025): A Beautiful Love Story That Loses Focus in Its Second Half

📺 Streaming on: Netflix
🎬 Director: Chandoo Mondeti
⭐ Cast: Naga Chaitanya, Sai Pallavi, Karunakaran, Divya Pillai

Plot & Highlights

Thandel is about the longing and devotion (melo-drama medium) in a romance shaped by distance. Raju (Naga Chaitanya), a fisherman from Srikakulam, spends most of the year away at sea. Sathya (Sai Pallavi), his love, accepts this way of life with patience and pride. When Raju is caught in a tragic twist of fate and lands in a Pakistani prison, their love is put to the ultimate test.

❤️ Naga Chaitanya deliver heartfelt performances
❤️ Devi Sri Prasad’s music adds emotional depth
❤️ Stunning cinematography captures the vast sea and emotions beautifully

❌ The Pakistan prison subplot lacks depth
❌ Side characters feel underdeveloped
❌ Misses the opportunity to explore the real struggles of the 22 fishermen

My Opinion: Thandel is an average love story but loses its emotional depth when it shifts to the Pakistan prison subplot. The political drama feels rushed, but the romance and music keep it engaging. It works for fans of poetic (chocolate) love stories.

Narayaneente Moonnaanmakkal (2025): A Thoughtful, Restrained Family Drama

📺 Streaming on: Amazon Prime Video
🎬 Director: Sharan Venugopal
⭐ Cast: Joju George, Suraj Venjaramood, Alencier Lay Lopez, Garggi Ananthan, Shelly Kishore

Plot & Highlights

When three estranged brothers reunite at their ancestral home as their mother lies on her deathbed, old wounds resurface, and buried conflicts return. Vishwanathan (Alencier Lay Lopez) still carries the weight of past casteist insults, Bhaskar (Suraj Venjaramood) is an outsider in his own home, and Sethu (Joju George) finds himself stuck between them. Meanwhile, the younger generation—Athira (Garggi Ananthan) and Nikhil (Thomas Mathew)—try to make sense of the tensions while dealing with their own unresolved emotions.

❤️ A subtle, character-driven story without melodrama
❤️ Joju George and Garggi Ananthan deliver deeply layered performances
❤️ A realistic portrayal of family conflicts and generational differences

❌ The slow, quiet storytelling may not work for everyone
❌ Lacks big dramatic moments, making it feel subdued

My Opinion: Narayaneente Moonnaanmakkal is a nuanced, slow-burning family drama that avoids melodrama. A worthwhile watch for those who enjoy subtle, character-driven narratives.

Baapu (2025): A Family Drama with Moments of Brilliance but an Uneven Narrative

Baapu (2025) trailer

📺 Streaming on: JioHotstar
🎬 Director: Dayakar Reddy
⭐ Cast: Brahmaji, Aamani, Srinivas Avasarala, Sudhakar Reddy, Dhanya Balakrishna

Plot & Highlights

Set in rural Telangana, Baapu follows a struggling farmer’s family burdened by debt. Mallanna (Brahmaji) and his wife Saroja (Aamani) are trying to make ends meet through cotton farming, while their children battle their own hardships. Meanwhile, a subplot involving a hidden golden idol adds another layer of intrigue.

❤️ Brahmaji delivers a strong lead performance
❤️ Authentic rural setting and black comedy elements work well
❤️ A few engaging moments, especially around the family’s moral dilemma

❌ Predictable and lacks depth in emotional moments
❌ Romance subplots feel unnecessary and underdeveloped
❌ Feels like a short film stretched into a feature-length movie

My Opinion: Baapu has an interesting premise with its dark comedy and performances. However, weak character arcs and a predictable story hold it back. Watch it for the performances, but don’t expect a deeply engaging family drama.

For more updates on movies and theatrical releases, click here.

What To Watch on OTT: February 28, 2025

What are the OTT releases this week? After two weeks of dip in quality, this week’s OTT lineup are packed with good enetrtainers. But if you’re looking for the best picks, Hello Mummy is a fun watch, followed by Love Under Construction and Dabba Cartel. Scroll down for more!

Dabba Cartel (2025): A Spicy Mix of Crime and Chaos

Platform: Netflix
Director: Hitesh Bhatia
Cast: Shabana Azmi, Jyotika, Nimisha Sajayan, Shalini Pandey, Bhupendra Jadawat, Anjali Anand, Gajraj Rao, Lillete Dubey, Sai Tamhankar

Plot & Highlights: Dabba Cartel (2025)

What happens when a group of ordinary women accidentally step into the world of crime? Dabba Cartel answers that with a mix of thrills, chaos, and dark humour.

Between shady pharma companies, investigating officers, and dangerous criminals, 5 women must outsmart a system built to crush them.

❤️ Shabana Azmi steals the show with her effortless transformation into a no-nonsense matriarch.
❤️ The show balances humour and suspense well, making it an entertaining watch.

❌ Some moments feel exaggerated, making the plot less believable.
❌ The gangsta elements sometimes feel forced.

My Opinion: Dabba Cartel is an entertaining mix of crime and comedy, with a strong female-led cast. A good watch if you like crime dramas with a fresh twist.

Vidaamuyarchi (2025): A Gritty Actioner With a Vulnerable Ajith Kumar

Platform: Netflix
Director: Magizh Thirumeni
Cast: Ajith Kumar, Trisha, Regina Cassandra, Arav, Arjun, Anikha

Plot & Highlights: Vidaamuyarchi (2025)

Vidaamuyarchi is about Arjun (Ajith Kumar), an ordinary man thrown into extraordinary circumstances. What starts as a road trip to drop his estranged wife, Kayal (Trisha), at her parents’ place turns into a nightmare. As Kayal is kidnapped, Arjun finds himself in a deadly game where survival is the only option.

❤️ Ajith delivers one of his most grounded performances in years.
❤️ Regina Cassandra surprises with her eerie and unpredictable character.
❤️ The film’s technical aspects—cinematography, action sequences, and background score—are top-notch.

❌ Predictable twists make the suspense feel weak.
❌ Trisha’s character remains underdeveloped, serving only as a plot device.
❌ Some mass moments lack the emotional depth needed for true impact.

My Opinion: Vidaamuyarchi may entertain because of Ajith’s compelling performance and the film’s slick execution. But the film’s predictable screenplay and lack of emotional weight in key moments hold it back from being a great entertainer.

Love Under Construction (2025): A Middle-Class Man’s Battle Between Home and Heart

Platform: JioHotstar
Director: Vishnu Raghav
Cast: Neeraj Madhav, Gouri Kishan, Aju Varghese, Anand Manmadhan

Plot & Highlights: Love Under Construction (2025)

What happens when your biggest dream becomes your biggest struggle? Love Under Construction follows Vinod (Neeraj Madhav), a middle-class Malayali man living in Dubai, who dreams of building his own home back in Kerala. But as his home construction turns into a never-ending headache, so does his personal life. His relationship with Gauri (Gouri Kishan) is at a crossroads—while Vinod wants a home, Gauri wants to move to Canada. Between family drama, financial struggles, and society’s pressures, Vinod must figure out what truly matters.

❤️ Neeraj Madhav delivers a natural, relatable performance as Vinod.
❤️ Gouri Kishan’s character is refreshingly practical, breaking the usual heroine stereotypes.

❌ Some subplots feel stretched, slowing down the pacing.
❌ The conflicts, though realistic, sometimes resolve a little too easily.

My Opinion: Love Under Construction is a heartwarming and relatable feel good story that every middle-class family can see themselves in. I recommend it to those who ever tried to build a dream—be it a home or a relationship.

Sankranthiki Vasthunam (2025): A Comedy Overload That Mostly Works

Platform: Zee5
Director: Anil Ravipudi
Cast: Venkatesh, Aishwarya Rajesh, Meenaakshi Chaudhary, VK Naresh, Upendra Limaye, Saikumar

Plot & Highlights: Sankranthiki Vasthunam (2025)

Anil Ravipudi’s Sankranthiki Vasthunam is an all-out comedy that throws logic out of the window and works on Ravipudi spices. The film revolves around Raju (Venkatesh), a devoted husband stuck between his possessive wife Bhagyalakshmi (Aishwarya Rajesh) and his ex-girlfriend-turned-police-officer Meenakshi (Meenaakshi Chaudhary). When Meenakshi re-enters his life for a high-stakes mission, chaos started, mixing romance, action, and non-stop gags.

❤️ Venkatesh shines, effortlessly balancing comedy and action.
❤️ Aishwarya Rajesh delivers a quirky, endearing performance.
❤️ The supporting cast, especially Upendra Limaye and child artist Revanth, provide some of the biggest laughs.

❌ Too many gags crammed in, leading to moments of exhaustion.
❌ Some jokes and subplots feel unnecessary, especially towards the climax.

My Opinion: Sankranthiki Vasthunam is an entertainer but if you’re looking for realism, this isn’t the film for you. But if you enjoy over-the-top, slapstick humour, then Ravipudi delivers yet another laugh riot.

Hello Mummy (2024): A Fun Horror-Comedy That Keeps You Hooked

Platform: Amazon Prime Video
Director: Vaishakh Elans
Cast: Sharaf U Dheen, Aishwarya Lekshmi, Jagadish, Johny Antony, Aju Varghese, Bindu Panicker

Hello Mummy trailer

Plot & Highlights: Hello Mummy (2024)

Hello Mummy is a mix of horror, comedy, and family drama into an entertaining ride. The story revolves around Boney (Sharaf U Dheen), a spoiled rich kid forced into marriage with Stephy (Aishwarya Lekshmi), an ambitious scholar. But marriage comes with an unexpected guest—Stephy’s mother, Gracy (Jagadish), who just happens to be a ghost!

While Boney just wants a normal married life, Gracy has other plans, leading to a series of comic encounters, spooky moments, and unexpected twists.

❤️ Sharaf U Dheen’s impeccable comic timing carries the film.
❤️ The mix of humour and horror keeps it engaging without getting too dark.
❤️ Supporting cast, especially Jagadish and Johny Antony, add to the fun.

❌ Some subplots feel unnecessary and underdeveloped.
❌ The climax is stretched and could have been tighter.

My Opinion: Hello Mummy is a simple yet laugh-out-loud entertainer that doesn’t take itself too seriously. While the second half could have been sharper, the film’s humour and performances make it worth a watch. If you’re in the mood for a fun horror-comedy with a heart, this one’s for you!

For more updates on movies and theatrical releases, click here.

Officer On Duty (2025)-First Half Hooks, Second Half Cooks

Directed by Jithu Ashraf, Officer On Duty is built on writer Shahi Kabir’s signature investigative thriller framework. If you’ve seen Joseph or Ela Veezha Poonchira, you know what to expect—meticulously crafted police procedural scenes, morally grey officers, and layered storytelling. That was my only reason for watching Officer On Duty, hoping for another gripping police procedural. But this time, there’s a shift.

No Nonsense, Straight to the Case

As expected, there’s no unnecessary drama. Within five minutes, the film is on track. It kicks off with a chilling prologue before shifting to the introduction of CI Harishankar (Kunchacko Boban). I have to appreciate Kunchacko for approving an intro scene where his character harasses a pregnant woman—not something most stars would dare to do. Mollywood continues to stand apart in its willingness to portray morally grey characters, even with leading actors.

The story follows DYSP Harishankar, who is demoted to CI after physically assaulting his senior officer. He’s battling psychological trauma, and on his first day as CI, he gets assigned a counterfeit gold case. But this small case unexpectedly leads him to something much bigger—something connected to his own past. The way Shahi Kabir sets up these connections using the plant and payoff technique is brilliant.

First Half – Packed with Suspense & Character Depth

A major strength of the first half is how it establishes Harishankar’s character. We get to see his shades—his flaws, his aggression, and his vulnerabilities. Sure, there are a few unnecessary moments like Muthumani’s ‘chocolate hero’ commentary or Priyamani’s repetitive domestic scenes, but overall, the first half keeps us engaged, slowly building curiosity for what’s next. Foreshadowing in the writing plays a big role in keeping us hooked.

Second Half – Too Much Drama, Too Many Compromises

Shahi Kabir has a pattern. His second halves usually shift into family drama or emotional conflicts (Joseph, Ela Veezha Poonchira). So, I was expecting that. But in Officer On Duty, the shift felt too drastic. There’s a lot of cinematic drama, and while that might help at the box office, it also dilutes the soul of the film.

The biggest issue? Character inconsistency. Harishankar in the first half and Harishankar in the second half feel like two different people. It’s as if the film forgets its grounded realism and switches into a supercop action thriller. Thankfully, Kunchacko Boban’s performance smooths over some of the rough edges. He carries the weight of the transformation with conviction, but it’s still hard to ignore how much the tone changes.

Repetitive Writing – Fridging and the Same Old Cop Tropes

I have to ask—why are writers so obsessed with ‘fridging’ female characters in investigative thrillers? The idea that a woman must suffer to motivate the hero is overused and outdated. And why is every troubled police officer a failed family man dealing with a divorce? We’ve seen this formula so many times—an emotionally broken cop, a family crisis, and in the end, a personal stake in the case. It’s predictable if you watch thrillers often.

Officer On Duty Trailer

What Worked – Technical Brilliance & Performances

If Kunchacko Boban is the emotional anchor of the film, Jakes Bejoy is the soul. His background score elevates the tension and keeps the narrative gripping. In fact, it was Bejoy and Kunchacko who made this film worth watching for me, not the screenplay.

Kunchacko, as Harishankar, is completely convincing. His haunted eyes, his rough exterior, and the visible trauma in his body language make the character believable. He put in the effort, and it shows.

Technically, the film shines. Roby Varghese Raj’s cinematography and Chaman Chacko’s editing set the perfect dark, intense tone. The action sequences are well-executed, especially considering the film’s production scale. The mortuary fight and climax sequences were particularly well-shot, making the brutality feel raw but not excessive.

Final Opinion – **From ‘What’s Next?’ to ‘Here We Go Again’**

Officer On Duty starts off as an exciting investigative thriller, making us wonder, “What’s next?” But by the end, it turns into a supercop action film, filled with predictable twists, overused tropes, and cinematic hero moments for the whistles and cheers.

Does it deserve to be a super-hit? Yes.
Does it work as a solid thriller? Not for me.
I had high expectations from Shahi Kabir, but this time, it felt like he chose commercial appeal over storytelling depth.

Watch it for Kunchacko Boban and Jakes Bejoy. Just lower your expectations if you’re looking for a realistic thriller.

Bromance Movie review

Bromance (2025) – A Comedy That Almost Works

Directed by Arun D Jose, Bromance follows his familiar formula of making youth-centric films, as seen in Jo & Jo and 18+. Here there is a slight shift.

How do you make a comedy film? There are many ways, but in Malayalam cinema, the popular ones are Priyadarshan-style slapstick, dark humour, everyday observational comedy like Premalu, or deadpan delivery, where the humour comes from an actor’s serious and emotionless reactions—like Biju Menon’s humour characters.

Written by Thomas P. Sebastian and Raveesh Nath, Bromance (2025) tries to blend all these styles here and there. But does it work? Only in the second half.

A Cliché Bromance Setup with a Predictable Plot

The movie begins with a cliche Setup. The elder brother, Shinto, is the responsible one, while the younger brother, Binto, is the reckless slacker. As expected, Shinto takes care of Binto, even funding his rave parties.

Then comes The Inciting Incident—Shinto goes missing. This leads to the introduction of characters from Shinto’s world: his ex-girlfriend (Mahima Nambiar), his best friend (Arjun Ashokan), a rowdy (Kalabhavan Shajon), and an ethical hacker (Sangeeth Prathap).

The rest of the movie is about how this mismatched gang tries to solve the case.

Weak Emotional Depth and Character Motivations

The writers attempt to create comedy through contrast—placing Arjun Ashokan’s calm, timid character alongside Mathew’s hot-headed young man. But it doesn’t work.

Over-the-top humour isn’t everyone’s cup of tea, and it’s tough to pull off. When we see Manavalan or Dasamoolam Dhamu, we don’t think about logic—we just enjoy the humour because their caricatured personalities are established from the beginning. Here, when Mathew and Sangeeth Prathap go over the top, it feels annoying, clichéd, or like forced cringe comedy.

Another issue is the forced emotional beats. The bond between the brothers isn’t developed organically. Some scenes, like a social media bullying victim taking revenge and saying, “I will share this video with my daughter,” felt completely out of place.

The way the team comes together for the mission also feels unconvincing—why are they all risking it? The writing could have been sharper, with better confrontations to make this an exciting screwball comedy thriller. Instead, it ends up feeling like a missed opportunity. Some side characters also feel force-fitted into the story.

Does that mean the film isn’t entertaining? A big No!!!

Second Half Brings the Laughs

Despite all the friction in the first half, the second half is decent. There are genuinely funny moments, especially with Arjun Ashokan, Mahima Nambiar, and Kalabhavan Shajon. They bring energy, presence, and great comic timing.

Since the climax and story are predictable, what surprised me was Arjun Ashokan’s over-the-top performance in the second half.

After Romancham, he proves once again that he can handle humour as well as serious roles—he is a perfect actor to create comedic incongruity. I hope more directors explore this side of him. Similarly, Kalabhavan Shajon’s one-liners and Mahima’s screen presence made the second half more enjoyable.

Cinematography & Music: Stylish And Matches the Vibe

Cinematographer Akhil George does a decent job in maintaining the vibrant, youthful visual style, it helped us matching the vibe. The night scenes and party sequences are well-shot, adding a stylish touch, and elevated the film beyond its script’s limitations.

Music by Govind Vasantha follows a familiar template—while it complements the film’s mood, there are no memorable tracks that stand out. The background score does help in setting the comedic tone, but it lacks freshness.

Bromance had the potential to be a great comedy thriller but ends up being just an okay entertainer.

The humour is hit-or-miss, the writing could have been tighter, and some characters feel unnecessary. However, if you can sit through the uneven first half, the second half has enough fun moments to make it worth a watch.

For more reviews and OTT updates, check here.

In the Mood for Love: A Story I Keep Living, Even After It Ended

In the Mood for Love isn’t just a film—it’s a pain. We all have some memories that come and go, but never truly die. This film is a similar memory for me. But what makes In the Mood for Love so powerful? Why does it haunt us, even years after watching it?

This is my favourite movie ever, but I’ve never written a single line about it on any platform. Do you know why?

Because I can’t finish it.

Every time I try, it feels incomplete—like there’s always more to say.

I first got this movie from a friend on DVD when I was a teenager. I watched a few scenes, got bored, struggled to read the subtitles while keeping up with the visuals, and then—I did what every impatient teenager would do—I fast-forwarded through it, searching for any love making scenes. Couldn’t find a single one. Not even a lip-lock scene. I felt completely disappointed and never looked back.

I Didn’t Move On, I Moved In

Then came my first breakup.

I was 21, scrolling for movies to watch, and somehow, this one came back to me. This time, I was older. More patient. No longer obsessed with love making scenes. Started falling in love with stories—where films don’t just tell stories, they flow like an autumn stream.

In The Mood For Love Trailer

Things changed—like a slow poison. I kept consuming it. Every time I felt low, I watched In the Mood for Love. I cried. Slept. I woke up. And then I watched it again. Movies like In the Mood for Love, 3-Iron, Spring, Summer, Fall, Winter… and Spring taught me something—how to escape reality and live inside a fantasy. Because that’s what the heroes in these films do. They build their own world. Find happiness there. They live inside it.

I fell in love again.

But this time, when she stepped back, I didn’t fall. Instead, I found myself slipping deeper into the world of In the Mood for Love. Every year, I went back to her city. I imagined she was still there, waiting for me at the airport. Stayed in the same hotels. I sat at the same temples we once prayed in together. Travelled again and again, not for closure, not for her—but for the world I had built inside my mind.

And now, after all these years, I think it’s finally time to write about this movie.

But a warning—don’t jump into this movie straight away. If you haven’t seen The Lunchbox or Photograph, don’t even think about starting In the Mood for Love yet. It’s injurious to health if you’re not ready.

So this Valentine’s Day, start small. Watch Ritesh Batra’s The Lunchbox or Photograph. Or if you’re up for something different, go for Wong Kar-Wai’s Chungking Express.

And when you’re ready—when your heart has learned how to ache beautifully—then step into the world of In the Mood for Love.

And let it ruin you.

🔶 I. The Story: A Love That Could Have Been

1.1 Two Strangers, One Betrayal: A Love Story That Never Was

They met because of someone else’s betrayal.

Hong Kong, 1962. A cramped apartment complex where walls are thin, and your privacy is protected by that thin wall. Mr. Chow (Tony Leung) and Mrs. Chan (Maggie Cheung) live in adjacent rooms, separated by nothing but a corridor and the weight of silence.

Their partners are having an affair. A cruel coincidence.

But instead of confrontation, instead of screaming accusations or bitter revenge, Mr. Chow and Mrs. Chan do something else—they try to understand.

They meet at a restaurant, recreate conversations their spouses might have had.

They rehearse the affair like a scene from a play, they step into the shoes of their unfaithful partners, acting out heartbreak with careful, measured words.

I was genuinely shocked when I first watched it. What an approach. What’s the best way to empathize with someone? Step into their shoes.

It doesn’t just make you understand—it makes you calm. It doesn’t just soften the pain—it dissolves the grudge before it can consume you.

And maybe that’s the secret. Maybe that’s how we stop hurting. Not by fighting back, not by seeking closure—but by seeing through their eyes until we can finally let go.

And somewhere in the middle of all that pretending, they start to feel something real.

But they hold back. Because they don’t want to be like them—the ones who gave in too easily.

1.2 The Weight of Hold On: Why Don’t They Give In?

If you’ve ever wanted something so much it hurt, you’ll understand them.

Every glance between them feels like a confession, every pause between words feels like a decision not made. The way he lights a cigarette. Or the way she brushes her hair. The way they pretend they don’t want what they already know is there.

They meet in staircases, in dimly lit rooms, in spaces too small to breathe, but too vast to cross.

They never cross the line, but it’s not virtue—it’s fear.

Fear of becoming like their spouses.
A Fear of gossip.
Fear of what happens if they let go—because once you start, there’s no going back.

Mr. Chow once tells Mrs. Chan that when he was single, he was free to do anything. Now, his marriage defines his choices. Mrs. Chan wonders if she would have been happier alone.

They know what love could look like—but they are trapped in the lives they’ve already built.

And so, they hold back.

Not because they don’t love each other,
but because they don’t know how to love without consequence.

1.3 A Love Story Told in Missed Chances

Theirs is not a story of passion—it’s a story of hesitation.

She runs to his hotel room to say something—maybe everything—but she’s too late. He’s gone.

She secretly visits his apartment in Singapore, calls him—but says nothing.

And in the end, he walks past her home, never knowing she’s there.

Love doesn’t die in In the Mood for Love. It just never arrives on time.

🔶 II. The Language of the Film: Wong Kar-Wai’s Visual Poetry

If In the Mood for Love was just a love story, it would have been told in words. But words are too easy. This is where I recommend this movie to every film enthusiasts in the world. Learn the language of cinema with “In The Mood For Love”

Wong Kar-Wai tells it in glances, silences, colors, and reflections. He doesn’t just let you watch—he traps you inside it, making you feel what the characters feel. The longing. The hesitation. The unbearable restraint. Honestly speaking it’s like holding back an orgasm, you really want to burst out, you wish for that till the end, but won’t!!

This is not just storytelling.
This is visual poetry.

2.1 Watching Without Acting: Framing a Love That Stays Unspoken

Have you ever looked at someone through a half-open door? Caught a reflection in a mirror?
That’s how we watch Mr. Chow and Mrs. Chan—never directly, always from a distance.

Every shot is framed within a frame.

They are seen through doorways, through windows, in narrow corridors.
They are boxed in, not just by the camera—but by the world, by society, by their own fear.

And we, the audience, are left watching them the way they watch each other—wanting something to happen, knowing it never will.

Wong Kar-Wai doesn’t just show their restraint—he makes us feel it. This is what I love most, see how Nolan did in Memento, you will experience what Shelby is going through. Think about Denis Villeneuve’s Incendies, you will experience rather than watching and sympathising.

Mr. Chow and Mrs. Chan are trapped. Not by walls, but by rules, by expectations, by a world that won’t let them choose differently.

Their love is not hide and seek kisses or passionate hugs—
it’s a slow suffocation, a love held in place by invisible hands.

2.2 Costume: Speaking Without Words

Mrs. Chan wears 46 different cheongsams throughout the film. Each one is a second skin, telling us what she cannot say.

Mr. Chow is always in his suit—pressed, polished, pristine.
Mrs. Chan wears cheongsams so flawless, they look like armour.

They never break character.

Society expects them to be dignified, so they are.
They live in a world where gossip can ruin lives, where respectability is everything.

So they dress like people who have it all together—when inside, they are coming apart thread by thread.

They only allow themselves to grieve in secret corners, dimly lit hallways, shared silences over dinner.

Not even once does their dress wrinkle. Not even once does her hair fall out of place.

Every cheongsam is pristine, every strand of hair perfectly pinned, every suit pressed as if it was just taken out of the dry cleaner’s.

Because that dress… that dress isn’t just clothing. It’s distance.

The tight collar, the stiff fabric, the way it clings but never embraces—
It’s a reminder that no matter how close they stand, they are always apart.

It mirrors them perfectly—close enough to feel each other’s warmth, never close enough to touch.

It’s about the way a dress can hold a woman together when her heart is trying to break.

They aren’t just pretending for society.

They are pretending for themselves.

Some days, she blends into the red wallpaper, lost in the background.
Other days, she stands out like a flame, her red dress burning against the world that refuses to acknowledge her heartbreak.

2.3 The Colours of Pain and Loneliness

Red. Green. Blue. The colours of passion, longing, and restraint.

Because when the heart is in chaos, the only thing left to control is appearance. Wong Kar-Wai painted that appearance with colours—red for passion, green for longing, blue for restraint.

Anyone who watches only the frames of this film will fall in love, be hypnotized by its beauty.

But when you look deeper—when you stop admiring and start feeling the characters—you’ll realise that beneath the colours, beneath the elegance, there is only pain.

And once you see it, you can never unsee it.

Because the beauty of this film is unbearable pain masked with colours.

2.4 Slow Motion & Repetition: The Mechanics of Memory

Love doesn’t move fast in In the Mood for Love.
It lingers. Repeats again. It slows down.

Wong Kar-Wai uses repetition, just like memory does.

Have you ever noticed how painful memories never ask for permission? They arrive uninvited, poke at your heart when you least expect it, linger just long enough to make you cry, and then fade away—only to return again when you think you’ve moved on.

It’s a process. A loop.

One moment, you’re fine. The next, a song, a scent, a familiar street pulls you back into a past you thought you had left behind.

That’s exactly how In the Mood for Love unfolds—moments repeat, emotions replay, each time with a little more weight, a little more ache.

A slow-motion walk down the corridor.
A brush of the sleeve.
A glance that lasts a second too long.

The film doesn’t just tell a story—it makes you feel like you are remembering it.

Because that’s what love like this becomes. Not something lived, but something remembered.

🔶 III. The Cinematic Techniques That Make It Timeless

Memory isn’t linear.
Neither is this film.

Scenes fade in and out, shifting in time without warning, without explanation. One moment, they’re meeting in a quiet alley. The next, weeks—or maybe months—have passed, and everything has changed without us even realizing it.

There is no clear timeline. No obvious markers. Just moments, disconnected yet intertwined—exactly the way we remember things.

This isn’t an accident. Wong Kar-Wai never had a complete script.

But think about it—if our life were a movie, how would it look?

Probably boring. Slow. Uneventful.

In a year, most things wouldn’t change much. No grand confessions. Not any thrilling confrontations. No perfect happy endings wrapped up in a final act.

Because real life isn’t a tight screenplay with a beginning, middle, and end. It’s messy, unfinished, and full of pauses that last longer than they should.

And that’s exactly why In the Mood for Love feels so real—because it doesn’t play by the rules of cinema. It plays by the rules of life.

He didn’t direct a movie. He let it emerge.

That’s why watching In the Mood for Love feels less like witnessing a story and more like remembering a feeling you once had.

3.1 The Absence of the Spouses: Shadows Without Faces

You never see their spouses’ faces.
Not once.

You hear them. Sense them. You feel their presence.
But they are never shown—because they don’t matter.

What matters is how Mr. Chow and Mrs. Chan feel about them.

Their betrayal is a ghost, haunting every conversation, every hesitation, every missed opportunity.
But like all ghosts, it is intangible—a presence that shapes everything without ever being seen.

By keeping them faceless, Wong Kar-Wai ensures that the film isn’t about them.

It’s about the ones left behind.

3.2 The Role of Music: Love as an Echo

Some directors use music to support a film.
Wong Kar-Wai makes music the film itself.

Yumeji’s Theme plays again and again—a melody that drifts in, pulling you back into the same emotions, the same longing, the same sadness.

In the Mood For love: Original Sound Track

It doesn’t just set the mood.
It is the mood.

Like memory, it repeats, loops, reappears, each time carrying more weight, more unspoken pain.

Before you even understand what’s happening, you feel it.
That’s the power of Wong Kar-Wai’s music—it speaks before words do.

🔶 IV. The Ending: A Secret Buried in Stone

Love, when unspoken, doesn’t vanish. It doesn’t fade, it doesn’t die—it just finds new places to live.

That settles into the quiet spaces between your thoughts.
It becomes the lump in your throat when you hear a lyrics like I Love you 3000
And hides in the places you avoid, the streets you no longer walk, the cafe you can’t bring yourself to enter.

That’s why In the Mood for Love doesn’t end with a hug, or a goodbye, or even a glance exchanged across a crowded street.

It ends with a whisper.

A love so restrained, so contained, that it is never spoken aloud—not to the person it was meant for, not even to the wind pass by.

Instead, it is sealed inside an ancient ruin, lost to time.

4.1 The Angkor Wat Scene: Ending Explained

In the end, Mr. Chow travels to Cambodia, alone. He stands before the crumbling walls of Angkor Wat, an ancient temple where time has slowed, where the past still lingers like a faded memory.

Then he steps forward. He leans into a hollow in the stone.
And he whispers.

A secret.
A confession.
A love that will never be answered.

This isn’t just about letting go. It’s about preserving.

When you truly love someone, you preserve every memory—every moment, every touch, every object—like food sealed in a tin can, with no expiry date.

In an old legend, it’s said that people would whisper their deepest secrets into a tree, then seal it with mud—so that no one would ever hear, but the secret would always exist.

Mr. Chow does the same.

He doesn’t write a letter. Or doesn’t send a message. He doesn’t seek closure.

Instead, he buries his love where no one will ever find it—not even himself.

Because some things are too sacred to be spoken aloud.

And as we watch him walk away, we know—
He will carry it with him, always.

But he will never speak of it again.

🔶 V. In the Mood for Love: A Legacy

I keep travelling.

We all have places we return to—not because we expect to find someone waiting, but because they once held something we can’t let go of.

Every year, I find myself in another Southeast Asian city, in another ancient temple, standing before another Buddha, whispering secrets into the silence. Maybe it’s a habit. Maybe it’s my own version of what Mr. Chow did.

Every time my flight lands, my heart races. Maybe—just maybe—this time, I’ll see her again. Maybe she’ll be there, in that same cafe, where the sign on the wall reads:

From a restaurant at Nong Khai: {Once in a Lifetime You Be My Guest}

Like Mr. Chow whispering his love into an ancient ruin, we all have stories we keep alive—not in reality, but in memory. Not in words, but in the places we return to, hoping to feel what once was.

*Tony Leung Chiu-wai*, Maggie Cheung and Wong Kar-Wai

And so, I keep going back. I keep whispering into the void. I keep letting the past exist somewhere between memory and dream.

Because some love stories aren’t meant to be lived.

They’re meant to be remembered.

Get more movie updates and reviews via my instagram channel: I_Filmiholic