‘In the Mood for Love’ and ‘As Good As It Gets’ are my favourites from the post-Lunchbox era. This transformative journey commenced with a simple, unassuming film from 2013 directed by Ritesh Batra—‘The Lunchbox.’
The Lunchbox: A Lens into Realism
This movie is not just for a weekend entertainment; it offered me a fresh lens through which I could explore the nuanced, unspoken dialect of human connections.
The movie is set in the bustling life of Mumbai, home to the renowned dabbawalas and their near-perfect lunch delivery system. However, an unusual mix-up one day led a dabbawala to exchange lunchboxes, it became the link for an unexpected companionship between Saajan Fernandez and Ila.
As an accountant on the brink of retirement, Saajan’s character reflects every scene with an air of melancholy that resonates with anyone who has ever gone through loneliness once.
Saajan’s routine commute to work begins with a Mumbai urban bus ride, accompanied by a stop at his late wife’s grave before heading to his mundane accountant job.
On the other hand, we have Ila. Movie begins with Ila, a housewife who tries to get her husband’s attention by making tasty lunches for him. She thinks the way to a man’s heart is through his stomach. Her neighbor, Deshpande aunty, helps her out with recipes, joking that her husband will build her a Taj Mahal after tasting the food. Ila sends a lunchbox to her husband’s office using a dabbawala.
From Salty to Sweet: The Beginning
When fate humorously redirects Ila’s delicious lunchbox to Saajan, Saajan’s response to the first meal is precisely what you’d expect from a lonely accountant uncle – “Dear Ila, the food was very salty today.”
That’s all he has to say about the meal Ila put her heart into. However, this complaint marks the beginning of a unique bond between two lonely souls. Here begins the beautiful tale of ‘The Lunchbox’.
What follows is a series of letters exchanged between Saajan and Ila.
Saajan’s letters give a glimpse into his life and the changing world around him, like when he mentions,
“Life is very busy these days. There are too many people and everyone wants what the other has. Years ago you could find a place to sit on the train every now and then but these days it is difficult…When my wife died she got a horizontal burial plot. I tried to buy a burial plot for myself the other day and what they offered me was a vertical one. I spent my whole life standing in trains and buses and now I will have to stand even when I am dead.”
This newfound mode of communication allows them to open up in ways they hadn’t with anyone else before.
This is where I want to tell you, ‘The Lunchbox’ isn’t merely a story of romantic inklings; it’s just one layer of it.
Why The Lunchbox is More Than a Romantic Film
The Lunchbox is a film that explores a wide range of human emotions and relationships through its simple but powerful storytelling. It’s not just a love story between Ila and Saajan. It’s also a story about several characters who are searching for comfort and connection in their mundane loneliness.
Every character in ‘The Lunchbox’ has a touch of loneliness. Ila is trying hard to bring back the missing spark in her marriage; Saajan, a sad widower stuck in the same office job for over thirty-five years without even a friendly chat with his office neighbor; Aslam, the orphan seeking familial bonds; and the Deshpande couple, each lost in their own realm of silence. Even young Yashvi, Ila’s daughter, seems quiet and serious throughout the movie. Something not common for a child of her age.
Maybe this is the same reason, why I am obsessed with the characters of ‘Lootera’ and there Pakhi resonates with the same echo of solitude.
What Lies Beyond Romance in The Lunchbox?
There are multiple instances where The Lunchbox proves that it’s talking about human connections, a deep bond that’s formed between people when they feel seen and valued—not a curious attraction or mere romance.
One line from Saajan beautifully captures the underlying theme of his and Ila’s shared bonding: “I think we forget things if we have no one to tell them to.” This simple line tells us about the deep need we humans have for connection. It also shows how good it feels to find someone to share our everyday moments with, whether they’re boring or happy. Aslam, Deshpande Aunty, Saajan, and Ila are all looking for this kind of connection.
Just like Ila is searching for a new spice to rekindle her husband’s affection, each character is searching for something missing in their lives, and that missing piece is a bond to share!
In addition, look at the vegetable Ila chosen for her delicious dishes. Bitter Guard, Baby pumpkin aka Tinde & even Brinjal —could be a metaphor for their unconventional life choices, or maybe it seems like a gentle reflection of narrative’s core, where bitter experiences pave the path to the sweet essence of companionship, understanding, and perhaps a subtle hint of romance as well.
The Lunchbox is a film that celebrates the unity and diversity of the human connections. The characters in the film come from different shades of life though they are connected beautifully like a string of pearls.
Saajan’s poetic observation is a beautiful example of this. In a scene, Saajan explains his reflections on a painter’s works, “I felt like stopping to look at a painter’s works. All his paintings are exactly the same but when you look close, real close, you can see that they are different, each slightly different from the other…”
He sees himself in one of those paintings; he compares people to paintings, noting that they may all seem similar at first glance, but when you look closely, you can see the unique differences that make each individual special.
This is exactly what you are seeing in the film. In one angle, they all are same. But if you look close, you will see the differences.
Aslam is a Muslim, Saajan is a Christian, and Ila is a Hindu. Saajan writes in Queen’s English, I never heard someone referring to a ‘Brinjal’ as an ‘Aubergine’ and Ila replies in Hindi.
Deshpande Aunty and Ila share a deep emotional bond, even though they do not have a visual connection. This is because they are both able to sense and understand each other’s feelings.
Here communication goes beyond language, diversities, and limitations; it’s tapping into the essence of human connection.
The Lunchbox and its Painful Romance
In the romantic parts, Saajan’s sadness really hits you when he opens up to Ila, saying that he can only dream through her young hopes. He mentions, “No one buys yesterday’s lottery ticket.” This is a honest way to say that his own dreams are fading away.
But Saajan’s thank you to Ila is really heartwarming. He tells her, “You are young, you can dream. And for some time you let me into your dreams and I want to thank you for that.” You can really feel that he means it.
As the story moves on, Saajan sees that life still has more for him to experience. This part leaves you smiling with hope.
The movie gently encourages us to find the sweetness in the bitter, to look beyond the ordinary, and to appreciate the simple joys that life places in our everyday lives.
In doing so, The Lunchbox is not just a movie; it is a gentle nudge to appreciate the unspoken, the unexpressed, and the unnoticed nuances of human connections around us. In the beginning of the movie, we see Saajan’s neighbour, a young girl, closing the window on him, but by the end, that same little girl is waving at Saajan, and Saajan smiles back.
Reheating The Lunchbox: A Cliched Angle on the Ending
The ending of The Lunchbox really a debatable topic. The internet is full of explanations on climax interpretations. At first, I liked open endings but not recently, since, it confuses us.
Here are my two cents on The Lunchbox ending.
A part of me, maybe the pessimist Akhil, thinks that Ila might have given up and ended her life. When she took off her jewellery, it reminded me of the lady who jumped from the terrace to find peace (news in the movie).
Positive Akhil looks into Deshpande Aunty tells Ila that she was able to clean a running fan. Could this news have given Ila the courage to clear up her own life’s messes? Will the train bring Fernandez to Ila before she leaves? I hope so, deeply.
The Lunchbox tells the stories of people tied together by thin strings of chance: a dabbawala’s mistake, voices across the old walls of a worn building, a basket dropped from one window to another. A lonely man and his letters, a housewife and her delicacies… Through life’s unsure moments, they all found relief in a unexpected bonds, and in the midst of loneliness, sparks of connection showed up, warming the hearts stuck in life’s endless give and take.
The Lunchbox is an experience about the simple everyday interactions between people that make a difference. Experience it!
Since its OTT release, the Telugu movie Baby (2023) directed by Sai rajesh Neelam, has been the talk of the town. Viral reels and memes are flooding social media with taglines such as “it’s a message to the new generation” and “it’s the reality of our present generation.” But is this film really a mirror to contemporary relationships, or is it propagating outdated social norms and stereotypes? Let’s try a detailed analysis.
On the surface, Baby (2023) appears to be a love story, but is it really? It seems to perpetuate outdated notions from the 80s and 90s, where a woman’s character is judged based on her attire or lifestyle choices.
Remember how Neelambari was portrayed in the movie Padayappa? Or consider the characters of Vani Vishwanath in Malayalam cinema, and similar examples in the Telugu industry with second heroines in movies.
Just like them, Vaishnavi is subjected to a set of unfair expectations and judgements.
One of the alarming messages that Baby seems to deliver is that stalking is acceptable behaviour. Vaishnavi finds herself in a situation where she accidentally kisses Viraj. Though she realises her mistake and apologises, Viraj continues to stalk her, disregarding her repeated refusals.
Anand, on the other hand, is portrayed as a possessive lover. While he does make sacrifices for Vaishnavi, such as gifting her a phone, these actions are often more about him than about her. His possessiveness often overshadows other critical aspects of his life, like his relationship with his mother.
The film appears to be whitewashing the male characters while darkening Vaishnavi’s character to an extreme extent. But why?
The Psychology Behind Audience Reactions
The mass audience seems to empathise more with Viraj and Anand, while vilifying Vaishnavi. This bias might be rooted in traditional gender roles and social norms that unconsciously influence our judgement. Vaishnavi’s character challenges these norms or mindsets that our typical audience has, thereby eliciting a stronger negative reaction from the audience.
The film’s commercial success and viral scenes beg the question: why are people resonating with it? It’s not necessarily because the film portrays reality, but perhaps because it confirms existing biases and beliefs. This is where I believe directors and script writers should be more responsible and try to make some differences instead of following the masses.
The film taps into the general scepticism around modern relationships & choices, packaging it as the real story of this generation, when, in fact, it might be perpetuating harmful stereotypes and norms.
Why Do Mass Audiences Hate Vaishnavi, not Viraj?
In my opinion, Viraj is the real antagonist of the movie, and he is the real villain. Still, people hate Vaishnavi. Why?
Traditional Gender Roles and Expectations
In our culture, traditional gender roles often portray women as the moral compass in romantic relationships. They want every woman to be like Sita, but men can be Krishna or Rama, depending on the hero. If Pawan Kalyan does the same thing in Badri or Jr. NTR does the same thing in Brindavanam, it is considered to be mass or cute. But when Vaishnavi does it in Baby, it is considered to be cheating.
The story primarily revolves around Vaishnavi’s choices and their consequences, making her actions the driving force behind the emotional turmoil. This focus naturally makes her more of a target for audience scrutiny compared to Viraj, who appears more as a reaction to her choices than as an instigator. This is where I felt, the script writer could have done a better job instead of spreading more toxicity.
Viraj isn’t portrayed as a clear-cut villain. He’s attracted to Vaishnavi and pursues her, but it’s Vaishnavi who hides her relationship status, thereby enabling Viraj’s advances. He does make a problematic move by threatening to release their kissing video, but this comes after he feels deceived.
Social Norms and Masculine Privilege
Viraj’s actions may be viewed less critically due to societal norms that often excuse or overlook male indiscretions in romantic pursuits. As I said before, many superstars have already done this multiple times on reel & real, but people are ready to accept it.
Why is Baby a Blockbuster and Going Viral, irrespective of its theme and toxicity?
The Pull of Confirmation Bias
One reason for the film’s massive success could be attributed to confirmation bias, a psychological tendency to seek, interpret, and remember information that confirms our pre-existing beliefs. Baby (2023) seems to validate certain societal norms and judgements, making it appealing to a large audience that finds their beliefs reinforced. This is alarming, even in 2023, the majority believe in it.
Emotional Highs and Lows
From a cinematic standpoint, the film employs effective storytelling techniques that take the audience on an emotional rollercoaster. High arousal emotions, whether positive or negative, are more likely to be shared; this is known as the emotional contagion theory. Scenes that evoke strong emotions—like anger towards Vaishnavi or sympathy for Anand and Viraj—are more likely to go viral.
The Impact of Social Media Algorithms
Let’s not underestimate the power of algorithms in shaping public opinion. Content that triggers strong emotional responses gets shared and commented on more, which gives it higher visibility on social media platforms. This creates a feedback loop in which the more a scene or character is discussed, the more visibility it gains, leading to a self-perpetuating cycle of virality.
The Bystander Effect in Digital Spaces
The ease with which people can share their opinions online paradoxically creates a digital bystander effect. Many might disagree with the portrayals and messages in the film but assume that someone else will voice these concerns.Meanwhile, those who agree with the film’s messages are more likely to share and propagate its content, thus contributing to its blockbuster status.
Baby (2023) is entertaining for youngsters, but it also reinforces harmful stereotypes about women and men. Its popularity shows that filmmakers need to be responsible rather than merely echoing societal biases.
Mani Ratnam’s films are known for their layered storytelling. Ponniyin Selvan is no different, packed with scenes that become more meaningful with an understanding of Tamil history. Here I will share my interpretations and observations, which may help explain Ponniyin Selvan better.
The Entrance of the Enigma: Aditya Karikalan
Aditya Karikalan (Chiyaan Vikram), the character, is introduced in an intriguing manner, with his first appearance shrouded in fog. The moment he steps onto the battlefield, the fog clears, revealing a warrior prince carrying a heavy heart.
The misty backdrop is Mani Ratnam’s creative method to hint at Aditya’s obscure past. With this single shot, Maniratnam establishes that he is coming from a shady past, and we are not clear about his past.
We are hearing about his past through his conversations with Parthibendran and Kundavai in multiple instances.
As per the historical narratives and the novel, Aditya is stubborn, sticking to his decisions regardless of the circumstances. But no one really knows, who he really was, or what he was going through.
Shadowed Past and Victorious Present
Now, let’s pick another scene. After winning the Nolamba dynasty, Aditya explains his past and agony to Parthibendran. It’s all dark, and Aditya’s face is not clear; we are getting only one half, and if you look at the background, it’s misty again. I believe it’s symbolic of the shady past of Aditya Karikalan.
The deliberate symbolism points towards Aditya’s murky past. When the painful past is shared, and Aditya waves the flag, the frame transitions into sunlight.
This change implies the flag wave as a metaphorical act to ward off the clouded past. War, Rage, and Victory are his ways to clear off the painful and obscure past around him.
The choice of costumes for Aditya is noteworthy. He is always seen in black and red, contrasting with Arulmozhi, who wears pristine white. This difference in colour choices signifies the differing characters and histories of the two.
Parallels with Karnan from Mahabharatha
This is actually a wild theory. Thanks to Sandeep (Nanban 🙂 )
Aditya Karikalan’s portrayal has parallels with Karnan from Mahabharatha.
During Aditya’s triumphant moments, a sun glare can be seen in the backdrop. Ravi Varman (the cinematographer) brilliantly incorporated the sun glare as an aura around Aditya. Contrarily, when Aditya is depicted in a state of sadness, the sky appears cloudy, or he is shown in darkness. Even his death happened at night.
Aditya asks Nandini if it is hard for her to look at him. Then he waves off all the lamps and dies in the darkness.
In the Mahabharata, even Lord Krishna wept at Karna’s death because Karna was kind, loyal, and understood his dharma. However, he was cursed by Bhumi Devi for disrespecting her. It was just his luck or curse spoiled him. He was unlucky as much as Aditya.
Aditya was also cursed. Nandini asked him only one thing, to spare Pandiya’s life, but he ignored her plea. He disrespected her and hurt her. That was the sin he was carrying (metaphorically, Aditya says, “I consumed poison that day”).
A dying Karna asked Krishna to inform his mother Kunti of his death. He could have asked Krishna to give victory to Duryodhana and bring his armies back to life. However, he didn’t. He wanted his mother to proclaim publicly that he was her son and that he was not of low caste. He was looking for acceptance.
Aditya’s last words were a request for Nandhini to tell him that he still lives in her heart. He was looking for acceptance.
The epic beauty of the scene is the way Vanthiya Thevan carries Aditya’s dead body. The background is filled with smoke, just like when Aditya was first introduced in PS-1. It is a shady mystery, and we could never really understand Aditya, even his death remains a mystery.
The Dance of Victory: Devarattam
Devarattam, a traditional dance form, was performed by kings and warriors to celebrate victory, particularly in the Pandyan and Chola dynasties. During Vanthiyathevan’s visit to Kadambur in the movie, however, the dance depicted appears to align more with “Kecak” than Devarattam.
Some argue that Devarattam took inspiration from Kecak, but this theory doesn’t holds historical back. The Chola’s naval invasions in Southeast Asia, a possible channel for cultural exchange, started only in 1025, while Aditya Karikala and the Pandyas were active before 1000 CE. Additionally, Southeast Asian rulers like those from Srivijaya, who had close relations with the Pala Empire in Bengal, did not seem to have left any influence on the dance form.
The dance is based on the story of the Ramayana and is traditionally performed in temples and villages across Bali (Indonesia).
The Clash of Titans: Kundavai-Nandini Confrontation Scene
The Kundavai-Nandini faceoff scene is one of the most epic scenes in Ponniyin Selvan part -1. The rivalry between two women is on full display in this scene.
But I feel, many might have misread it. Here is my interpretation.
Background: Nandini has deep resentment towards Kundavai, blaming her for all her miseries. Nandini believes that it was Kundavai who got her expelled from the palace and constantly made her feel inferior due to her lineage. In a bid to gain power, Nandini manipulates Periya Pazhuvettayar and considers Madurantakan’s claim to the throne. She keeps Sundara Chola, Kundavai’s father, under house arrest, cutting him off from others for easy manipulation.
Learning about Nandini’s scheme from Vandiyathevan, Kundavai decides to confront her at the Tanjore palace. As the dramatic background music “Saayam Sanchare” (Evening- where Day and Night meets) fills the air, their coded conversation unfolds:
Nandini: “Upon your visit, Tanjore palace itself has become beautiful.”
Kundavai: “But I heard all the beauty in the world has been kept in the Tanjore palace.” (hinting at Nandini’s beauty)
Nandini: “Yes, beauty is held captive here indeed.” (referring to Sundara Chola being under house arrest, Sundara means ‘beautiful’)
Kundavai: “Captive? Does the golden beauty [Sundara Chola] not adorn the throne?“
Nandini: “Yes, it’s gold, old gold.” (referring to the king as old)
Kundavai: “Faded gold is the most precious.”
Nandini: “Even golden shackles are still shackles.” (indicating Sundara Chola is under her control, regardless of his position)
Kundavai: “The key to the shackles are in our hand anyway.” (asserting her ability to free Sundara Chola)
Nandini: “No one can defeat the princess (Kundavai) in an argument.”
Following this heated exchange, Kundavai smiles as the background score saayam sanchare intensifies. The combined genius of AR Rahman, Ravi Varman, and Mani Ratnam in this scene is simply beyond words.
Kundavi is envious of Nandini’s beauty; Nandini is jealous of Kundavi’s power; and throughout her life, Nandini feels inferior to Kundavi because of the power she holds. You will get all this from this scene, if you read it well.
Nandini: The Ever’green’ Queen
Pandiya’s Fish Eyed(Meenakshi) diety is green. Crafted from a single large emerald stone, the goddess is believed to be Vishnu’s sister, just as Nambi(Jayaram), a vaishnavite, is Nandini’s brother.
Echoes from the Past and Authentic Settings
There’s a scene where Vandhiyathevan ingeniously escapes from the Pazhuvettarayar guards, reminiscent of chase sequences from the movie ‘Thiruda Thiruda’. The elements that Vandhiyathevan disturbs in the crowd — from buttermilk to puffed rice — align perfectly with the setting of 10th century Thanjavur, enhancing the authenticity of the scene.
Mani Ratnam also adeptly portrays the flourishing trade relations of the time. The period from 900 to 1300 CE, termed the Early Age of Commerce in Southeast Asian history, saw burgeoning trade ties between China and South India.
In the film, the charioteer is usually depicted as a Chinese man when the scene is set in Lanka. The character’s inability to understand Tamil allows Arulmozhi to converse freely with his companions without worrying about eavesdropping. This detail cleverly illustrates the language and cultural barriers present in the historical trade relations.
Another historically accurate detail is Sundara Cholan’s acupuncture treatment, highlighting the influence of Chinese medical practices in the region during the time.
One of the most poignant scenes, overlooked by many in the first viewing, happens in Pazhayaarai. As Sendhan Amudhan reaches Trisha to deliver news about Vandhiya Thevan, he nods at Sembiyan Mahadevi, who responds in acknowledgment. This loaded interaction may go unnoticed if you’re unfamiliar with the book.
Sendhan Amudhan is actually Sembiyan Mahadevi’s son, while Madhurantakan is the son of Oomai Rani. Will explain in detail soon.
Sembiyan Mahadevi’s Pioneering Influence
What’s striking in the movie is Sembiyan Mahadevi sporting a pottu (bindi). A surprising element, considering the times depicted, this choice moves away from the traditional depiction of widows.
Sembiyan Mahadevi was the queen consort of the Chola Empire from 949 CE – 957 CE, wife of Gandaraditya Chola.
Following Gandaraditya’s death, Sembiyan Mahadevi, rather than committing sati or withdrawing to the Andapuram (the palace’s female quarters), chose a different path. She devoted herself to religious and social activism, becoming not only a revered dowager queen but also the matriarch of the Chola family for the next 50 years.
A pioneer in Kalpani (literally ‘stone-work’), Sembiyan Mahadevi initiated projects that transformed ancient brick and mortar temples into enduring granite structures. Her historical foresight led her to order the copying of ancient inscriptions before the reconstruction work. The temples and icons commissioned under her oversight bore a unique mark, and she donated jewels and bronzes to many temples, some built by her and others by her son, Uttama Chola( Madhurantakan).
Symbolism of Victory and Omen: The Red Lion Flag and the Comet
A symbolic scene depicts the triumph of Chola king Arul Mozhi Varman over Mahindan, the Sri Lankan king, as the waves on the coast of Lanka wash ashore the Lankan King’s red lion flag.
A powerful visual metaphor that conveys the complete and utter defeat of the Sri Lankan forces. The foamy waves that touch the Lankan shore symbolize the Chola army’s arrival on Sri Lankan soil, and their presence is a reminder that the Chola Empire is now the dominant power in the region.
In another instance, the scene where Nandhini and Pazhuvettayir order a convoy to capture Arulmozhi, you can spot a comet in the background. This comet reappears when the Pandiya’s are shown. The comet is a symbol of foreboding, hinting at a threat to the throne or signalling the imminent death of Aditya.
The Comet Scene in Ponniyin Selvan: A Symbol of Impending Doom
Scientifically, the comet seen in Ponniyin Selvan can’t be Halley’s comet as it passed by in 989 CE, by which time Rajaraja had already ascended the throne and Aditya was dead.
Historically, the appearance of a comet has often been interpreted as a sign of the impending death of a great person, usually a king. Notable examples include the comets associated with the deaths of Julius Caesar and King Harold. In 1910, when Halley’s Comet streaked across the sky, King Edward VII passed away. Around this time, Kalki (1899-1954) would have been around 11 years old and may have heard about the event.
In the context of the movie, the comet symbolizes the impending death of Aditya Karikalan. However, given Sundara Chola’s frail health, everyone interprets the comet as a prediction of his demise.
Sangam Poetry and Cinematic Genius: The Tale of Mandakini in Ponniyin Selvan
The meeting of Mandakini (Uma Rani), and Sundara Chola has a song playing in the background, it’s another example of Mani Ratnam’s brilliance.
It was so painful for me considering Mandakini’s fate. She doesn’t know she has children (will explain more on this soon); she considered Arulmozhi her son (considering it’s from her beloved one), and After years, she meets Sundara Chola again and lays down her life to save his.
Now if you try to understand more about that song, you will realise how painful it is to listen by watching Mandakini’s (Uma Rani’s) death.
This song is ‘Puranaanuru 242,’ one of the 400 songs from the ancient Tamil anthology (Sangam Poetry). AR Rahman adapted this song for the heartbreaking scene of Mandakini’s demise.
The original song was penned by Gudavai Keerathanar (was one of the poets of the Sangam period). Although he belonged to Gudavail, he visited many towns and made many friends. Perunjathan was one such friend from Ollaiyur. He was a chief Satthan (Chieftain) who was famous for his valorous deeds in battlefield.
The poet comes to the town of Ollaiyur and realises that his friend is no more. The whole town is mourning. There he composed this song out of great sadness.
In the poem, the poet questions the jasmine flower, asking why it still blooms after his death in Ollaiyur.
The lyrics go like this: “Young men don’t wear them. Women with bangles don’t pluck them. The whole town is sad because Satthan, the warrior, died. So, Jasmine, who are you blooming for? Why are you still blooming in vain?”
Nothing could better represent the tragic love and death of Mandakini. For what she lived for. It’s a painful question.
Love, Loss, and Forgotten Memories: Nandini’s Birth Secret
Sundara Chola and Mandakini were in a romantic relationship, but they were forced apart before Sundara Chola’s coronation. Overcome with heartbreak, Mandakini jumped off a lighthouse. However, Anirudha Bramarayan (was a leading minister in the court of the Sundara Chola) rescued her and sent her to Sri Lanka, while telling Sundara Chola that she had died. Meanwhile, Sundara Chola moved on, got married, and had children. His eldest son, Aditya Karikalan, was older than Nandini.
In Sri Lanka, Mandakini and Veera Pandian, both rescued by the boatman(Karuthiramaran) and with Mandakini having lost all her memories, spent a significant amount of time together. She got pregnant and decided to leave Sri Lanka, while Veera Pandian stayed back and lived with the Sri Lankan king.
On her return to Tanjore, Mandakini and her mute sister Vani encountered Sembian Mahadevi, who was also pregnant. They started living with her in the palace. Both women gave birth around the same time. Sembian Mahadevi’s son was stillborn, while Mandakini gave birth to twins and left them. Sembian Mahadevi adopted the male twin, Madhurantakan, and handed over the female twin, Nandini, to Azhwarkaddiyan’s (Nambi) parents. Vani was instructed to bury the supposedly dead infant, who, in reality, survived. She took the child, Sendhan Amudhan, and left.
Meanwhile, Veerapandiyan sent Karuthiruman (boatman played by Yog Japee) to relay a message to Mandakini, who was back in Kodi Karai under her father’s care. However, upon arrival, he found that Mandakini had suffered another accident, which had restored her memory.
She could not recognise Karuthiruman, which meant she had no recollection of what had transpired between her fall from the lighthouse and her recent accident.
Was Nandini ever in love with Aditya Karikalan?
Nandini, a creation of Kalki, is one of the most multifaceted characters you will encounter in “Ponniyin Selvan.” She is like a diamond. Not only is she stunningly beautiful, but she’s also incredibly intelligent. Her willpower and ingenuity make her a unique femme fatale in literature.
She has been described as treacherous, vicious, venomous, lethal, and dangerous. These aren’t misjudgments, as Nandini is truly the most formidable character in the novel.
Understanding Nandini takes some time because, much like a finely cut diamond, she has numerous aspects to her persona. The novel introduces us to her character well before we meet her. Kandan Maran speaks of Periya Pazhuvetarayar’s marriage to a younger woman, and teases him about his obsession with her. Later, Azhwarkadiyan shares a censored version of her life story, painting her as a sisterly figure and stoking our sympathy for her as a young woman forced to marry an older man.
We first meet Nandini through the eyes of Vandiya Devan, entranced by her beauty, as she peeks out from the curtains of a veiled palanquin to investigate the disturbance in her path.
Aditya Karikalan’s frank confession to Parthibendran uncovers more about Nandini’s history. It seems that Nandini mastered her unique brand of seduction with Aditya Karikalan. But was it love, or was it a longing for the power she would gain if she were to marry the Crown Prince? It’s hard to say for sure.
What we do know is that the deep-seated jealousy between Kundavai and Nandini originated from their childhood. Nandini coveted Kundavai’s status and influence as the Princess, while Kundavai envied Nandini’s beauty.
Nandini’s obsession with power drove her, I believe, and her confession to Aditya in the end holds some truth, in my opinion
In Iruvar, Aishwarya played a character similar to Jayalalitha. There are striking similarities in their ruthlessness.
It’s as if Mani Ratnam saw reflections of Nandini in Jayalalitha and vice versa. Like Nandhini in Jayalalitha or a Jayalalitha in Nandhini. But both are versions of Lady Macbeth considering their character shades.
That can be a reason why he picked Aishwarya for this role.
A scene in “Iruvar” where Kalpana (Aishwarya Rai) sows seeds of doubt in Anandan’s (Mohan Lal) mind is particularly reminiscent of Nandini’s manipulations.
She asked Anandan, “Who is bigger? An actor or a CM? Don’t you to wish to be the CM?“
Anandan thought about her question. He had never considered himself to be a competent to his friend Tamizhselvan. But Kalpana’s words made him wonder if he could be.
Fast forward 25 years, and the same Aishwarya Rai masterfully brings Nandini to life on screen with the same shades of Kalpana. Kalpana’s words were similar to what Nandhini had said to Pazhuvettarayar. Nandhini had charmed the elderly Pazhuvettarayar and planted the seeds of desire in him.
She had told him that Madurantakan should claim the throne, by that the power will always lies in Pazhuvettarayar.
But Nandhini had failed in her attempts unlike Kalpana.
Before I talk about the movie Siya, let me share some horrible incidents with you.
Case – 1
On September 14, 2020, a case was registered at the Hathras police station in Uttar Pradesh, India, under number 194/2020. The victim was a 19-year-old Dalit woman who was gang-raped and brutally assaulted by four men from an influential family.
The four accused men dragged the victim into a field and gang-raped her. They also tried to strangle her to death. The victim was found lying unconscious in the field by some villagers. She was rushed to a hospital in Hathras.
The police were able to record the victim’s statement on September 22(After the protest). She died on September 29, 2020.
On the night of September 29, at around 2:30 am, the victim was cremated by the Uttar Pradesh Police without the consent or knowledge of the victim’s family. Petrol was used for the cremation.
When the news initially broke through social media, the Agra Police, Hathras District Magistrate, and UP’s Information & Public Relations department dismissed it as “fake news.”
A video surfaced in which the Hathras District Magistrate can be seen pressuring the family to alter their statement. He was heard saying, “Don’t ruin your credibility. These media people will leave in a couple of days. Half have already left, the rest will leave in 2-3 days. We are the ones standing with you. Now it depends on you if you want to keep changing your testimony…”
Inhumane Actions For Defence
On October 2, the head of BJP’s IT cell, Amit Malviya, tweeted a video of the 19-year-old victim, revealing her face, allegedly violating Section 228A of the Indian Penal Code.
On October 4, Rajveer Singh Pehelwan, a former MLA of the Bharatiya Janata Party (BJP), organized a rally in support of the accused. The rally garnered hundreds of attendees, including family members of the four accused.
A BJP leader, Ranjeet Srivastava, claimed the accused were not guilty of the crime. He further questioned, “Such girls are found dead only in specific places. They are discovered in sugarcane, corn, and millet fields, or in bushes, gutters, or forests. Why are they never found dead in paddy or wheat fields?“
Another statement that drew fierce criticism came from BJP MLA Surendra Nath Singh, who suggested that “Sanskar should be instilled in girls to prevent incidents of rape.“
Reports from The Wire and other sources indicated that the Uttar Pradesh government engaged Concept PR, a Mumbai-based public relations firm. Allegedly, the PR firm released press statements on behalf of the government, asserting that the Hathras teenager was not raped.
The Hathras police arrested the four accused—Sandeep, Ramu, Lavkush, and Ravi—on charges of attempted murder and gang rape.
On March 2, 2023, the Hathras district court acquitted three of the four accused—Ramu, Luvkush, and Ravi. The fourth accused, Sandeep, was convicted of culpable homicide not amounting to murder (IPC Section 304) and offenses under the SC/ST Act. However, he was not found guilty of rape and murder, receiving a life imprisonment sentence along with a fine of ₹50,000.
The State government, led by Yogi Adityanath, and the district administration announced a compensation of ₹2.5 million (US$31,000) for the victim’s family. Additionally, they offered a junior assistant job to a family member. Furthermore, the family will be allocated a house in Hathras under the State Urban Development Agency (SUDA) scheme.
Case – 2
This is infamous 2017 Unnao Rape Case.
The 2017 Unnao rape case involved the gang rape and assault of a 17-year-old girl in Unnao, Uttar Pradesh, India. The incident occurred on June 4, 2017.
According to the victim’s statement, she was enticed by a woman named Shashi Singh, along with her son, Shubham Singh, and daughter, Nidhi Singh, to relocate to Kanpur with promises of securing a job.
On the night of June 11, 2017, she accompanied Shubham Singh and allegedly endured multiple instances of rape by him and his driver, Awdhesh Tiwari.
On June 21, 2017, 17 days later, the victim was found in a village in Auraiya district, Uttar Pradesh. She received medical treatment for her injuries at a hospital in Lucknow.
The police recorded her statement on June 22, but prevented her from identifying one of her assailants BJP MLA Kuldeep Singh Sengar.
Apr 3, 2018: Rape survivor’s father is beaten up by MLA’s brother and his goons.
Though both sides lodge complaints against each other, the police choose to arrest only her father and he is sent to judicial custody. Her father dies in police custody. The post-mortem report lists the cause of death to be “blood poisoning due to perforation of colon”. It also lists multiple injuries on his body.
Prior to his death, he accused Atul, the brother of Sengar, of leading the assault. However, no action was taken in response to this complaint at the time.
On April 8, 2018, the victim attempted self-immolation at the residence of Yogi Adityanath, the Chief Minister of Uttar Pradesh.
April 11, 2018: The victim and her family are confined to a hotel room on the pretext of protection, without water or electricity.
April 12, 2018: Sengar, Atul Singh and their accomplices are arrested by the CBI.
April 14, 2018: The CBI makes a second arrest in the Unnao rape case . It takes into custody the woman who allegedly took the girl to Sengar on the day of the crime.
July 2, 2018: The uncle of the victim is convicted in a 19-year-old case of attempt to murder that had been filed by Atul Singh. He is sentenced to 10 years in prison by a district court.
July 28, 2018: A Rae Bareli truck-car collision leaves the girl and her lawyer critically injured. Two of the victim’s aunts are killed in the accident. The victim, who is battling for her life in a hospital in Lucknow with multiple fractures, head and chest injuries, and her lawyer are on ventilator support.
On December 16, 2019, Sengar was found guilty of rape and sentenced to life imprisonment. His associates were also convicted and received varying prison terms.
Azadi ka Amrit Mahotsav
As we celebrate Azadi ka Amrit Mahotsav, marking 75 years of our independence, we find ourselves questioning the very essence of our freedom. Has it truly manifested? Can we truly call ourselves free when there is an evident shift of power from one oppressive regime to another? Britishers may have left us, but did they leave a vacuum only to be filled by illiterate criminals?
Who should we blame for this?
The responsibility, I believe, falls upon each one of us. We, the citizens of India, who possess the right to vote, have the right to choose who shall represent us and who shall guide us.
There’s a saying, “Politicians are like diapers; we should change them frequently, otherwise it stinks.” Well, power tends to corrupt, and absolute power corrupts absolutely. A truth that most of us have learned through life experiences, but do we act upon it?
Politics in our country seems to have become a playground for the criminals and oligarchs. Once an individual assumes a political position, they cling to power like a leech for their entire life.
South-North-West all same
States like Tamil Nadu, Telangana, West Bengal, Bihar and Karnataka all reflect the same issue:
Look at Tamil Nadu; one family has been ruling the state for years. Go to Telangana; one person is ruling the state like there is no alternative. Look at Karnataka; it’s either Siddharamaiyya or Yedyurappa. On the national level, we have dynasty politics, or ultra-right-wing politics.
Our collectivist culture, our admiration of heroism—it’s not wrong! But when it transforms into blind admiration and political slavery, we must recognise and correct it.
If you are a communist, no matter what, you try to defend the party. You want that party to be in power, no matter how corrupt or fascist they are.
If you are a BJP supporter, you don’t care who your CM is or what they do. You just want to see the saffron flag waving.
It’s not about the party we support or the colour of the flag we want to see waving. It’s about who represents us and shapes our future.
Remember the atrocities that have been committed under these ultimatums of power? The VYAPAM scandal (Over 40 deaths, still a mystery) or the Balrampur gang rape—the list goes on.
Just like in our Telugu movies, where the common man bows down to the hero, the “devudu”, we too find ourselves bowing to these politicians and bureaucrats, suffering their injustices.
Siya – Untold story of 1000s of girls
Siya is Manish Mundra’s directorial debut, starring Pooja Pandey and Vineet Kumar Singh.
I am happy that I choose Siya over Adipurush today.
I believe Adhipurush is the past, and Siya is about my present and future.
Siya, a 17-year-old rape survivor, is being held captive and repeatedly abused by a group of powerful men. She had two options: “endure in silence” or “fight injustice bravely.” She chose the second option.
Siya decides to go against all odds and fight for justice. The film talks about how the police and politicians using their power to suppress the truth and oppress the oppressed.
Pooja Pandey, the lead character, beautifully plays her part as a simple, obedient, yet courageous woman. She doesn’t transform into a fiery fighter instantly; the character’s progression is remarkable.
Vineet Kumar Singh stands out as a modest lawyer who handles notary work and refuses to be intimidated by the police, providing strong support to Siya.
Have you ever wondered how scriptwriters create characters? Do they start from scratch? What lenses do scriptwriters use when they watch movies? Here, we will do a mini-script analysis to understand this better. To do this, we will look at the theme (events), characters, and the plot. I will focus on the characters and events more.
For the purpose, we are choosing Thief, a 1981 American neo-noir heist action thriller film directed and written by Michael Mann. The film is loosely based on The Home Invaders by Frank Hohimer.
Thief (1981) A Brief Summary
In this 1981 film, Thief, Frank is a jewel thief of unparalleled skill. He manages to keep his past hidden behind the façade of a successful businessman. He has two thriving businesses and a seemingly peaceful life, but is it all as serene as it appears?
Frank thinks he has everything figured out. But there is one thing missing from his life: a family. When he starts dating Jessie, a cashier, the missing piece seems to be falling into place.
But then, everything changes. Frank is double-crossed during one last job, a diamond heist. His fencer, Joe Gags, is brutally killed, and his share of the loot is stolen. He is betrayed by Leo, a mob boss who has been watching his every move.
From a thrilling diamond heist gone wrong, to a dangerous game of cat-and-mouse with vengeance, and an unexpected twist in his personal life, Frank’s world spirals into chaos. His trusted friend is murdered, his family is threatened, and everything he’s worked for is on the brink of ruin.
But Frank is not going down without a fight. A man with nothing to lose is the most dangerous kind. Armed with determination, a burning desire for revenge, and a whole lot of explosives, Frank is ready to burn his past to the ground and settle the score. He’s done playing by the rules. It’s time for the master thief to step out of the shadows.
A Perfect Script & A Well Written Character
Let’s analyse the script and try to understand how the screenwriter Michael Mann might have developed it. What might have been his thought process when he started developing the script about Frank?
Frank is a complex character. He is a skilled thief with a hardened exterior, but he also has a desire for a simple, “normal” life. This desire for normalcy comes from his need for stability, which is likely a reaction to his tumultuous past and ongoing criminal activities.
He shows signs of trauma and post-traumatic stress disorder (PTSD) due to his past experiences in prison. He is hyper-vigilant, has recurring bouts of anger, and struggles with emotional intimacy. These experiences have also made him resilient and resourceful, but they have also made it difficult for him to trust others and let go of control.
Frank is an introverted individual who has adapted to survive in a world that demands extroversion. He is guarded, self-reliant, and meticulous in his work. He prefers solitude or the company of a select few. This could be a coping mechanism to manage his PTSD symptoms and control his environment.
Throughout the story, Frank goes on a journey of self-discovery and self-reconciliation. He is forced to confront his “shadow” (the hidden, darker aspects of his personality) and integrate it with his “persona” (the mask he presents to the world). This is a key part of his character arc.
Three Acts & Three Psychological Approaches
ACT ONE: Dissonance and Identity Crisis
In the first act, Frank aspires to live a normal life, indicating a clear cognitive dissonance between his personal identity and his occupational identity as a thief. This internal conflict plays a crucial role in driving the narrative and establishing the emotional tension in the film. This dissonance is a key driving force for the narrative and sets up the emotional tension.
ACT TWO: Confrontation and Growth
In the second act of Thief, Frank’s inner conflict becomes too much to bear. After Leo betrays him, Frank’s dreams of a normal life are shattered. He is forced to face the reality of his criminal lifestyle.
Frank realises that he can’t have both. He can’t be a thief and have a normal life. This realisation is a turning point for Frank. It leads him to change his behaviour and attitude.
This confrontation can be related to thepsychoanalytic concept of ‘insight’. Frank’s confrontation with reality is a powerful moment of self-awareness. It propels him into the third act of the story.
Act Three: Resolution and Reconciliation
In the third act, Frank undergoes a transformation. He wants to escape his criminal past, so he embraces his “shadow” – the part of his personality that he had previously tried to suppress or deny. In Jungian psychology, confronting and accepting one’s shadow is a crucial step in achieving self-integration. Frank’s decision to quit his life of crime marks his journey towards reconciling his conflicting identities.
Frank’s narrative, from conflict through confrontation to resolution, mirrors a psychological journey that many individuals undertake when they confront uncomfortable truths about themselves.
In Thief, this journey is not only an exploration of Frank’s character but also a wider commentary on identity, morality, and the potential for personal change.
Why A Must Watch?
Thief is one of the best “One Last Job” or “Double Life Rom-Com” movies I have ever seen. The scriptwriter did an excellent job of developing the characters, and I highly recommend this movie to anyone who loves to write.
Have you ever witnessed a crime that changed your life forever? Imagine finding yourself trapped in a deadly game of cat and mouse, pursued by ruthless criminals. What would you do to survive? The South African action thriller Hunting Emma directed by Byron Davis is about such an incident.
A Teacher, A Drug Lord , A Crime & A Past
Emma le Roux, a pacifist kindergarten teacher, starts a trip to visit her father in the Karoo region. However, her journey takes a dark turn when she becomes an inadvertent witness to a horrifying crime. Suddenly, Emma finds herself in grave danger, caught between the criminals and her own will to survive.
A drug syndicate, led by the menacing Bosman (Neels van Jaarsveld), is attempting to transport a cache of drugs along the road. The group, consisting of his henchmen Baz and Jay, as well as AJ and Boela, two rich boys seeking notoriety, and Bosman’s nervous cousin Piet, crosses paths with Emma.
As the criminals close in on her, Emma’s peaceful nature gives way to a fierce determination. She taps into the skills her ex-Special Forces Commando father instilled in her during years of training. Emma transforms from a pacifist into a force to be reckoned with, willing to do whatever it takes to survive.
Get ready for a deadly game of cat and mouse.
Leandie du Randt: Woman On Fire
Despite a small budget and lesser-known actors, Hunting Emma strikes gold with its performances. Leandie du Randt, in the lead role of Emma, delivers an intensely believable performance.
There is nothing new about the plot: A History of Violence, No Country for Old Men, Nobody, Man on Fire, Taken, Equaliser, Maria (2019), and Man from Nowhere—all these films use the same template. Even the recent Indian films Vikram and Kaithi follow the same structure.
They feature a compelling character with a unique set of skills who is often brought out of retirement or their peaceful existence to confront some form of injustice.
They follow a familiar formula: a protagonist with a past, a catalyst for action (often an injustice suffered by the protagonist or their loved ones), and a subsequent series of escalating confrontations culminating in a cathartic resolution.
The repetitive use of this formula doesn’t lessen its appeal. That’s the beauty of this template. Why?
Psychology Behind This Template
Here, the heroes are not one-dimensional; they carry emotional baggage, past regrets, and personal demons, just like real people do. Watching them confront and overcome their past as they struggle against the external threat can be very satisfying for audiences.
Catharsis: In modern psychology, this has been associated with the idea of emotional release and the benefit of expressing emotions. The intense situations and violent encounters in these films can provide a form of vicarious catharsis for audiences, offering a sense of relief or even exhilaration.
From the perspective of a scriptwriter, these patterns serve both practical and artistic purposes. On the practical side, they provide a structure that guides the progression of the narrative, helps maintain tension and pace, and keeps audiences engaged.
On the artistic side, these patterns allow writers to explore different facets of a character’s personality, their moral and ethical boundaries, and how they evolve over the course of the narrative.
Script writer Deon Meyer did an excellent job considering this aspect.
Why Hunting Emma is a Must Watch!
So, Hunting Emma got a tick for all the above reasons, and I highly recommend it for you.
Hunting Emma is a unique blend of intense action, suspense, and character development.
The film takes us on a thrilling ride through the South African wilderness, showcasing both the beauty of the landscape and the depths of human determination. Great work from cinematographer William Collinson.
If you’re tired of the same old Hollywood blockbusters and you’re open to trying something new, then this South African Thriller might be the breath of fresh air you need.
So, are you ready to try a thriller from the other side of the world? Are you going to give Hunting Emma a watch? Let me know in the comments!
Master of Realism: Immersing Viewers in Jithin’s Worlds
The world of cinema is often filled with spectacle and extravagance. Yet, Jithin Issac Thomas shines as a filmmaker committed to realism. He crafts narratives with a raw authenticity that sets him apart. His movies break away from common film industry cliches, and instead, paint real-world stories and characters.
Look at his latest film “Rekha,“(Read Rekha review here) a movie set in the small town of Kasaragod. It’s a perfect example of how much he cares about staying true to life. Every little detail in the film, like the way people talk and the unique habits of the characters, shows just how much attention he pays to getting it right. He’s not just focused on making things look real, but also on telling stories that feel genuine.
What’s really special about Jithin Issac’s movies is how he pulls you right into the world he creates. You’re not just a passive viewer when you watch “Rekha.” Instead, you become a part of it all.
You feel like you’re actually walking the lonely streets of Kasaragod, experiencing the village’s simple charm, eavesdropping on friendly conversations, and getting a glimpse into Rekha’s life. It’s an extraordinary cinematic experience that anyone can enjoy, no matter who they are.
Jithin’s films go beyond simple storytelling; they establish a genuine connection of empathy between the viewer and the story. Try watching Rekha or Attention Please.
Jithin Issac Thomas: Breaking Stereotypes and Shaking Up Norms
Jithin Issac Thomas is not afraid to challenge societal norms and break stereotypes through his bold storytelling. His films tackle unconventional subjects and explore themes that many filmmakers shy away from. By doing so, he pushes the boundaries of cinema and opens up discussions on important social issues.
In Rekha, he used a subtle method to do this. But In “Attention Please,” he is louder about this.
Jithin is dissecting the sensitive topic of caste discrimination. The protagonist, Hari, played by Vishnu Govindan, is an aspiring screenwriter who faces ridicule and dismissal due to his caste and complexion. Jithin fearlessly exposes the deep-rooted prejudices that exist in our society, forcing the audience to confront uncomfortable truths.
It’s Jithin Issac Film, Expect Turns!
This commitment to breaking stereotypes extends beyond social themes. Jithin’s films take unexpected turns and subvert conventional storytelling norms. He keeps the audience on their toes, constantly questioning what will happen next.
In “Rekha,” what initially appears to be a simple love story takes a sharp turn towards an intense revenge thriller. This unpredictability challenges the audience’s expectations and leaves them in a state of surprise and contemplation.
In Rekha , he is trying to challenge that “I am Man!!” pride set by the conservative society with “I am a woman” pride.
By breaking stereotypes and shaking up norms, Jithin Issac Thomas encourages viewers to reflect on their own biases and preconceived notions. His films have the power to ignite conversations and spark change in society. They serve as a reminder that cinema has the potential to be a platform for social commentary and introspection.
Jithin Issac films serve as a catalyst for change and inspire audiences to think critically about the world around them.
A Voice for the Voiceless: Speaking Up Through Cinema
Jithin Issac Thomas has carved a niche for himself as a filmmaker who amplifies the voices of the marginalized and overlooked. Through his cinematic endeavors, he serves as a catalyst for change and raises awareness about pressing social issues.
Jithin’s commitment to giving a voice to the voiceless is evident in his films, which tackle a wide range of subjects with sensitivity and empathy.
Addressing Social Injustices
Jithin Issac Thomas’ films don’t just entertain; they speak. They talk about the folks we tend to forget or ignore. It’s like he hands them a microphone and says, “Here, tell your story.”
In his film “Attention Please,” he fearlessly shines a spotlight on caste discrimination. The character of Hari, an aspiring screenwriter from a Dalit background, faces ridicule and discrimination from his flatmates. Jithin’s portrayal of Hari’s struggles not only exposes the deep-rooted prejudices prevalent in society but also challenges the audience to reflect on their own biases.
Another film that showcases Jithin’s dedication to addressing social issues is the anthology “Freedom Fight,” in which he directs the segment titled ‘Pra. Thoo. Mu.’
This narrative explores the themes of rebellion and resistance, encouraging viewers to question oppressive systems and stand up for justice.
Jithin’s storytelling compels the audience to confront uncomfortable realities and motivates them to take action against societal inequalities.
Amplifying Women’s Voices
In the film “Rekha,” the titular character takes center stage as a tomboyish woman who confronts an act of injustice and embarks on a path of revenge. Through Rekha’s journey, Jithin challenges gender stereotypes and highlights the strength and resilience of women in the face of adversity.
Through Rekha, Jithin gives a voice to these women. He tells us that ego, revenge, pride, all these are not just a “Man thing”. It’s challenging “I am Man!!” pride with “I am a woman” pride.
In interviews, he emphasizes the need for more representation and equal opportunities for women in the film industry. By shedding light on their stories and perspectives, he aims to create a more inclusive and equitable cinematic landscape.
Jithin doesn’t just make films. He makes statements. And those statements speak for the people who need to be heard.
The Art of Uncomfortable Conversations
In his own words, he creates “not to please or appease an audience, but to make them think, to make them uncomfortable.” This audacious approach sets him apart from many filmmakers of his generation and makes his films unique and thought-provoking.
I believe, Jithin’s ultimate goal as a filmmaker is to inspire social change and create a more inclusive and empathetic society. Through his films, he seeks to spark conversations, challenge societal norms, and encourage viewers to reevaluate their perspectives.
In an industry often driven by commercial considerations, Jithin remains unwavering in his commitment to meaningful storytelling.