Janani K

The early 90s were testing times for Sri Lankans. For those who grew up listening to the gut-wrenching stories of torture and killings amid a civil war. Any story that’s centred on Sri Lanka will always hold high emotional intensity. When a filmmaker crafts a story based on Sri Lanka, political correctness aside, the film should encapsulate the trials and tribulations that the people went through. ‘Freedom’ is one such film which is inspired by true events, which have ample scope to move you, shock you and enthral you. But, did the film manage to make the desired impact? Let’s find out! In 1991, many Sri Lankan refugees sought shelter in Tamil Nadu and were put in camps all across the state. However, when former Prime Minister Rajiv Gandhi was assassinated, these refugees became suspects to the police. The police took some of the men and women into the camps for investigation and held them captive at the Vellore Fort. They chose Vellore Fort because of the high walls and trenches surrounding the old fort.

Gone are the days when feel-good romantic entertainers filled theatres every week. And even when they do, most of them tend to feel flavourless, prompting us to revisit old classics from the ’90s and 2000s. When the trailer of ‘Oho Enthan Baby’ was released, it gave the vibe of a vibrant love story that speaks about the relationship troubles of today. Has ‘Oho Enthan Baby’ struck the right chord with the audience? Let’s find out! Ashwin (Rudra), a struggling assistant director, gets the opportunity to narrate his stories to actor Vishnu Vishal (as himself). He is accompanied by his manager, King (Redin Kingsley), who is a sounding board that tells only the truth. Vishnu rejects the first two ideas and asks him to narrate a love story as he hasn’t done one in his career. Ashwin hesitates at first, and then narrates a coming-of-age love story that has an abrupt ending.

Prime Video’s latest offering, ‘Uppu Kappurambu’, revolves around an interesting premise, albeit set in a fictional village. A quirky comedy, the Ani IV Sasi-directed film is a clever social commentary on dignity in death and how people are now easily divided over communal differences. Has ‘Uppu Kappurambu’ hit the right notes? Let’s find out! Chitti Jaya Puram, a fictional village, is full of zany characters who follow age-old practices that reek of ignorance, patriarchy and what not. Apoorva (Keerthy Suresh) becomes the village head following the death of her father, who died on duty. But, Apoorva’s father fully prepares her to take on duties and calls it the easiest job ever. One day, the village’s graveyard caretaker, Chinna, approaches Apoorva with a real problem. The graveyard is now short of space, and she is stuck figuring out a solution. Meanwhile, there are influential people in the village, Bheemayya (Babu Mohan) and Madhubabu (Shatru), who want to bring down Apoorva because they do not want to be under a woman’s leadership. How does Apoorva deal with these patriarchs amid a brewing cultural problem that forms the crux of the story?

For a middle-class family, owning a house is a distant dream – one that not many can afford. For some, this dream is their sole identity. For others, it is a mark of respect. But how long must a middle-class family of four toil to own a 3BHK flat in a high-rise building, especially when life keeps throwing curveballs their way? That’s exactly what director Sri Ganesh’s ‘3BHK’ explores. Vasudevan (Sarathkumar) is the sole breadwinner of a middle-class family of four. He and his wife Shanthi (Devayani), along with their son Prabhu (Siddharth) and daughter Aarthy (Meetha Raghunath), move from one rented house to another as he continues to save for a home of their own, because for Vasudevan, house = respect. ‘3BHK’ chronicles several decades of Vasudevan and his family’s life and their struggle to fulfil their dream. Every time they get inch closer to it, life intervenes – where needs become more important than wants. Vasudevan invests in Prabhu’s education, so he can share his dream and the burden of saving money with him. But, Prabhu, like Vasudevan, is fighting his own battle – one that drains him physically and mentally. When will Vasudevan’s dream come true?

What does an eight-year-old want? His parents, who enroll him in a prestigious elite school, give him access to everything. He has access to a computer, Zomato/Swiggy, expensive waveboards, all materialistic things, and has enrolled him in all classes and extracurricular activities. Yet, the eight-year-old is not happy and craving something that is beyond his and his parents’ understanding. What more can the parents do? This is what Ram’s ‘Paranthu Po’ is all about. Gokul (Mirchi Shiva) and Glory (Grace Antony) lead a hustling life, bound by countless EMIs and their dream of giving ‘everything’ to their fussy son, Anbu (Mithul). Gokul is a man who is struggling to set up a shop, while Glory owns a saree shop to sustain their life. When they are at work, Anbu, who is on his half-yearly holiday, is locked up inside his home and forced to take part in the classes his parents have enrolled him in.

When Indian cinema is dominated by action dramas with a newfound love for extreme violence and gore, there’s always something soothing about heartwarming dramas. Be it a simple love story or a family drama or a comedy drama, they remind you of the good old times. Director Shanmuga Priyan’s ‘Love Marriage’, a remake of the Telugu film, ‘Ashoka Vanmulo Arjuna Kalyanam’, has all the elements to be that cutesy film that will leave a smile on your face. Did it succeed in its mission? Let’s find out! Ramachandran (Vikram Prabhu) is a 33-year-old bachelor who is waiting to get married. A thorough gentleman, the only progressive man in a family of regressive people, goes through arranged marriage. He, along with his family and extended family, travels to a different town to meet a potential bride, which is followed by his engagement. One meeting is all it takes for Ram to get engaged to Ambika (Sushmitha Bhat) old-school style.

Music director-turned-actor Vijay Antony has a knack for picking interesting stories. However, his choices in the last few years have been questionable. The actor now returns with ‘Maargan’, a crime thriller about a serial killer. Will ‘Maargan’ provide a much-needed respite to Vijay Antony from a string of underwhelming films? Let’s find out! Dhruv (Vijay Antony), ADGP in Mumbai, is grieving the loss of his daughter, who was murdered by a serial killer. He is notified of another similar murder in Chennai. One connection between both cases is that the killer seems to have injected a drug which blackens one’s body. Dhruv expresses interest in transferring to Chennai to investigate the murder. However, his superiors don’t let him as he is recovering from the loss of his daughter. His left side is blackened after he gets injected with the drug while trying to nab the killer.

Tamil director Nelson Venkatesan has been in the industry since 2016. Nearly a decade in Kollywood, the filmmaker is just three films old, and all three films have made noise for their themes and filmmaking style. After the underrated ‘Farhana, he returns with his fourth offering, ‘DNA’, starring Atharvaa and Nimisha Sajayan. Anand (Atharvaa) is a brooding alcoholic drifter who is struggling to come to terms with life after a breakup. Divya (Nimisha Sajayan) is a naive woman diagnosed with borderline personality disorder, who often gets branded as paithyam (a derogatory Tamil term for someone with mental illness). One good-for-nothing man deserves a woman with a condition – this is what both families decide as they come together for a marriage of convenience. But, Anand and Divya navigate through this and find love in each other. He is a man who makes life easier for Divya, while she is a woman who lights up his life. When they get pregnant and are all set to step into their lives as new parents, tragedy strikes - Divya finds out that the infant handed over to her is not her child. Anand, who initially doubts Divya, eventually believes her and takes the police’s help to find their missing child.