Vishal Menon

In one of the many interesting segues in Rajkumar Periasamy’s Amaran, an officer talks to Major Mukund Varadarajan (an earnest Sivakarthikeyan) about the Kashimir women these officers refer to as “half widows”, stuck in perennial conflict as they wait for their husbands to return, unsure if they’re still alive. This is explained in a rush, as though someone is reading aloud a Wikipedia entry, but one can still make a connection between these women and the film’s narrator,

Amal Neerad and his co-writer Lajo Jose (whose story this film is based on) know how far to push the unreliable narrator trope. Not only is their protagonist Reethu (Jyothirmayi in her return) suffering from both retrograde and anterograde amnesia, but we’re seeing the film through her perspective for the most part. What makes this film even more complex is how quickly we get the feeling that we cannot rely on the people Reethu relies on to make sense of her chilling universe.

Journalist-turned-director T. J. Gnanavel doesn’t seem to care much for any sort of filmmaking subtleties. It’s as though he enjoys dialling up the volume knob to underline his already-dramatic writing, and doesn’t let you rest until you feel the full weight of a scene’s emotions. This was obvious in the way he didn’t stop by just showing you a police officer dragging a beaten-up Manikandan K. into the back of a police jeep in Jai Bhim (2021).