29

Like its protagonist Sathya (Vidhu), 29, the film too seems to be suffering from an identity crisis. For 29-year-old Sathya, he’s exactly at that age where he’s starting to realise that he’s made nothing of himself. At times, we see him dressed to play the part of an accountant in a Chennai startup. A scene or two later, we see him working as a server for a catering company. Then we see him dressed as a shopping centre mascot, and through all these costumes, we hear Sathya’s voiceovers asking out loud who he really is.

Cringe. Gone are the days when the world collectively rejoiced in the celebration of romance with grand gestures and seemingly over-the-top overtures. Now, especially on social media, any such move showcased there for posterity falls into just two categories: Cringe and Cringe-free. This slotting is done by the people witnessing these gestures, overtures, and everything in between. What about the ones who are doing these gestures? Do their hearts still flutter when they see a balloon that is filled with their partner’s carbon dioxide? Do butterflies swarm their stomach when their partner holds their hand, or when they see each other in their favourite dress for the first time? If all of these are as special in 2026 as they were in 1976, then what exactly is cringe? Is it the action or the packaging for an audience who might not necessarily want to witness this action? Even if the packaging isn’t all glossy or wrinkle-free, director Rathna Kumar’s latest film, 29, works because there is a sense of honesty and warmth in these actions, even if some make your eyes roll to the back of your head.