#Kanaa, in a lot of ways was personal. Every time Kausalya was told that she didn’t belong on the ground, it brought back memories. I am a huge fan of cinema but until last year, haven’t watched a film FDFS. Why? There would be no women around. Why brave the boisterous crowds and catch a film FDFS when you can always watch it later? How will you go to the theatre? Will you be safe? While thankfully, I haven’t been discriminated on my gender, there are inherent invisible struggles.There have been several days where I have been the only woman around and been the cynosure of stares that will make anyone comfortable. I have had exit routes always mapped in my mind, if I need to run out. I’ve never let it bother me or let it interfere in my decisions. This is just a small example. I am privileged and not everyone has been this lucky.

More than cricket, more than farming, #Kanaa (as the title aptly suggests) is about dreams. Arunraja Kamaraj spins a that in no way can go wrong — a perfect balance of emotions and sanity. While I had worried that the film might be too preachy, this is where Arunraja, the writer, shines spectacularly. The so called ‘mass’ dialogues from the trailer were placed so organically in the story and at points that warranted the emotion, that it hits you hard (Especially when Sivakarthikeyan says that not all fathers get to see their children succeed, the emotion gets meta.)

Aishwarya might not shine as a cricketer, but she gets skin-deep as Kausalya. The gap in her cricketing skills has been incredibly masked by the crew and, has been more than provided for by Aishwarya. And she gets iron-clad support from #Sathyaraj and #Sivakarthikeyan, who are brilliant. The liberties they take with the matches and the climax are just minor grouses — forget everything and cheer for Kausi to win. And I am ending this post with a few of my favourite dialogues from the film.

“Aasapatta mattum porathu, Adam pidika theriyanum”

“Jeichavan sonna kepanga. Jeichitu sollu.”

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