“If I have seen further, it is because I am standing on the shoulders of giants.” Newton’s iconic words have, for long, been used to symbolise progress. But watching Director Vasanth’s Sivaranjaniyum Inum Sila Pengalum (SISP) reminded me of all the battles our women have fought in their drawing rooms. Whatever modest progress we, women, have achieved, is because our female predecessors have fought tooth and nail for it. This isn’t always out of choice; in fact, they happen because there is no choice. When the space for a woman continues to shrink, at some point, she is forced to fight to reclaim it. Dissent becomes survival. SISP, an anthology, brings stories of three women and how they reclaim their space (all of them are stories adapted from short stories by Ashokamithran, Adhavan, and Jeyamohan respectively.)
The years 2016 and 2017 were considered to be a harbinger of change for women in Tamil cinema. Words such as feminism and women-centric were increasingly thrown in the mix with cinema. Our heroines don’t have a ‘shelf life’ anymore; they don’t have to stop working when they get married or don’t have to be there just for the glamour quotient. Off-screen, we see more women enter production, direction, cinematography and several other fields. The fact that cinema can revolve around women seems new to many — a pleasant surprise. But has it been always been so? Continue reading “How did women-centric films go from being a norm to an exception?”
I’ve been someone who has looked for logic in everything I do. ‘Does this make sense’, has been a constant part of how I perceive everything. #AnjaliMenon’s #Koode showed me that some of the most beautiful things — emotions that are precious, like the joy a wide, toothless smile radiates, not necessarily need to make sense. They just touch your soul — you won’t care about why your soul feels lighter or heavier. It just does.
And how beautifully has Anjali Menon captured the power of touch. Koode is a celebration of touch, of how communicative it can be. It seamlessly but powerfully can convey any emotion. Anjali uses this wisely; some of the most heartwarming and heart wrenching moments are conveyed through touch. Only that. Love, romance, compassion, comfort, power, abuse — #Koode communicates all of this, the relationship dynamics of the characters, with this lovely language that we have forgotten. Sophie’s reactions (played by a brilliant Parvathy) are clear examples. The way she shrinks and welcomes touch, knowing where it comes from, is how all of us are.
Touch is a language that is governed by instinct and pure emotion. And Anjali places her close ups as a reminder. It’s just beautiful to watch, considering we are in an era that judges touch like none other. Is there a more honest way to be Koode (together)?
That’s just one of the many, many, many things that I loved about #Koode. Every frame is visual joy, carrying a well-placed metaphor. Koode is a journey, an experience that seems like it makes perfect sense and no sense at the same.
Parvathy is not a new name for the average cinephile. An actor who has slowly carved a niche for herself, Parvathy is known for her powerhouse performances. With films in three of four south cinema industries, the talented leading lady is now making her debut in Bollywood with Qarib Qarib Singlle. Directed by Tanuja Chandra, Parvathy has Irrfan Khan for company on screen. In a nonplussed chat with indianexpress.com, the actor talks about carving a path for herself. Continue reading “Parvathy: Getting Qarib Qarib Singlle was destiny for me”