Set in 1965, director Vasanth’s sepia-tinted short seems to be more about jealousy and resentment than disgust. With strong support from Sethupathi and Prakash Raj, the film smartly asks questions about the beginning and end of guilt and blame.īibhatsa or disgust is the theme for the fourth episode titled Payasam. Revathi’s performance as a woman facing her husband’s killer is powerful and affecting. It uses split screens and the movements of two characters. Perhaps this why Bejoy Nambiar’s Edhiri, which explores karuna/compassion, the first of the rasas, stands out the most.
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The cinematography, music and production design stand out across the episodes, with work by Santosh Sivan, PC Sreeram and Sujith Sarang behind the camera giving depth to the frame even when the stories lack them and composers including A R Rahman, Vishal Bhardwaj and Karthik enhancing the assigned emotion.Ĭonspicuously, all the directors are male and none of the stories give the female character great agency. The only feeling most of these episodes evoke is of ennui. This does not, however, translate into the best showcase of Tamil writing, acting or content.Įxpectations are high, considering the anthology is presented by Mani Ratnam and carries heavy-hitting acting talent such as Revathi, Parvathy Thiruvothu, Arvind Swami, Vijay Sethupathi, Siddharth and Suriya.Īlso read: Ray' review: Manoj Bajpayee dazzles in this tribute to Satyajit RayĮach episode explores one of the nine rasas, intended to stir that emotion in the audience. Nine emotions, nine filmmakers, nine different unconnected stories and you have an expansive anthology showcasing some of the best Tamil talent.
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