The very best Tamil motion pictures of 2022: From ‘Vikram’ to ‘Ponniyin Selvan: 1’

From ‘Vikram’ to ‘Ponniyin Selvan,’ it was an outstanding 12 months for Tamil cinema
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Mudhal Nee Mudivum Nee

Pray, what we’d give to only return to less complicated instances — of listening to music at Music World, procuring at Spencer’s Plaza or taking a stroll on a clear Marina Seashore? What we’d give to return to the Nineties in Madras? With Mudhal Nee Mudivum Nee ( MNMN), Darbuka Siva transported us proper there. Full of an exquisite assortment of characters together with Vinoth, Rekha and Chinese language and an endearing story of affection and hope, MNMN gave us an opportunity to re-live the Nineties.

Kadaisi Vivasayi

It is just truthful for a movie reviewer to really feel palpable horror when a film title has the phrase ‘ vivasayi’ in it. Let’s admit it, we’re uninterested in the kashtapadra vivasyi (oh poor farmers) subgenre that comes throughout because the work of opportunists. Fortunately, Kadaisi Vivasayi eschews melodrama and M Manikandan doesn’t need your tears however empathy. He illustrates that being a farmer, greater than something, is a state of being. His protagonist is octogenarian Maayandi, who, because the title signifies, is the ‘final farmer’. Or moderately, the “final” among the many technology that practised this state of being. Kadaisi Vivasayi shouldn’t be about triumph however in regards to the battles which might be gained quietly.

A nonetheless from ‘Kadaisi Vivasayi’
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Taanakkaran

Take away the half-hearted romance and a little bit of flab within the second half, and Taanakkaran may properly be the most effective ‘targeted’ dramas of 2022. A formidable debut from a filmmaker (Tamizh who acted in Jai Bhim) who isn’t just assured about what he’s going to inform however how. It additionally helps that we get an insider’s perspective of the system by Tamizh, a former police officer. That is simply one of the best film Vikram Prabhu has been a part of since his debut Kumki. And he’s too good right here. Taanakkaran is one film you want had a theatrical launch.

Vikram

A few of us die-hard Kamal followers felt cheated watching Vikramfor the primary time. It was a six-long-year wait to observe and have a good time the person on display screen. And Kamal shouldn’t be even there within the first half! Yeah, yeah, he will get a swashbuckling entry within the now-terrific interval block. However the disappointment was there. Since then, Vikram has been watched 5 instances now. That ought to clarify how we have been sucked into the Lokesh Cinematic Universe. Jai Agent Tina!

Kamal Haasan and Lokesh Kanagaraj on the units of ‘Vikram’
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Gargi

Other than the a number of nice performances, it is a movie that provides you perspective. If the system or society judges you, how do you react? If the media paints you in a sure method, how do you reply? In case your life turns the wrong way up in a single day, how do you cope? Sai Pallavi places her greatest foot ahead on this Gautam Ramachandran-directorial that doesn’t rush into issues, however nonetheless capabilities like a whodunit; that final half hour would possibly depart you in shock. There are some nice performances to take a look at, particularly Kaali Venkat who performs a lawyer.

Iravin Nizhal

He’s a person on the run, and searching again at his life, realises the a number of follies he has dedicated. A storyline like this might have been developed in any method — however belief Parthiban to make it a labour of affection. What may have been thought of a logistical nightmare to many filmmakers turned out to be a problem that Parthiban efficiently surpassed; thus, leading to making this a single-shot film in a non-linear narrative. Only for the insanity of its creator and his sheer ardour for the medium, Iravin Nizhal deserves to be checked out.

Thiruchitrambalam

Dhanush can play a wide range of characters on display screen and be tremendous convincing, however place him in a quintessential Chennai middle-class household setup, and he’ll mix in with utmost ease. Right here, he’s Pazham, an harmless man who has some fairly sophisticated relationships: along with his father (Prakash Raj), along with his greatest pal (Nithya Menen), and with many others. There’s humour, songs, and a few good slice-of-life sequences in director Mithran Jawahar’s household drama that reminds you of many facets that Tamil cinema actually will get spot on.

Natchathiram Nagargiradhu

There are such a lot of belongings you affiliate Pa Ranjith with. A preachy filmmaker isn’t one. His sixth function does come throughout as ‘preachy’ and borderline condescending. Depart apart the politics of it, there’s a lot entering into its favour. That is Ranjith’s best and purest movie thus far. Not simply when it comes to what it stands for but in addition the shape with which it presents. Whether or not it’s the visible scope or the best way Ranjith makes use of Tenma’s music, Natchathiram Nagargiradhu is a daring experiment that disrupts our collective conscience and consciousness. You both like it or hate it. There’s no center floor.

A nonetheless from ‘Natchathiram Nagargirathu’
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Vendhu Thanindhathu Kaadu

Gautham Menon’s movies have largely been within the romance or gangster area, which is why when the primary look of Vendhu Thanindhathu Kaadu (VTK) got here out with lead star Simbu wanting all dishevelled, it was an enormous shocker. Just like the practice that Simbu takes — with AR Rahman’s hummable ‘ Marakkuma Nenjam’ taking part in within the background — this movie is a journey too, one that’s prone to proceed in its subsequent installment.

Ponniyin Selvan: 1

Mani Ratnam has by no means made the identical film twice. Though all his motion pictures are of a sure ‘sort’. Has there ever been a filmmaker who has constructed a physique of labor that’s so giant and so various by exploring simply human relationships? We doubt it. Even in a historic fiction like Ponniyin Selvan — that’s straight up his alley — Mani Ratnam solely cares in regards to the private dynamics. Private, as they are saying, is political. That interval sequence with Aditha Karikalan and Nandini, and that operatic rating by AR Rahman, is peak Mani Ratnam cinema.

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