For, the people who inhabit these places and whose lives and livelihood (I would prefer the Tamil word Landscapes of Resistance could have been a more suitable title for Vinothraj’s debut work. Koozhangal premiered at a festival that also saw another film on resistance. He, perhaps, is among the tribe of filmmakers who believe in showing, rather than telling. Pebbles ) clearly signals one thing: PS Vinothraj understands the functioning of cinema as a form. And it is fantastic (scroll up to see the lead image). As they wait for the bus, the man and the boy look at either side of the road, as if to imply that they are at crossroads. He orders the son to leave his bag at the shop. The man lights up aīidi and takes a drag. He takes a gulp and we get a point-of-view shot of the boy. They halt at a petty-shop and the man buys a ₹105 (quarter bottle). The man walks and the boy follows, like a dog. Nothing is established by the director and everything is fed to us by the faces we meet inside and outside the hamlets in Arittapatti. Later on, the man’s domestic violence and the cold relationship he shares with the in-laws are casually slipped in by two gossiping women, as they head to

But this is not established by the director, but by the people around him. We get a long shot - of the man borrowing money from one of the gamblers for alcohol. The men are either playing cards, drinking and chit-chatting or taking a nap. We see the duty-bound women doing household chores, while the absence of men is noticeably felt. The silence is eerie and is broken by ambient noises.

Through these two characters, we get a sense of the emptiness of a drought-hit village. We areĪlso Read: Get 'First Day First Show', our weekly newsletter from the world of cinema, in your inbox. We get a tracking shot and a couple of wide. They are still walking and the camera is still with them. They are on their way to bring back the wife-mother, who has left the home. “Do you like yourĪatha or me?” the man asks. They start walking and the camera proceeds. A boy stands up dutifully - out of fear, not respect. We get a point-of-view shot of the man looking at a sea of faces. The man comes to a halt, as does the camera. A man enters the frame from the left and exits.

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