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One still ਪੁਤ੍ਰਮ ਪੁਧੁ ਕਾਲੈ ਵਿਦਿਆਧਾਰਾ॥, (Training: YouTube,

New Delhi: Cast: Gauri Ji Kishan, Teje Arunasalam, Arjun Das, Lijo Mol Jose, Joju George, Nadia Moidu, Dilip Subarayan, Sanant, Nirmal Pillai, Aishwarya Lakshmi

Director: Balaji Mohan, Halitha Shameem, Madhumita, Richard Anthony and Surya Krishna

Rating: Three stars (out of 5)

Follow-up to the 2020 lockdown collection of Amazon Prime Video ਪੁਥਮ ਪੁਧੁ ਕਾਲੈ॥This line of Tamil short films captures a range of moods and emotions, focusing on those who navigate communication breakdowns, grief and other crises during the lockdown required by the second wave of Kovid-19. In one of the five episodes, one of the characters says, “We’re not looking for meditation, we’re looking for contacts.” ਪੁਤ੍ਰਮ ਪੁਧੁ ਕਾਲੈ ਵਿਦਿਆਧਾਰਾ॥ (Waiting for Brand New Dawn) This statement provides a reference to the despair of flowing souls as they struggle to overcome the loss, grief, guilt and / or inability to express themselves during the epidemic.

Importantly, each story here ends on an optimistic note and, as the title suggests, points to the light at the end of the tunnel. Disease, death, and desolation hang over the characters, but in one part there is room to dance, one for the melody of a classical melody played on a flute, and two for the treatment of despair for the company of a dog.

The first lockdown collection, directed by established directors, dealt with miracles and other occasions. These five films, simple stories created with empathy and imagination, are the handiwork of young Tamil filmmakers. The stories point to the catastrophic epidemic in 2021 – lack of medical oxygen, rush to hospital beds, solitary deaths and hasty funerals.

Despite feeling sterile, ਪੁਤ੍ਰਮ ਪੁਧੁ ਕਾਲੈ ਵਿਦਿਆਧਾਰਾ॥ There are characters in which trials and tribulations are easy to invest.

A certain degree of fatigue is inevitable in the collection, but the combination of acting and awkward storytelling is to ensure that these films – each approximately 30 minutes long – combine a moderately busy mixed portrait of people affected by anxiety and fear. Are

Mugakvasa Mutham (Kiss Over the Mask), written, directed and edited by Balaji Mohan, focuses on two young police constables, Quilli and Murugan, whose suppressed feelings for each other embolden themselves in the midst of a strictly enforced lockout. Parupkari appears in the rescue mission. Which has paralyzed the city.

A. Lensed by Vasant (the most experienced of the cinematographers gathered here), this story is about the policemen who have been deployed to keep people away from the streets of Chennai and enforce the strict Covid-19 protocol, but the effective mood is light, happy. And the romantic suggestion is that no matter how difficult an obstacle may be, life should go on.

Two constables guard a post. One of them is sent three roads away the next day and the other is clearly upset. And then, a young man gets into a two-wheeler and begs the police to let him pass. He deserves a waiver, he says, because his life is in trouble and he has to do something about it.

Mugkavasu Mutham, Lively and heart-warming, plays between shared home-cooked meals, friendly jokes, dance moves and upcoming weddings. Please read this section. Kishan and TJ Arunasalam have been brought to life by the easy-going performances as two soldiers, whose barriers are like surgical masks on their faces – they hide their emotions.

In Debtor, Written and directed by Halitha Shameen and brilliantly published and filmed by Raghav Adhithiya, an inspiring short, the tone is clearly thrilling. Arjun Das and Lizimol Jose play the roles of Dheeran and Nalla, two strangers deeply affected by heartbreak and loneliness, the direct result of the epidemic. Opportunity online competitions draw them towards each other.

Nalla is an event manager and photographer who has lost work opportunities and can be considered a failed relationship. Dheeran is an IT professional who has been affected by a personal tragedy. Emotional turmoil unites the two as they try to build a relationship that can act as a defense. Both the lead actors are constantly on the money. Arjun Das uses his gravelly baritone very effectively and Lizimol Jose conveys both weakness and flexibility without the least effort.

Mouname Paarvayaai, too, immediately benefits from a pair of impressive performances. Directed and co-written by Madhumita, the two-handed film features Joju George and Nadia Moidu as a couple in a happy marriage in which all communication seems to be broken. There is complete silence between the two – there is no communication of the part – even though the deadly virus kills the house.

They live under the same roof but the man and his wife do not talk to each other and carry out their daily activities such as automatons programmed to perform certain gender roles. In light of all that apparently separates the couple, the story explores the gap between how things happen in tragic times and what they should be. It depicts the inner world of both the characters through sounds, gestures and visual compositions (cinematographer: Pritha Jairaman) which alternate between exact and obscure. Both the actors, working with non-verbal means, are completely contemporary with the poor design of the film.

MaskDirected by Suraj Krishna, the technician tells the story of Arjuna (Sanant), who is looking for a house in a big city. He has no simple research – it involves making a clear chest of who he is, a trick he leans on. His conservative father stands in his way. Under increasing emotional and mental pressure, Arjun reunites with an old schoolmate Velu (played by action choreographer Dilip Subarayan), who also has secrets to keep secret from his son. Their rhetorical mask should be left for the two men to be able to compromise with themselves and get rid of their own prisons.

To begin with, this story is clearly not rooted in the current situation of the lockdown. But as it turns out, death stealthily affects it and serves to underline that the virus is a great transmitter and does not respect political power, human power and wealth. This realization creates a sense of claim and opposition in Arjuna.

Nijhal Therm Idham (Comforting Shadows), directed and co-scripted by Richard Anthony, alternates between the inner parts of the brain of female protagonist Shobi (Aishwarya Lakshmi) and the outside world represented by a estranged parent, whom she was busy with. , There was very little time to communicate. With

Filmed by Vikas Vasudevan on the deserted streets of Pondicherry, and inside the heroine’s childhood home and elsewhere, it is a delicate discovery of memories in solitude. The loneliness that surrounds Shobi in its quest for satisfaction motivates her to explore new connections and cling to the old. Can she shake off the past, reconcile herself to the loss of a loved one and move on? The sounds in his head and the dancing shadows around him respond.

ਪੁਤ੍ਰਮ ਪੁਧੁ ਕਾਲੈ ਵਿਦਿਆਧਾਰਾ॥ Paints five portraits of solitude and resilience and gives a glimpse of many fresh, hilarious Tamil cinematic voices whose promise is unparalleled.

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