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Philosophy Behind the Screen – ANBE SIVAM (2003)

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  Anbe Sivam asks a deeper question: What if God doesn’t arrive with thunder, miracles or divine weapons — but walks beside us like a wounded dog? Sivam is not a god Sivam is love “Love itself is God” God exists wherever compassion exists Sivam is physically broken, socially rejected, politically sidelined and emotionally scarred. Society sees him as useless. Yet the film defines divinity clearly Divinity does not come from perfection; it comes from empathy Throughout the journey, sivam mirrors a dog in many ways,  Loyal, without expecting reward Hurt, yet never vengeful Homeless, yet full of belonging Silent, yet deeply expressive A dog doesn’t preach morality, It doesn’t demand belief, It simply exists with unconditional love. That is sivam Just like a street dog that stays near us through rain, heat and hunger. Sivam stays beside strangers — even those who ridicule him. He absorbs pain without passing it on. He chooses compassion over correctness Anbe Sivam whispers somet...
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Strange Darling (2023) "The Lady Vs The Demon"

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In an era where many thrillers follow predictable structures, Strange Darling stands out as a film that trusts its audience to engage, question, and piece together its twisted puzzle, it’s a narrative experiment that challenges traditional storytelling norms. By using a nonlinear timeline and shifting perspectives which creates a uniquely unsettling experience The film manipulates perspective, constantly challenging our understanding of its characters. Initially, the narrative may present one character as a victim and another as a predator, but as the film progresses, these roles blur The shifting perspective is what  keep the audience on edge and  makes Strange Darling so gripping. It constantly challenges who we think the "hunter" and "prey" are, making us question our own biases. The way it plays with time and perception adds layers to the suspense—it’s not just about what happens but how we experience it The film plays with this generational shift beautifully. T...
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Challenging Perceptions and Engaging the Audience in "Rashomon" (1950) and "Bramayugam" (2024)

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Cinema is often thought of as a passive medium stories unfold before our eyes, and we simply absorb them. But certain films challenge this notion, forcing viewers to question reality, participate in unraveling the narrative, and make their own judgments Akira Kurosawa’s "Rashomon" (1950) and Rahul Sadasivan’s "Bramayugam" (2024) are two films that actively engage the audience by distorting perception, manipulating truth, and leaving interpretation open-ended. While one is a psychological drama and the other a supernatural horror, both demand that viewers take an active role in making sense of their stories  Kurosawa’s Rashomon revolutionized storytelling with its use of multiple conflicting perspectives. The film presents a crime a samurai’s death and the possible assault of his wife through the eyes of four different characters, each telling a contradictory version of events The audience is placed in a unique position rather than being passive spectators, they beco...
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Location: Chennai, Tamil Nadu, India
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"The Substance" (2024)

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 "The Substance" (2024), directed by Coralie Fargeat, employs a range of storytelling techniques to deliver its narrative, effectively blending body horror with social commentary Fusion and Satire It combines the elements of psychological thriller, body horror, and social satire to craft a film that defies simple categorization. This fusion allows the narrative to delve into complex themes such as society's obsession with youth and beauty, particularly concerning women Visual Symbolism and Cinematography The film utilizes rich visual symbolism to invite viewers into a world where the boundaries between self and other, reality and illusion, become increasingly fluid. The striking cinematography, with its intense focus on color and unique angles, enhances the storytelling by reflecting the protagonist's psychological state and the grotesque transformations she undergoes Characterization and Performance The dual performances by Demi Moore (Elisabeth Sparkle) and Margaret...
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Isolation and Perspective "Two Unique Ways of Storytelling"

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"All Is Lost" (2013) and "The Guilty" (2018) : Two Unique Ways of Storytelling Movies often use visuals and sounds together to tell stories, but All Is Lost (2013) and The Guilty (2018) take very different approaches. One relies mainly on visuals with almost no dialogue, while the other uses only dialogue and sound. Despite these differences, both films explore the theme of isolation in their own unique ways. All Is Lost : A Story Through Visuals Directed by J.C. Chandor, All Is Lost is about a man’s survival in the middle of the ocean. Robert Redford plays the lead role, and there are almost no spoken words in the film. The story is told through his actions, facial expressions, and the challenges he faces. The film focuses on showing instead of telling. The sounds of the ocean, storms, and the creaking of the boat create a powerful atmosphere. Without dialogue, the audience connects deeply with the character’s struggle, imagining what he feels and thinks. The Guilt...
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