Web Series
Review of “Victim”: Pa Ranjith’s suspenseful short stands out in the anthology thriller
Victim, an anthology series from Sony Liv, explores the stories of four different victims. One has the impression that the series, which was directed by Pa Ranjith, Venkat Prabhu, Rajesh M, and Chimbu Deven, could have been much more since only two of the shorts make a significant impression. Ranjith’s short on land and its politics stands out among the rest because it is both hard-hitting and deeply moving while occasionally being squeamish. The second-best segment is by Venkat Prabhu, and despite stealing much of its basic plot from Joel Schumacher’s Phone Booth, it mostly succeeds. Two additional short films by Rajesh M. and Chimbu Deven are awful.
In the lead roles of Pa Ranjith’s Dhammam are Kalaiarasan and Guru Somasundaram. Ranjith is still an advocate for caste-based narratives, but this time he is concentrating on land politics. A middle-aged father and his adolescent daughter, who are busy preparing their small plot of agricultural land for the harvest season, are the main characters of the story. The father is forced to bear the costs when a dispute with the owner of the nearby acres of land gets out of hand. This beautifully filmed segment about how land still shapes a person’s identity is powerful. It explains how people display their caste and power pride without ever considering the repercussions. Dhammam stands out due to the realistic performances, particularly the action scenes in the farmland.
Kottai Pakku Vathalum Mottai Madi Sitharum by Chimbu Deven is an intriguing fantasy comedy that explores our uncritical faith in deities. This story might have worked better as a stand-alone movie with stronger writing. However, as a part of this anthology thriller, it hardly even scratches the surface. The short, which stars Thambi Ramaiah and Nasser, examines how someone’s desperation can cause us to lose the ability to distinguish between reality and illusion.
Mirrage by Rajesh M. is unquestionably the weakest short in the collection. The story revolves around a young girl (Priya Bavani Shankar), who is compelled to spend the night in an abandoned villa that her company has reserved.
She quickly begins to encounter some paranormal activity in the villa, and as she struggles to make sense of the situation, the plot twists and turns. This short’s conclusion demonstrates why most thrillers no longer engage audiences when they are taken for granted.
The basic plot of Venkat Prabhu’s Confession, which stars a vivacious Amala Paul and Prasanna, is taken from Joel Schumacher’s Phone Booth. The performances help this short succeed to a large extent despite the recycled plot idea. As a driven young woman living life on her terms, Amala is very at ease. The short film looks at how quickly we form judgments about those around us based solely on appearance.
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.jpg "With a 0 million budget, Joker 2 is a musical thriller including over 15 covers, starring Gaga as Harley Quinn.")
Web Series
Review of House of the Dragon Season 2 Episode 1: A solid, albeit sluggish, comeback with more discussion and less action
There are high hopes for House of the Dragon’s nearly two-year return. The first season of the prequel series to Game of Thrones raised the bar by placing viewers squarely in the thick of action and including rich character development spanning about 20 years in the Dance of the Dragons. The second season picks up just after the horrific events of the first, in which Prince Aemond Targaryen (Ewan Mitchell) and his dragon killed Rhaenyra Targaryen’s (Emma D’Arcy) youngest son, Lucerys (Elliot Mitchell). Now, intent or lack thereof is irrelevant. There’s been bloodshed, and the fallout will be far bloodier.
Fans of Game of Thrones may be reminded of the strategic war table scenes in which the protagonists scheme and plot in poorly lit interiors and consult council to choose the best course of action in the first episode of the second season, “A Son for a Son.” This time around, viewers should anticipate a more engaging comeback if the first episode is any guide. To be honest, it’s a pleasant diversion from the previous season’s unrelenting presentation of the developing conflict between the Blacks and the Greens. This season seems to be taking a much more methodical approach, focusing primarily on the internal conflicts. Peace is undoubtedly unattainable, but in the pursuit for revenge, what also meets the eye is the reclamation of power, and the expression of grief.
Emma D’Arcy is fierce from the moment they first appear, adding a hint of melancholy and sorrow to the cunning world of things. However, Daemon (Matt Smith) is not to be trusted because he has his own ideas about who will succeed him. He doesn’t understand why pursuing retribution must wait when it may be completed right away. He reasons, “The mother grieves as the queen shirks her duties.” Additionally, Alicent (Olivia Cooke) and her daughter Helaena (Phia Saban) need to go beyond being remorseful spectators. By the end of this grim tale, we realise exactly why Helaena says she is afraid of rats.
The first episode immerses viewers in the discussions and betrayals that take place in the council chambers and chambers. It takes a confident and poised stride towards intensifying hostilities. While some viewers may be taken aback by showrunner Ryan Condal’s approach, which emphasises character-driven intrigue over grand schemes and spectacular action scenes in the beginning of the season, the show delves deeply into themes of war, betrayal, and legacy. We do get a deeper look at the hopelessness and inner demons of these men who pleasure in killing and retaliation, which makes the first episode promising even though it is a little too inconsistent and constrained for its own benefit. Even now, the first episode is personal and moving, laying the necessary groundwork for the battles that will inevitably follow as the season develops.
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