kutty movie review in english

'Kutty Story' movie review: The good and the bad co-exist in this latest anthology

How dearly I have missed the directorial work of Nalan Kumarasamy. Is there another filmmaker who’s so at ease generating laugh-out-loud humour from complex, sensitive situations, and who is able to achieve this without ever trivialising the central issues of the film? The man is a rare talent.

In his segment in Kutty Story titled Aadal, Paadal, the song and dance is not of the literal variety. It's metaphorical and occurs between a husband and wife (played wonderfully by Vijay Sethupathi and Aditi Balan), whose years of togetherness have dented the 'fun' in their relationship. This is the word Sethupathi’s character uses to explain away his transgression.

Despite the emotional weight of this subject, Nalan proceeds to draw all types of humour from the film. There are jokes of the dialogue variety, like when Aditi's character responds to her husband saying, " Un kaiya kaalaa nenachikaren ", with " Adhaan kaal irukke ".

There's humour in the body language, especially of Vijay Sethupathi’s: watch him adjust his shirt as though he were a posterboy for model husband behaviour and then quietly, mischievously ask a woman what she's wearing.

The best of all is the situational humour that arises from his wife playing mind games on him. Even the choice of a name 'Kamakshi Sundaram' results in a joke. The success of this film is how while it’s making you laugh, it makes all these quiet, sharp points about the double standards in relationships, about how a husband and wife react differently to the same problem, about how women are viewed as property. To put it simply, our cinema could do with more Nalan.

Much like Nalan’s film, the others too can be said to deal with the troubles that romantic love runs into. Gautham Menon’s film, Edhirpaara Muththam, is a film I enjoyed too, and is one that talks about the thin line that sometimes differentiates a platonic and a romantic relationship.  

The word 'platonic', in fact, is referenced several times in his film, once by the friend of Aadhi (Gautham Menon), Prabhakar (Robo Shankar), who quips, " Blood theriyum, tonic theriyum, adhenna platonic? "

I enjoyed his presence in this film, even if his humour doesn’t always land. Importantly, the presence of such a comedian seems to help localise the scenes in a way that benefits the contrasting sensibilities of a filmmaker like Gautham Menon. It reminded me of how useful a comedian like Vivek was in Minnale, performing a similar ‘grounding’ role.

There’s a bit of homage being paid to the enduring Ilaiyaaraja classic, 'Valayosai'. For one, there’s a scene of the couple in a bus, and with Priya (Amala Paul who I really liked here) humming this song. There’s a small callback to the visual of this song, when the younger Aadhi (Vinoth Kishan) asks Priya to cover her eyes with a dupatta, and then proceeds to kiss her. The circumstances, of course, are different in this film.

Priya and Aadhi are friends in a platonic relationship, something Prabhakar scoffs at and doesn't think can exist. Aadhi, however, genuinely believes this. Without giving away too much, let me just say that despite Priya's argument at the end, the film does seem to inadvertently support Prabhakar's stand. Both Aadhi and I will continue to disagree with Prabhakar - and the film - about this.

This is a space that Gautham comfortably thrives in. Watch him capture those little awkward glances between Aadhi and Priya, the small shifts in their body language as they get comfortable in each other’s presence after a long separation. Watch the evident camaraderie between Aadhi and friends at the dinner table, as they sit exchanging old stories.

Watch Aadhi sportingly take in - and almost savour - all the good-natured teasing from his friends. Watch that quiet, vulnerable moment - the moment that results in the title of this film - as Priya stutters between embracing her pent-up feelings and letting them slide, in the face of Aadhi's lack of romantic interest.

This is a film whose real value lies in how it shows that should Gautham Menon, who has dabbled a lot in a certain type of romance over the years, choose to explore variations in this space, there’s plenty of room in which to express himself.

Venkat Prabhu’s short film, Logham, has the fascinating premise of gamers falling in love inside a make-believe universe. Spielberg's Ready Player One comes to mind. There are some fascinating stretches in this film, as Venkat looks to explore how the gaming world can create possibilities that are not possible for many, given the limitations of the real world.

However, this is a film that could have benefitted perhaps with a lead actor who's able to radiate more conviction and charisma. Some of the dialogue-writing is a bit bland too. When Adam falls in love, he goes, " I love you di. I miss you di. En di enna torture panra?! "

It reeks of cliché. That pun on the woman lead’s name, Eve, when the man asks her to show her some ' Eve erakkam ' is inspired, but there needed to be so much more of that in this film.

The events that occur within the video game universe in this film too are disappointingly generic. The missions they go through, the coins they collect, the treasures they store… all of these elements needed to be united by a more gripping purpose, one that aligns with their real-world objectives. Perhaps if the gaming universe were more imaginative, the shifts between the real and the gaming world may have seemed more interesting.

The story too ends at a point that raises more questions than it provides answers, but that’s the nature of short films, I suppose. The real problem is that for a film with such a fun and yet, deep premise, the film offers neither the satisfying depth of an emotional film nor the rousing fun of a video-game film.

The towering disappointment of this anthology, one that threatens to bring down the other films with it, is director Vijay's Avanum Naanum. The film is a sneaky appeal against abortion, and this, of course, isn't new to the filmmaker who brought us a foetus-ghost (in Sai Pallavi's Diya) meant to create feelings of guilt in women who have ever considered or will consider abortions.

In Avanum Naanum, Megha Akash once again (after Oru Pakka Kathai) plays a young woman forced to deal with an unwanted pregnancy.  Here, she plays a silly girl who realises she could be pregnant, only after a friend notes that the count of her sanitary pads hasn't gone down in sometime. The situation of Megha's character in this film screams for an abortion.

The pregnancy is unplanned; her boyfriend is nowhere to be seen; she is ill-prepared to run her life, let alone manage another; she hasn’t completed her education; her parents cannot provide a support system, and she says they may kill themselves if they knew about this… And yet, writer-director Vijay conspires to write an accidental death into this manipulative story, so the girl can feel emotionally pressurised into having the child.

The film also propagates the lie that abortion is illegal, and that the gynecologist who helps could potentially get suspended (note that the pregnancy in this film is barely eight weeks old). It's also a film that feels contrived from start to finish.

Be it the caricature of a hotel receptionist, or the horrible prank played on the heroine in a hotel room, or the decision-making of her heroine's friend… I could go on and on. Thankfully, the film doesn’t, as it’s a short film. Such are the benefits of an anthology.

Directors: Gautham Menon, Vijay, Venkat Prabhu, Nalan Kumarasamy

Cast: Gautham Menon, Amala Paul, Vinoth Kishan, Amitash Pradhan, Megha Akash, Varun, Vijay Sethupathi, Aditi Balan

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Kuttey Review: Bhardwaj's Dark Satire Is Upheld By Tabu's Even Darker Character

With 'kuttey', bhardwaj shows us even deadlier, more greedy, utterly treacherous creatures—humans—hidden behind the name of dogs..

Aasmaan Bhardwaj

Tabu, Konkona Sensharma, Arjun Kapoor, Naseeruddin Shah, Radhika Madan, Kumud Mishra

New Delhi: To grasp the premise of the action thriller 'Kuttey', the viewer must set aside the loyal trait that dogs possess and stick to a typical scenario in which dogs could be seen fighting on the streets for a morsel of food. However, ironically, the director shows us even deadlier, more greedy, more treacherous creatures—humans—hidden behind the name of this animal.

Aasmaan Bhardwaj boldly attempted to carry the weight of his father and master director Vishal Bhardwaj's enormous legacy when he brought his maiden movie to let Bollywood get off to a solid start in 2023. Although the style of junior Bhardwaj's debut film and that of his father are fairly similar, the latter does not make it a carbon copy of his father's body of work. Aasmaan has a distinct voice, which is noticeable in the ensemble film. He does a fantastic job of adhering to a tweaked three-act structure without ever becoming stilted.

The plot of 'Kuttey', which is written by Aasmaan with additional dialogue and screenplay contributions from Vishal, centres on a gang of unethical police officers who are working with the local drug kingpin, who is portrayed by Naseeruddin Shah.

By conspiring with a rival gang, Gopal (Arjun Kapoor) and Paaji (Kumud Mishra) get into great trouble. When they are sacked from their jobs, their situations spiral out of control. They now have to pay off their bosses to stay on the force. This is the exact moment when the entire chaos starts to spew, flinging everyone into a whirlwind.

However, one good outcome of the incident is that Tabu's character Pammi, the true hero in the movie, is introduced to the audience. The actor receives the same treatment as a big-name male star portraying a corrupt police officer, a typical high-testosterone character prevalent in Indian movies. It is all much sweeter by the fact that Tabu does it more skillfully than any of them. Radhika Apte is a close second, though, in 'Monica O My Darling', where she similarly played a dishonest officer.

Meanwhile, Lakshmi, a Naxal gang leader, who is portrayed by Konkana Sen Sharma, is sought to be tied to the main narrative by the subplot. You wish to see more of the versatile actor on-screen after watching her in the movie's opening scene. Sen leverages her limited screen presence to compel you to vouch for her, as she very often does. Only this time, Kumud Mishra's character back her brilliantly, and their interaction must rank among the most iconic scenes of the film.

To be completely honest, seeing Konkana and Tabu in 'Kuttey' might leave you feeling like you were enjoying a delicious treat just to have it snatched from your grasp. As the characters grab the audience by the collar and dabble with power and vulnerability all at once, one cannot help but long for a spin-off for them.

On the other hand, Radhika Madan, who portrays Shah's daughter, appears to have everything yet lacks one thing- freedom. Along with Shardul, who is seasoned performer, the actor does a good job of bringing out the dire situation. Despite all the choas, both actors are able to make their romantic plot emotionally engaging.

Almost to the point where the audience can become lost in the initially unrelated chapters, Bhardwaj takes his sweet time developing his plot and his characters. And the director takes this chance only to bounce back with a thrilling second half that glides towards an intense climax.

Starting with the first move, 'Kuttey' seems more like a game of luck-based Ludo than a tactical game of Chess where each move is carefully thought out. Each character is hunting for the other, primed and ready to kill someone and pull a double cross, only to reach the safe zone.

One of the film's main highlights is its soundtrack, which was written by Gulzar with composition by Vishal Bhardwaj. The music is terrific and could gradually win over the listeners. The genius of Gulzar and Bhardwaj, which we have previously witnessed, strikes us once more. Talking of the cinematography, Farhad Ahmed Dehlvi, the DOP of the film, creates stunning frames and colour tones that perfectly complement the story to bring the world of evil to the flesh.

By crafting a complex, dark satire that is nearly perfect, the rookie filmmaker shows his mettle. Something that filmmakers nowadays, even seasoned ones, struggle to attain. The pretty exciting, action-packed thriller, with its comedic chase scenes, promises a lot but only partially delivers.

The utterly unexpected twist, which I'm willing to bet no one will see coming, and the fresh approach to the grab-and-run sub-genre are the reasons to see 'Kuttey'.

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Kutty Story Movie Review: Vijay Sethupathi shines in this light-hearted anthology

Kutty story is a light-hearted anthology that tells the story of complicated relationships, love and hope. it brings together four filmmakers from kollywood for a project that was shot during the lockdown phase..

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Four top Tamil filmmakers - Gautham Vasudev Menon, Vijay, Venkat Prabhu and Nalan Kumarasamy have come together to offer insight into love, hope and relationships with their unique storylines in an anthology titled Kutty Story. Though it’s refreshing to watch short films that don’t entirely bank on star power, only two of the four stories create any impact and give us something to take home.

Gautham Menon’s Edhirpaara Mutham and Nalan Kumarasamy’s Aadal Paadal hits the right note and stays true to the genre. Though Nalan is the youngest when compared to other filmmakers of this anthology, his short-filmmaking finesse stands tall.

Edhirpaara Mutham Director: Gautham Menon Cast: Gautham Menon, Amala Paul, Vinoth Krishnan and Robo Shankar Edhirpara Mutham revolves around the lives of two engineering students - Aadhi (Vinoth Krishnan) and Mrinalini (Amala Paul), who are best friends. Though they get along well and spend most of the time together, Aadhi and Mrinalini believe that there is an invisible line between love and friendship and they shouldn’t cross it for any reason. Aadhi insists the same to his friends and says that a man and woman can just be friends no matter what. However, the events that unfold in the later stage of his life destroy his theory and make him understand that there is love between the two. But is it too late now? Edhirpaara Mutham is exactly what we can expect from a Gautham Menon film and he has stayed true to his genre. Be it a 20-minute short film or a 120-minute drama, Gautham has always managed to bring the audience into his world where there are only two souls with a kind of divine love between them. Their relationship is often complicated as well as matured. Gautham Menon, in Edhirpara Mutham, plays the elder version of Vinoth Krishnan. The role suits him perfectly and he has pulled it off with ease.

Avanum Naanum Director: Vijay Cast: Megha Akash, Amitash Pradhan, Ayra, Bujji Babu Avanum Naanum comes with a strong premise that could easily evoke emotions among the viewers. However, the weak screenplay and irrelevant theme makes it an average watch. Preethi (Megha Akash), a final-year student, discovers that she is three months pregnant and informs her boyfriend Vikram (Amitash Pradhan) about the same. Within a few minutes, unfortunate circumstances put Vikram in non-reachable mode forcing Preethi to seek an abortion. Does destiny help her live with her loved one or put her in trouble, that's the rest of the story.

Avanum Nanum has nothing new to offer. It tries packing in too many subjects, leaving little time to explore them. But Megha Akash’s performance is laudable and makes for a decent watch.

Logam Director: Venkat Prabhu Cast: Varun, Sakshi Agarwal, Sangeetha Logam, directed by Venkat Prabhu, is distinctly different from the other feel-good films. It revolves around the life of a gamer Varun (Adam), who tries to find the whereabouts of his girlfriend Eve (Sangeetha), whom he met in a video game. The film begins with an interview of Varun, one of the top gamers in the city and the first to complete the game called Logam. He credits his girlfriend for all the success and says that he dedicates the victory to her. But who is this girlfriend and what does she do? Does this girl exist only in the game or is she real and in love with him as well? Though the premise is interesting, the characters in the film don't create any impact. The twist in the latter half of the film is something unexpected and seems to justify the errors made in the first few scenes. But overall, except for the animation portions, Venkat Prabhu could have concentrated more on cinematography and presentation. The terrace scene where Varun explains to his friends about the game is particularly amateurish and underwhelming. Aadal Paadal Director Nalan Kumarasamy Cast: Vijay Sethupathi, Aditi Balan Nalan Kumarasamy’s Aadal Paadal is indeed the boldest attempt in this anthology. Apart from dealing with the complications involved in extra-marital affairs, the film also talks about the chauvinistic attitude of men that women mostly become a victim of. With some quirky scenes and an interesting screenplay, Aadal Paadal is easily the best of the lot of this anthology.

A happily married couple goes through a bad phase in life after knowing that one of them is cheating on the other. The writing is typical of Nalan’s films - characters who are on the grey side of the law, twists where you least expect them, and a bizarre plot. Wife (Aditi Balan) impersonates her husband’s paramour to confirm that he is indeed having an affair.

Vijay Sethupathi’s performance is brilliant and makes us forget the flaws that come with this genre. The scene where he regrets his mistake without letting go of his male ego is something to watch. Aditi Balan, who made a fantastic debut in Tamil cinema with Aruvi, has lived the character. The conflicts explained are all very relatable to the middle-class audiences while Nalan’s writing of romance stands a class apart.

ALSO SEE | Kutti Love Story: Gautham Menon, Venkat Prabhu, Nalan Kumarasamy and AL Vijay team up for anthology

ALSO SEE | PSPK 28 first look poster out: Pawan Kalyan teams up with Harish Shankar for new film

ALSO WATCH | NCB probe into alleged drug link gets bigger Published By: Logesh Blachandran Published On: Feb 12, 2021 --- ENDS ---

Kutty (2010)

Original title: குட்டி.

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Kutty, a kind young man, falls in love with Geeta, but she does not reciprocate his love. He continues to love her even after learning that she is in love with Arjun, her college-mate.

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Kuttey Review: Arjun Kapoor's Cop Act Impresses, But Tabu Is the Real Star of Aasmaan Bhardwaj Film

Curated By : Titas Chowdhury

Edited By: Shrishti Negi

Last Updated: January 13, 2023, 11:30 IST

Mumbai, India

• Invalid Date | Hindi
• 1 hrs 52 mins | Action Thriller
• Starring: Tabu, Arjun Kapoor, Naseeruddin Shah, Kumud Mishra, Konkona Sensharma, Radhika Madan, Shardul Bharadwaj
• Director: Aasmaan Bhardwaj
• Music: Vishal Bhardwaj

Kuttey movie review: Tabu carries the film on her more than able shoulders with an incredible finesse and charisma.

What would we do without Tabu?

The enigmatic actor started her career with late actor and filmmaker Dev Anand’s Hum Naujawan (1985). Over the years, she has proved her mettle as a force to reckon with a slew of unconventional and taboo-defying themes in Astitva (2000), Chandni Bar (2001), Filhaal (2002), Cheeni Kum (2007), Jawaani Jaaneman and A Suitable Boy (both 2020). She also saw commercial success with blockbusters like Hum Saath Saath Hain (1999), Drishyam (2015), Golmaal Again (2017), Andhadhun (2018), Ala Vaikunthapurramuloo (2020) and Bhool Bhulaiyaa 2 (2022), among many others. But in Tabu’s words, it is filmmaker and musician Vishal Bhardwaj, who gave the actress her best works with Maqbool (2003) and Haider (2014). So, it’s no surprise that the director’s muse is also a part of – and a key one at that – his son Aasmaan Bhardwaj’s debut film, Kuttey.

Tabu carries the film on her more than able shoulders with an incredible finesse and charisma. She lights up the frame every time the camera shifts focus on her. Once again, she plays a cop in the film, only she sheds off the protocol-oriented mannerisms of one. In Kuttey, she plays Poonam – widely referred to as Pammiji. As the film progresses, we come to know that she’s unmarried, seldom a softie and unapologetic about snatching her share of a criminal’s money – she dreams to own a big house close to ‘Zaved Akhtar’s’ bungalow in Lonavala because she’s physically too big to fit into a matchbox-sized police quarter. She’s not your regular cop who can bring down a bunch of goons with punches and sprints. She begins panting heavily after chasing down a bad guy through the gullies of Mumbai amid a local wedding. Her foul mouth doesn’t make you cringe but burst into peals of laughter. So, when she narrates the famous tale of the bichhoo (scorpion) and the mendak (frog), you can’t take your eyes off her and listen to her intently even though we recently heard the brilliant Shefali Shah narrating the same story to her daughter, played by the inimitable Alia Bhatt, in Darlings (2022).

Speaking of the bichhoo and the mendak, Kuttey stays true to its title and makes multiple allusions to several animals, be it a cow, a dog, a lion or a cobra. But the best part is that these names aren’t just tossed out of nowhere. The metaphors, no matter how whacky they get, eventually make perfect sense. The very first sequence in the film sees actor Konkona Sensharma’s Laxmi narrating the story of a cow, a dog and a lion to actor Kumud Mishra’s Paaji, and that sets the tone of the film. In fact, towards the end, you will realise that Kuttey is indeed the story of the bichhoo and the mendak. The film is divided into five parts much like a book – a prologue, chapter one, chapter two, chapter three, chapter four and an epilogue. Each section opens up a new story – all connected through a metaphorical thread following a structured exposition, rising action, crisis and falling action – and then they come together towards the end of the film but still doesn’t provide you with the poetic respite.

Arjun Kapoor’s Gopal and Paaji are two cops, who are entrusted with the work of shooting down Surti, a drug dealer, by an infamous killer played by Naseeruddin Shah. They manage to shoot him and escape from the spot by pocketing bags full of drugs. However, they get caught by the police at a check post. On reaching the cop station, they realise that they’re being suspended for breaking the law despite being men in uniform. They eventually take Pammiji’s help, who tell them that she will be able to save them from losing their job if they bring her Rs 2 crore. They set out to get hold of the money. More people get thrown into the mix of illegal dealings and what happens next is unraveled in the subsequent chapters.

The first half of the film seems to be quite stretched out. It takes time to establish the crux of the narrative. One might even feel that the writing lacks gumption. But the action and the rhythm and pace of the story pick up in the second half, especially with the commencement of the absolutely hilarious third chapter titled ‘Moong Ki Daal’. It is packed with ample situational comedy to tickle your funny bones. Now, this isn’t a film that is filled with funny one-liners, which will make you clap and whistle. But like most films by Vishal, this one too is quirky, bizarre and is laced with oodles of dark humour. Aasmaan, in his debut film, seems to hit the ball out of the park. It is difficult to hit a sixer with your first film, especially if it has a cast full of heavyweights, but Aasmaan, largely achieves so. Though too early, it wouldn’t be wrong to state that Vishal’s legacy is in safe hands.

The background music of the film composed by Vishal is an icing on the cake. It perfectly complements the chaotic and frenzied action sequences. The only complaint is that we don’t really get to revel in Ek Aur Dhan Te Nan like the way we did with Shahid Kapoor’s Kaminey (2009). While Vishal’s films are also known for their songs, the only song from Kuttey that is mostly likely to stay back with you is the zany Vaat Lagli and maybe that’s because of the riotous visuals that accompany it.

Arjun Kapoor as Gopal plays a cop once again after the noteworthy Sandeep Aur Pinky Faraar (2021). Would it be wrong to assume that cop avatars are lucky for him? Maybe not. He delivers an extremely impressive act in Kuttey. His Gopal is greedy, corrupt, helpless and rash but you still feel for him. His subdued comic timing deserves brownie points.

Konkona Sensharma plays a Naxalite leader. She once again sheds the shin and plays a resolute and unyielding revolutionist with bravado. The clash between them and the police might not be as hard-hitting as in the Rana Daggubati and Sai Pallavi starrer Telugu film Virata Parvam (2022) but Kuttey doesn’t intend to do that either. Aasmaan and Vishal intelligently bring together the conflict between greed, power and corruption, and revolution for anti-establishments in a subtle and witty but sensitive way.

Kumud Mishra plays Paaji with an inspiring grit and determination. He seems to be the only character treading on the path of virtue in Kuttey. One may assume that this is the reason why we only get a glimpse of his family life. His scenes with Tabu are pure gold.

Naseeruddin Shah doesn’t have much screen time but he commands your full attention every time he appears in the frame. Radhika Madan as Lovely is written as a stubborn and free-spirited girl but it’s an undercooked character and sadly, doesn’t bring much to the table. In one scene, she’s seen engaging in a profound monologue about how she missed having a regular childhood as a curse for being born into the family of a dreaded killer but it doesn’t add much substance to the story or her character. Shardul Bharadwaj, a henchman and Lovely’s love interest, doesn’t get to do much either.

But once again, Tabu is the real star of the film. Kuttey belongs to her. She’s flawed but you still root for her. Kuttey wouldn’t be what it is without her delightful presence. The effortlessness and charming chaos that she brings to the table and then revels in it like a true blue artiste is worth lauding. This brings me back to my question, what would we do without Tabu?

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Natarajan 581 days ago

I always enjoy Yogibabu movies. His dialogue deliveries are soo good and very natural. he treat everyone same no matter if he is a super mass hero like Rajini or new comer.

husttle arvind 75 599 days ago

worst time they have taken it their own time pass

Subhabrata Saha 634 days ago

One of the worst movies in this world. Horrible disgusting movie. Extremely painful to watch this movie. Strictly not watchable.

MURUGAN MURUGAN,M 639 days ago

User m.gilliganesh 639 days ago.

Good movie, good story thinking about our life movie

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The film is jolly good fun, revelling in situational humour that keeps it entertaining till the very end.

Panni Kutty Movie Review: A gentle rural comedy that is likeable, but not compelling enough

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Natarajan 581 days ago

I always enjoy Yogibabu movies. His dialogue deliveries are soo good and very natural. he treat everyone same no matter if he is a super mass hero like Rajini or new comer.

husttle arvind 75 599 days ago

worst time they have taken it their own time pass

Subhabrata Saha 634 days ago

One of the worst movies in this world. Horrible disgusting movie. Extremely painful to watch this movie. Strictly not watchable.

MURUGAN MURUGAN,M 639 days ago

User m.gilliganesh 639 days ago.

Good movie, good story thinking about our life movie

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• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor. Share
• This film marks the first collaboration of uncle-nephew duo Anil Kapoor and Arjun Kapoor. Arjun is the son of Anil’s brother Boney Kapoor.
• This is the second time Arjun Kapoor is playing a double role, the first being Aurangzeb (2013).
• The song ‘Yamma yamma’ from ‘Shaan’ is sampled in the song ‘Partywali Night' for the film.

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Kutty Story movie review: The good and the bad co-exist in this latest anthology

Rating: ( 3 / 5)

How dearly I have missed the directorial work of Nalan Kumarasamy. Is there another filmmaker who’s so at ease generating laugh-out-loud humour from complex, sensitive situations, and who is able to achieve this without ever trivialising the central issues of the film? The man is a rare talent. In his segment in Kutty Story titled Aadal, Paadal , the song and dance is not of the literal variety. It’s metaphorical and occurs between a husband and wife (played wonderfully by Vijay Sethupathi and Aditi Balan), whose years of togetherness have dented the ‘fun’ in their relationship. This is the word Sethupathi’s character uses to explain away his transgression. Despite the emotional weight of this subject, Nalan proceeds to draw all types of humour from the film. There are jokes of the dialogue variety, like when Aditi’s character responds to her husband saying, “ Un kaiya kaalaa nenachikaren ”, with “ Adhaan kaal irukke .” There’s humour in the body language, especially of Vijay Sethupathi’s: watch him adjust his shirt as though he were a posterboy for model husband behaviour and then quietly, mischievously ask a woman what she’s wearing. The best of all is the situational humour that arises from his wife playing mind games on him. Even the choice of a name ‘Kamakshi Sundaram’ results in a joke. The success of this film is how while it’s making you laugh, it makes all these quiet, sharp points about the double standards in relationships, about how a husband and wife react differently to the same problem, about how women are viewed as property. To put it simply, our cinema could do with more Nalan.

Directors: Gautham Menon, Vijay, Venkat Prabhu, Nalan Kumarasamy

Cast: Gautham Menon, Amala Paul, Vinoth Kishan, Amitash Pradhan, Megha Akash, Varun, Vijay Sethupathi, Aditi Balan

Much like Nalan’s film, the others too can be said to deal with the troubles that romantic love runs into. Gautham Menon’s film, Edhirpaara Muththam , is a film I enjoyed too, and is one that talks about the thin line that sometimes differentiates a platonic and a romantic relationship.  The word ‘platonic’, in fact, is referenced several times in his film, once by the friend of Aadhi (Gautham Menon), Prabhakar (Robo Shankar), who quips, “Blood theriyum, tonic theriyum, adhenna platonic?” I enjoyed his presence in this film, even if his humour doesn’t always land. Importantly, the presence of such a comedian seems to help localise the scenes in a way that benefits the contrasting sensibilities of a filmmaker like Gautham Menon. It reminded me of how useful a comedian like Vivek was in Minnale , performing a similar ‘grounding’ role.

There’s a bit of homage being paid to the enduring Ilaiyaaraja classic, ‘ Valayosai ’. For one, there’s a scene of the couple in a bus, and with Mrinalini (Amala Paul who I really liked here) humming this song. There’s a small callback to the visual of this song, when the younger Aadhi (Vinoth Kishan) asks Mrinalini to cover her eyes with a dupatta, and then proceeds to kiss her. The circumstances, of course, are different in this film. Mrinalini and Aadhi are friends in a platonic relationship, something Prabhakar scoffs at and doesn’t think can exist. Aadhi, however, genuinely believes this. Without giving away too much, let me just say that despite Mrinalini’s argument at the end, the film does seem to inadvertently support Prabhakar’s stand. Both Aadhi and I will continue to disagree with Prabhakar—and the film—about this.

This is a space that Gautham comfortably thrives in. Watch him capture those little awkward glances between Aadhi and Mrinalini, the small shifts in their body language as they get comfortable in each other’s presence after a long separation. Watch the evident camaraderie between Aadhi and friends at the dinner table, as they sit exchanging old stories. Watch Aadhi sportingly take in—and almost savour—all the good-natured teasing from his friends. Watch that quiet, vulnerable moment—the moment that results in the title of this film—as Mrinalini stutters between embracing her pent-up feelings and letting them slide, in the face of Aadhi’s lack of romantic interest. This is a film whose real value lies in how it shows that should Gautham Menon, who has dabbled a lot in a certain type of romance over the years, choose to explore variations in this space, there’s plenty of room in which to express himself.

Venkat Prabhu’s short film, Logham , has the fascinating premise of gamers falling in love inside a make-believe universe. Spielberg’s Ready Player One comes to mind. There are some fascinating stretches in this film, as Venkat looks to explore how the gaming world can create possibilities that are not possible for many, given the limitations of the real world. However, this is a film that could have benefitted perhaps with a lead actor who’s able to radiate more conviction and charisma. Some of the dialogue-writing is a bit bland too. When Adam falls in love, he goes, “I love you di. I miss you di. En di enna torture panra?!” It reeks of cliché. That pun on the woman lead’s name, Eve, when the man asks her to show her some ‘ Eve erakkam ’ is inspired, but there needed to be so much more of that in this film.

The events that occur within the video game universe in this film too are disappointingly generic. The missions they go through, the coins they collect, the treasures they store… all of these elements needed to be united by a more gripping purpose, one that aligns with their real-world objectives. Perhaps if the gaming universe were more imaginative, the shifts between the real and the gaming world may have seemed more interesting. The story too ends at a point that raises more questions than it provides answers, but that’s the nature of short films, I suppose. The real problem is that for a film with such a fun and yet, deep premise, the film offers neither the satisfying depth of an emotional film nor the rousing fun of a video-game film.

The towering disappointment of this anthology, one that threatens to bring down the other films with it, is director Vijay’s Avanum Naanum . The film is a sneaky appeal against abortion, and this, of course, isn’t new to the filmmaker who brought us a foetus-ghost (in Sai Pallavi’s Diya ) meant to create feelings of guilt in women who have ever considered or will consider abortions. In Avanum Naanum, Megha Akash once again (after Oru Pakka Kathai ) plays a young woman forced to deal with an unwanted pregnancy.  Here, she plays a silly girl who realises she could be pregnant, only after a friend notes that the count of her sanitary pads hasn’t gone down in sometime. The situation of Megha’s character in this film screams for an abortion. The pregnancy is unplanned; her boyfriend is nowhere to be seen; she is ill-prepared to run her life, let alone manage another; she hasn’t completed her education; her parents cannot provide a support system, and she says they may kill themselves if they knew about this… And yet, writer-director Vijay conspires to write an accidental death into this manipulative story, so the girl can feel emotionally pressurised into having the child. The film also propagates the lie that abortion is illegal, and that the gynecologist who helps could potentially get suspended (note that the pregnancy in this film is barely eight weeks old). It’s also a film that feels contrived from start to finish. Be it the caricature of a hotel receptionist, or the horrible prank played on the heroine in a hotel room, or the decision-making of her heroine’s friend… I could go on and on. Thankfully, the film doesn’t, as it’s a short film. Such are the benefits of an anthology.

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The tearsmith, common sense media reviewers.

Moody teen romance has sex, language, and violence.

A Lot or a Little?

What you will—and won't—find in this movie.

To love takes courage. Abuse can cause people to s

Teenagers have residual trauma from physical and e

The film is shot in Italy and in Italian. One of t

Kids lose their parents and are physically and emo

Two teens share a strong mutual attraction. They k

One use of "f--k," plus "s--t," "a--hole," and "id

The film could inspire interest in the book it's b

Teens drink alcohol; one says she wants to "drink

Parents need to know that book-based Italian melodrama The Tearsmith has a dark and moody feel and features teenagers who have suffered abuse, experience violent situations, and embark on sexual relationships. The film also has language (in the English subtitles, "f--k" plus "s--t" and "a--hole") and teen…

Positive Messages

To love takes courage. Abuse can cause people to shut down their emotions. People can overcome traumatic experiences. Grieving takes time. Women deserve respectful treatment.

Positive Role Models

Teenagers have residual trauma from physical and emotional abuse they experienced as children. The trauma makes them question their own self-worth and their ability to love others or lead normal lives. Young men behave violently to get what they want in love, and also in sex. A couple suffering the loss of their own son adopt two teenagers and treat them as family.

Diverse Representations

The film is shot in Italy and in Italian. One of the key characters is a lesbian who hasn't revealed her sexuality because she's in love with her best friend. Background characters show a diversity of races.

Did we miss something on diversity? Suggest an update.

Violence & Scariness

Kids lose their parents and are physically and emotionally abused in an orphanage. They're tied down to beds, threatened, and say they were "tortured." They grow up with a kind of post-traumatic stress that leads to flashbacks and emotional turmoil for some. Two different car accidents leave people dead or comatose. A boy has a neurological condition that has gone untreated. A boy tries to kiss a girl repeatedly and he eventually gets violent.

Did you know you can flag iffy content? Adjust limits for Violence & Scariness in your kid's entertainment guide.

Sex, Romance & Nudity

Two teens share a strong mutual attraction. They kiss and fondle each other. We see his hands on her breasts, inside the top of her pants, and on her bottom as he kisses her. We see her nipples when the two take off each other's shirts.

Did you know you can flag iffy content? Adjust limits for Sex, Romance & Nudity in your kid's entertainment guide.

One use of "f--k," plus "s--t," "a--hole," and "idiot" in the English subtitles.

Did you know you can flag iffy content? Adjust limits for Language in your kid's entertainment guide.

Products & Purchases

The film could inspire interest in the book it's based on as well as other titles by the same author.

Drinking, Drugs & Smoking

Teens drink alcohol; one says she wants to "drink herself to sleep." A boy takes a medication that he hides from others.

Did you know you can flag iffy content? Adjust limits for Drinking, Drugs & Smoking in your kid's entertainment guide.

Parents Need to Know

Parents need to know that book-based Italian melodrama The Tearsmith has a dark and moody feel and features teenagers who have suffered abuse, experience violent situations, and embark on sexual relationships. The film also has language (in the English subtitles, "f--k" plus "s--t" and "a--hole") and teen drinking. Two teens share a strong mutual attraction. They kiss and fondle each other. We see his hands on her breasts, inside the top of her pants, and on her bottom as he kisses her. We see her nipples when the two take off each other's shirts. Another boy tries to kiss her repeatedly as well, and he eventually gets violent. The teens are recovering from extreme physical and emotional trauma as children in an orphanage. The trauma makes them question their own self-worth and their ability to love others or lead normal lives. Kids and adults deal with death and loss. To stay in the loop on more movies like this, you can sign up for weekly Family Movie Night emails .

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Videos and photos.

Community Reviews

• Parents say (3)

Based on 3 parent reviews

What's the Story?

In THE TEARSMITH, Nica (Caterina Ferioli) and Rigel (Simone Baldasseroni) are children in a bleak orphanage run by a sadistic woman. Rigel watches out for Nica, and when she's adopted as a teen, he asks to go with her. There, Nica will attempt to fit in with her new family and classmates, while Rigel will continue to lurk in the shadows without explaining his intentions or his own mysterious recurring headaches. Nica begins dating classmate Lionel (Alessandro Bedetti), but she can't deny her feelings for Rigel. Will their mutual attraction destroy their new lives and send them back to the orphanage?

Is It Any Good?

Twilight meets the After series in this tortured teen romance from Italy that features an excellent lead performance and murky undertones of childhood loss and trauma. The Tearsmith 's shadowy settings and moody soundtrack (featuring Billie Eilish and Olivia Rodrigo ) underscore the tale's dark elements. The voiceover and dialogues also make frequent reference to fairytales, particularly the character of the wolf. This adds to the ambiance but was ultimately unnecessary. Teens can have epic romances without a need for meta myths, near-death experiences, or melodrama. Even so, The Tearsmith makes for engaging entertainment, and star Ferioli is especially magnetic.

Talk to Your Kids About ...

Families can talk about the abuse the characters in The Tearsmith experienced as children. How did this continue to impact them as teenagers, even outside the orphanage?

How would you describe the mood of this movie? How about its color palette?

What were some of the fairy tale elements in the movie? Would the film have been the same for you without these?

The film uses a lot of voiceovers to explain characters and storylines. Were there other ways the film could have filled in these pieces? Can you think of examples?

Movie Details

• On DVD or streaming : April 4, 2024
• Cast : Caterina Ferioli , Simone Baldasseroni , Alessandro Bedetti
• Director : Alessandro Genovesi
• Inclusion Information : Female actors, Female writers
• Studio : Netflix
• Genre : Romance
• Topics : Book Characters , Fairy Tales , Friendship , High School
• Run time : 105 minutes
• MPAA rating : NR
• Last updated : April 9, 2024

Did we miss something on diversity?

Research shows a connection between kids' healthy self-esteem and positive portrayals in media. That's why we've added a new "Diverse Representations" section to our reviews that will be rolling out on an ongoing basis. You can help us help kids by suggesting a diversity update.

Suggest an Update

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Spy x Family Code: White

After receiving an order to be replaced in Operation Strix, Loid decides to help Anya win a cooking competition at Eden Academy, by making the director's favorite meal in order to prevent hi... Read all After receiving an order to be replaced in Operation Strix, Loid decides to help Anya win a cooking competition at Eden Academy, by making the director's favorite meal in order to prevent his replacement. After receiving an order to be replaced in Operation Strix, Loid decides to help Anya win a cooking competition at Eden Academy, by making the director's favorite meal in order to prevent his replacement.

• Kazuhiro Furuhashi
• Ichirô Ôkouchi
• Tatsuya Endo
• Takuya Eguchi
• Atsumi Tanezaki
• Saori Hayami
• 3 User reviews
• 3 Critic reviews

• Loid Forger
• Anya Forger

• Bond Forger
• Franky Franklin

• Sylvia Sherwood
• (as Yuko Kaida)
• Henry Henderson
• Damian Desmond
• Becky Blackbell

• Fiona Frost
• (English version)

• All cast & crew
• Production, box office & more at IMDbPro

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• Connections Follows Spy x Family (2022)

User reviews 3

• nurhandanish-06093
• Mar 4, 2024
• How long will Spy x Family Code: White be? Powered by Alexa
• April 19, 2024 (United States)
• Official Site (Japan)
• Official Twitter (Japan)
• Spy X Family Code: White
• CloverWorks
• Toho Animation
• See more company credits at IMDbPro
• $45,678,969

Technical specs

• Runtime 1 hour 50 minutes
• Dolby Digital
• IMAX 6-Track

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