Tonda kappuru

Somai out the gate has a masterful vision and style, and does not feel like a first film; I strain to find areas that do not feel completely at ease on screen. Interesting because his style is so unusual. Little details go with the passage of time, bonding the film with us the viewer.

Like the teacher scolding them for laughing, then being a comedian by semester 2, or how the boy won't eat the cooking at first then he loves it. It's a wonder seeing the relationship develop. And the dread around the edges of them falling for other people. It is a film that seems to leave you with little on the surface but there is an incredible amount of clockwork. Like the ending. The ending of the movie is so sad and yet her exit seems uplifted. There are so many unanswered questions that provoke the imagination. It is like, here is what would happen, and let's do the opposite to see what happens, and it does this constantly.

I suspect it's because she can close the book forever, and that shocking snub doesn't define her story. She has so much going for her, and so much life ahead, that the movie has to give her this Minnie Mouse send-off. You can also see how she is going upstairs, while he is going down a tunnel below, showing a narcissistic self-destruction ahead for him. He is a boy that can't see the good that is in front of him.

If you think you have seen all the film masters, you need to dive in Somai's work. They are as vital as anything I have seen.