Kaadhal Enbadhu Podhu Udamai

Kaadhal Enbadhu Podhu Udamai (2025) : Movie Review -

Kaadhal Enbadhu Podhu Udamai, aka Love is a Public Property, delves into the prevalent LGBTQ challenges in Tamil society, where such subjects are still heavily stigmatized. The movie concentrates not just on same-sex love but also raises numerous legitimate questions within the story that remain relevant even if they are difficult to embrace.

The tale revolves around a girl who develops feelings for another girl but struggles to discuss this truth with her mother. The initial 20 minutes create tension with deceptive storytelling, although many sharp observers might realize it far earlier. The mother finds it hard to come to terms with her daughter's sexuality and perceives it as a small-time attraction that will soon diminish. As the father steps onto the scene, he asks a number of ridiculous questions that mirror the present mentality of our culture.

Throughout the story, a prominent feature is that this film focuses more on the parents' inquiries and perspectives regarding LGBTQ relationships rather than on society as a whole, since society originates at home. Certain scenes, like Nandini's rape, Sam's intentional kiss to Nandini in front of her family, and the overly physical romantic song, disturb the film's flow. The climax could have been more intellectually engaging, as the overall storytelling appeared far more advanced than the regular climax it provided.

Kudos to Anusha Prabhu and Lijomol Jose for embracing these roles and portraying this story on screen. The pair is deliberately selected so that one girl is girlishly gorgeous, whereas the other has a slightly manly structure . This combination creates a sense of perfection, rather than choosing two alike-looking girls. Ravindra's character is critically important in the film, and Kalesh Ramanand has portrayed it exceptionally well.

Rohini portrays a mother with complete sincerity, while Vineeth, in the role of the father, is absolutely knockoit. A special note is due for Deepa Shankar's Mary, an illiterate maid who comprehended the circumstances more effectively than the educated individuals in the residence. The sense of pride in Deepa's eyes when she hands back that Rs. 500 note and the phrase, "Cut it from my salary," is just wow. I'm in jitters now as I think back to that moment.

From a technical perspective, it's a decent film. The music fits the situation well, and the background score is excellent. The cinematography and editing are effective in their roles, while the dialogue adds a bold touch to the film. Jayaprakash Radhakrishnan approaches the delicate topic with the essential sensitivity, making it a significant film for contemporary times.

Despite its merits, this film occasionally oversteps the boundaries of fundamental societal norms. I am open to having such conversations if they are socially and morally reasonable, but they shouldn't create an illusion of being extraordinary by imposing physical closeness and compressed vulgar language. I'm unsure how to convey this since it entails examining each scene, which would ruin your experience of watching. Consequently, I leave it to your own interpretation as the subject isn't likeable to everyone. But please do give it a try.

RATING - 5/10*