In revisiting Nayakan we are reminded that men become gods not as a sign of presumed cultural backwardness but because the modern nation-state has failed.
The "chick flick" medium doesn't completely obfuscate the espousal of the triumph of Hindu conservatism over secular-liberal institutions and socialist ideology.
Like its Serbian counterpart, Tamil Turbo-folk masquerades as ethno-nationalist resistance against the dislocations brought to bear by nation building, liberalization, and globalization.
Making their films resistant to easy consumption and demanding respect for the artiste is essential to the spirit of Birdman and Uttama Villain.
In the kulturkampf between India’s intelligentsia decrying the ‘cultural terrorism’ of extremists, a film like PK has me wondering, how long can secular liberals retain the moral high ground?
While Hollywood horror thrives on the anxieties over the persistence of evil, emanating from a malevolent source, Tamil horror films deal with the prevalence of social injustice.
Fed up with the empty rhetoric of utopian ideology and highfalutin discourse, the new generation of filmmakers take their frustrations out on the grand narratives of Tamil cinema.
Recent films from the action-masala genre project India as a global sheriff, replacing a toothless West as an expression of muscular nationalism.