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Vikash Nowlakha's handheld camera work, coupled with motivated lighting, immerses viewers in the confusion unfolding throughout the movie.
Rahul's 'Bramayugam' and Jijo's 'My Dear Kuttichathan' depict the manipulation tactics of power-hungry people who ensnare gods and demigods.
Madhu dictates where the moonlight will end on his frame and from where the shadows will grow only to be diluted by the flickering warmth of light spilling from an oil lamp or a campfire.
In the slices shared from Vaaliban's world, the dyes of valour, camaraderie, and love are dyed over in the dark shades of abused power, class struggle, deceit, sweat, and blood.
Jeo's writers Adarsh Sukumaran and Paulson Skaria occasionally resort to the FAQ format to elucidate the necessity of proper understanding and acceptance of sexual orientation.
Despite its successes, one aspect of the film received criticism – the portrayal of its villains.
As a storyteller, George prepares his viewers well in advance for these deeply philosophical moments quite effectively.
Selvaraj has managed to achieve remarkable clarity to the subject by chosing Veerappan's wife Muthulakshmi to tell the story.
Halitha's opening shot of 'Aelay' creates an illusion of similarity with the bus sequence in ‘Nanpakal Nerathu Mayakkam’.
In Lijo Jose Pellissery-Mammootty's ‘Nanpakal Nerathu Mayakkam’, Theni Eswar's camera constantly hums like a Dravidian ascetic radiating peacefulness.
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