Natchathiram Nagargirathu

After a great hit of sarpatta, this was a pure disaster for ranjith, his style of film making is that, he speaks politics in every genre which is not ok for a romance one, the story is weak and he didnt even convey what he wanted to say to people, according he just talked abt LGT and general love but clear with the script and the political thing didnt work at all! If you r still taking films like this doesnt change any just taking in cast and portraying everything is not right at all, talking casts will increase more rather decreasing!! Politics apart , coming back the movie has a weak story and screenplay is so poor, the most annoying one was the female lead, i dont know why he designed such a character, it ranjiths female lead , all the other characters did good , overall a pretty average film, available in netflix.

For what's a 4-star film in its political ideology (and progressivism), NN felt very anti-climactic to me, and hence, I'm going with 3.5. The whole stretch with Shabeer Kallarackal (though he's a wonderful actor) was bizarrely staged. I get that it was supposed to be bizarre in the first place, but it failed to evoke the right emotion in me when the rest of the film seamlessly managed that.

Pa Ranjith's NN is more of a statement on love than a love story. It asks relevant questions on modern love, answers some of them (subtly and extravagantly), and leaves the rest for audiences to interpret themselves and make room for improvement and inclusion. Dushara Vijayan's performance (as René) is splendid, never holding herself back from expressing exactly how she feels about everything - be it love, music, food, or societal discrimination. Boldly written and performed, René is certainly among my favorite Pa Ranjith protagonists. Kalaiyarasan comes next in line for portraying a biased, pre-conditioned person who turns over a new leaf eventually. His transformation is the one that feels complete.

Kalidas Jayaram and the rest of the ensemble are okayish, relegated to characters that are less memorable. Some LGBTQ representation is added as well, but they serve little in forwarding the film's plot, as the theme of the play the theater group eventually settles on, has little to do with queer love. But it's wonderful to see them in the film nonetheless, especially in those discussions about love (and its politics) early on. Tenma's music is also an essential ingredient that kept me interested all through. The best stretch in the film was the subversion of endogamy in a scene where Kalaiyarasan's character goes home to visit his dying granny.

RATED 9/10 Language: Tamil Source: Nil RECOMMENDED

From the beginning to end the movie is not deviated from the core subject. No extra scenes, sentiments and comedies. These are are very much positive points to the movie at the same time sidelines the movie into artistic one rather than entertaining one.

This is pure Art-Cult-Brave movie and must watch for every cinema lovers. The first half looks filled with more conversations and bit over done, might be I got this feeling because of all scenes shot in single location. The second half is bit breezy. The Movie is point blank at the same time it was funny in places.

The biggest strength of this movie is the dialogs. There is some hidden gem shots like "door with light rays on Buddha painting and the person sitting near the wild cat in climax" The climax fight is bit hurried wind-up but I liked this one. The "beach meet" after climax fight is cherry on top scene.

Must watch for everyone, especially who want to self analyse the love life...

I really wanted to love this movie, but unfortunately it is a bit too messy and meanders (especially the first half) a bit too much for me to like it.

This is a bold attempt and social commentary and message(s) ( there is far too many and only 1 or may be 2 gets proper resolution or justice - all others just gets thrown around )

I think the basic problem was that the movie was like a druggie rapping - it was raw, real and mostly hitting out some hard-hitting truth - but lacks cohesion, resolution and completeness !

The acting is largely good, music is pretty decent and script is good as well.

Had this been edited a bit more crispier and some unwanted social commentary removed (those the core of the movie is not addressing ) it would have been a compelling watch.

A pretty bonkers movie completely devoid of Tamil cinema love stories that we have seen so far. This film will have mixed reactions as it is so off the wall that I can't tell this will be appreciated unanimously. Ranjith has delivered something world-class, he is back with a tale that has all the usual themes but deals with twisted love and all kinds of love. I am not a huge fan of P. A. Ranjith as a director but have a liking for projects he is on board as a producer. He has supported new concepts in his Neelam Productions despite the shortcomings in the production. I have followed his stint as a producer and appreciate his ability to pick unique stories, even his recent outings have the stamp of an auteur in the making and you can check out my 'Kuthiraivaal' and 'Seththumaan' review.

This experiment or an attempt by PA Ranjith to tell about Compassion, Love, the political tragedy without being too elitist or kitsch. I never expected it to be this good in such a way it does not look vulgar separating itself from the usual films we have seen in Tamil cinema. The theater setting was a good gambit, it evoked polar emotions as we travel with the characters plunging into screen with surreality. I despise filmmakers self loathing by making a very personal film, it is better if they keep it in a safe locker. Well, Ranjith's film is a personal cinema but doesn't over indulge in Kasthapadra Vada Chennai folks with existential crisis and dealing with errors in the system. In 'Natchathiram Nagargiradhu' it is impossible for Ranjith to let go of the politics as the characters discusses Dalit love. But this remains as a revelation of the characters and hard hitting dialogues. The basic human feelings, fears, banal truth about relationships which is often ignored is spoken out loud as Ranjith shares with the audience part of his inner life. I didn't like the comedy sequences involving Madeline, the French lady as it wasn't needed to push the narrative. But the rest of the characters go a long way from the first minutes of the film to the final credits with the completion of the play, sometimes pleasing to the eye. The Wild cat vs the Domesticated Cat reference was so relevant and deep. And the The I see a glimpse of arthouse influence here especially the works of João Pedro Rodrigues, Marcos Prado, Gaspar Noé, Aly Muritiba and Leos Carax.

Regardless, this is a film that is hard to compare with anything else. But, to be honest, I don't want to compare it. I recommend this to everyone as this film is a celebration love, a daring play on emotions.

Verdict: And, of course, one of the best films of the year.!