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Satyajit Ray's Kanchenjungha is interrelated to the unpredictable mood of the nature juxtaposed over the characters seeking clarity. Ray's first color film and first original screenplay strikes an affirmation towards simplicity with no central characters. In the beginning, the characters are distant yet as the film culminates the strange closeness leaves with an echo of mist. Here, sun rays and mist are symbolically used to portray simple discussions seeking closure or bond. The visible mountain range of Kanchenjungha soars high in a peculiar culmination shot depicting the character's crystalized interpersonal relationships.

Iraivi literally means "Goddess", it's a moral ordeal of male chauvinism. Director-Writer Karthik Subbaraj blends explicit as well as subtle metaphors while portraying the collateral damage upon women by inflated male egos. Writing unsympathetic characters and leading them towards denouncement through simple visual inventiveness - for example, the prison uniform falling from the clothespin depicting release of the prisoner. Throughout the film, women characters are juxtaposed with rains (fertile change) and windows (opening and illumination of darkness).

He mounts an unpredictable trajectory of the characters, it's the same unpredictable nature as in his previous ventures - Jigarthanda (2014) and Pizza (2012). This unpredictable trajectory is uplifted by seamless meaningful intercuts between the plight of characters. This is the women empowerment venture which lends sense and sensibility of freedom as the characters are ironically freed due to inflated male egos. There's a resolution which leaves a lump in the throat and there's closure which leaves void, the power of cinema reflects the real ordeal.

And the film gave an insight about SJ Suryah who plays a filmmaker, he literally beholds every frame through his nuanced gestures.

Karthik Subbaraj begins with the routine horror built up which has a strong effect over the impactful events. While unfolding at somewhat leisure pace which keeps stimulating the horror effect inconsistently. The sound heavy silent thriller becomes chilling once the thrilling entity enters, we start absorbing and the need of "silence". Although, the scares are less - what builds up scarily and eerily is Karthik's effective handling of the sensory modalities - deprecating us to breathe for a while. The unique conflict between senses - sight and sound trembles into a thrilling cat and mouse game.

It's definitely a brilliantly-crafted thriller but that's not essential. The major tonal shift is abrupt which throws us off the dark track while Karthik tries to get hold of social theme - environmentalism. Nevertheless, it's commendably rendered for the effect along with fine bunch of cast including the gutsy Prabhu Deva.

"Mercury" is a noisy thriller at it's best though marketed as a silent thriller film, it makes us sick with the toxic green hue and Karthik's fearless and gutsy filmmaking sails safely through this interesting cinematic venture.