Sexual crimes have become the go-to place for filmmakers to find easy conflicts. It has become a license for all the on-screen violence of the protagonist and the viewer is expected to get a cathartic release seeing such revenge stories. In the end, the victim or the sexual violence itself is just reduced to nothing more than a conflict or a reason for the story. Trauma is yet another addition to the list of such Tamil films, which are on the rise now. However, director Thambithurai Mariyappan should be lauded as he at least doesn’t capture such violence with an exploitative gaze, which has become the norm. Such maturity is shockingly absent in other aspects of Trauma, which comes across as the work of a novice short-filmmaker. As far as the story goes, Trauma follows three narratives because it wants to be a hyperlink film, which is in vogue now (thanks to Lokesh Kanagaraj). We have two petty thieves who go about stealing cars. They are straight out of Tamil black-and-white comedy dramas because they seem to not even know how much a second-hand car would sell for. They wonder whether an SUV would sell for twenty thousand rupees, and that’s supposed to be funny.

Adolescence opens with a scene of a police officer DI Luke Bascombe (Ashley Walters) dealing with his son over the phone. The boy doesn’t want to go to school because of a bad stomach. When his colleague wonders if he will let him get away with the lame excuse, Luke says, “He knows Tracy (his wife) will say no, and I am a soft touch." The scene kicks off as a cute little moment between two officers and escalates into a volatile arrest sequence of a 13-year-old boy named Jamie Miller (Owen Cooper) as DI Luke and his team burst into his house. It takes a while to realise that the shot hasn’t cut ever since the first frame, and it doesn’t till the end of the episode. Adolescence has four episodes, each one done in a single shot, leaving you wondering how few sequences were even done. However, it is not a series that is all about technical excellence. After a while, you tend to forget the single-shot brilliance as the story is even more engrossing, taking you closer to a devastating state of parenting, the school system, and the rise of toxic masculinity.

In a sense, Perusu is one of the rare Tamil films that fit the adult comedy genre, as the premise of the story, directed by Ilango Ram, is as wacky as it can get. Halasayam, a respected man from a rural town, is fondly known as Perusu, a term used for an elder or a patriarch of a family or a village. He is one of those notable people of any town who have a say in its affairs. When we meet Perusu, he lands a slap on a youngster for allegedly peeping at women taking a bath in the community pond. Along with his elderly friends, Perusu orders the young chap to behave. Before leaving the place, he doesn’t miss to grin at the ladies himself. The lad resolves to have his revenge, but Perusu doesn’t give him any chance as he dies after returning home from watching TV. But the catch is that Perusu dies with an erect penis, which lands the whole family in trouble. His two sons–Saamikannu (Sunil Kumar) and Durai (Vaibhav)–try their best to ‘de-escalate’ the problem but it won’t die down. If you frown upon my double entendres, then imagine watching a film with such incessant phallic dialogues and words.

Gentlewoman is one of those films that leaves you with the frustration that rises out of lost potential. It could have been the perfect free-hand circle, if not for the last wayward bit. The circle is not all that misshapen, but you can’t look past the botch made either because when things are going well, it is seamless, until it is not. The mistakes, even though just a few, become conspicuous when everything else is perfect. Now, the film, directed by debutant Joshua Sethuraman, is good. The lamentation is about how it could have been great as it kicks off with a brilliant premise and subtlety that is rare in crime thrillers of Tamil cinema.

Abrodolph Lincoler is one of the outrageously funny characters in the American animated series Rick And Morty’s hit episode Ricksy Business. He is a genetically engineered clone with the DNAs of Adolf Hitler and Abraham Lincoln. He is an experiment gone wrong. The idea was to create a more neutral ideological leader, but in reality, he ended up becoming a person with disoriented ideas. Sample one of his lines: “Prepared to be emancipated from your own inferior genes." He is a diabolical cocktail of ideas. Watching Aghathiyaa reminded me of this character as the film’s ideology is as confusing as Lincoler. On one hand, the film, directed by lyricist Pa Vijay, has Dravidian newspapers Kudiyarasu and Viduthalai as some product placements throughout, and at the same time, it is a propaganda film about Siddha medicine that would make Periyar turn in his grave.

Pushakar-Gayathri’s Suzhal: The Vortex Season 1 continues to be one of the very few Tamil web series that’s on par with the global standard of such long-form thrillers. It has set a high benchmark that even the second season of Suzhal: The Vortex also fails to reach. Yet, the new season, streaming on Amazon Prime Video still warrants a watch as it has a lot going on for it. While the problem with season 2, directed by Bramma G and Sarjun KM, is largely due to its predictability and convenient writing, it still holds your attention due to a few good streaks of brilliant writing.

A problem with magnum opuses is the weight of the expectations it creates for future projects from the filmmaker. Eeram continues to be a victory director Arivazhagan is unable to emulate. Sabdham is the second collaboration with Aadhi, which has brought the hit duo back again, but not the quality it had produced with Eeram. Though Sabdham is an unabashed attempt at creating a horror film of a similar pedigree, Arivazhagan falls short due to the lack of simplicity that Eeram wore as a crown. Eeram, his debut, was a straightforward story about the ghost of a virtuous woman haunting everyone who wronged her, using water as her medium. When the protagonist investigates the case, it takes an organic route to move from being a crime thriller to a horror. Everything about the film was lucid and engaging as the film doesn’t take too much on its shoulders. On the other hand, Sabdham (meaning sound) is confusing as it tries to marry science with the supernatural.

Dragon has a protagonist who is insufferable for most of its runtime, which, more often than not, doesn’t work in the favour of movies. Pradeep Ranganathan as D Raghavan aka Dragon is one of those bullies in the engineering colleges, who believes being macho makes him a hero. He is an instantly off-putting personality. His college attendance is 2 per cent. He is notorious for his on-campus violence. He has several ‘cases’ against him in college. You get the drift. On top of it all, he has 48 backlogs, nearly all of the subjects in the course. He was not always like this. In school, he was the naive D Raghavan with a glorious progress report. He becomes Dragon when his school crush tells him that bad boys are the thing. Once Dragon gets out of his den, which is his college, he ends up becoming a nuisance to his friends, a failure to his girlfriend, and a fraud to his parents. When the girl breaks up with him, he takes a shortcut to become a successful person, but his mistake comes back biting when everything looks up.

An overarching similarity in the three directorial ventures of actor Dhanush is their simplicity. Their stories are straightforward and so are their screenplays. Pa Paandi is about a retired stuntman trying to find his lost love. Raayan is about a brother trying to save his family from itself. Now, Nilavuku Enmel Ennadi Kobam is a rom-com about a guy trying to patch up with an ex-lover during her destination wedding. These are time-tested stories that had high success rates in the past, and Dhanush attempts to revive these old-school narratives in a contemporary setting. The best metaphor to describe this marriage of the old and the new is the image of Pa Pandi cruising on a Royal Enfield bike to find his love in Dhanush’s debut. An old guy trying to get back his lost romance is old, but his taking on a long ride to see her is new. Similarly, Nilavukku Enmel Ennadi Kobam has an age-old story with cliches, but the ethos is new.

Painkili is one of those films that leaves you confused. There are streaks of brilliance in it, but something leaves the project way off the mark from being the unique experience it strives to be. Written by Aavesham director Jeethu Madhavan and directed by Sreejith Babu, Painkili is an attempt to provide something off-beat and eccentric, but instead, it ends up being random because of the lack of a story arc. While the film is supposed to be about the meeting of two enigmatic personalities–Sajin Gopu’s Suku Sujeeth Kumar and Anaswara Rajan’s Sheeba Baby–it takes a long time to reach the point. Instead, it meanders too much, doling out comedy sequences. While the humour works to a large extent, you are constantly left wondering about the point of it all.