‘Freedom’ Movie Review: Sasikumar’s socio-political thriller is foggy and exploitative

In the long list of Tamil films, which tells a fine story with great intentions FreedomA socio-political gel-break thriller starring Sasikumar and Lijomol Jose. Director Satyasiva ambitically accepted the real-life story of how some 43 Sri Lankan refugees (alleged LTTE members) made a courageous migration from their ‘Special Camp’ at Vellore Fort-after the police torture for more than four years in the investigation of former Prime Minister Rajivid Gandhi’s murder of former Prime Minister Rajivid Gandhi, former Prime Minister Rajivid Gandhi.

Any story around the Sri Lankan Civil War or LTTE can still send waves to Tamil Nadu, making such efforts a tight act. In that regard, both Satisiva and Sasikumar (a Sri Lankan refugee as a frequent role, after acclaim Tourist family) It is worth crediting for his faith in the story and try to speak against oppression.

But good intentions are never enough to create thought-esure cinema, and leaving the above complicated framework, going for very little. Freedom,

In the early 90s, we begin after Maran (Sasikumar), as it is pulled into a fourth hours after reaching the shores of India. He meets his pregnant wife, Selvi (Lijomol) for the first time a month, but as luck, the Indian Prime Minister is soon killed by a LTTE suicide bomber at a rally in Chennai. A political upheaval grows, and in a desperate attempt to nab criminals, the police starts scoring men and women from various refugee camps. Maran is one of those going away from Mandapam camp in Rameswaram. Selvi said how she could not even give food to her tired husband, who had just come out of a Sri Lankan jail, and you start feeling a lump around your neck-an upset incident on an-sight is one thing, but there are signs of first acting before the first acting. Freedom This will also expect a passive follower of Tamil cinema.

The latter sequences are blood-curting to say at least. In a special Makshift Camp (Read: Jail) inside Vellore Fort, refugees torture and tolerate the attack in the name of inquiry. In this prison, the police are under the tyrannical thumb of the tragic, Magalomaniaq IPS officer Sudev Nair (after the actor reveal the shallow design naming the character), a non-tamil who is accused of questioning the prisoners because “a Tamil Cop may show some remorse.”

It is clear that the annoying performance of police vandalism is to create shock – and to develop an emotional response that later justifies the functions of the characters – but the point is repeated. Those who suffer with Maran include an elderly person, Singeni (Mu. Ramaswamy); Chandiran (boy Manikandan), a youth with a speech disability; And a young woman whom we saw – in a disturbing sequence – is subject to sexual abuse at the hands of a Sri Lankan policeman. It is as if the sensitivity and depiction of such disturbing acts and the school of Satyasiva do not find any relevance in the production of the school of film. This over-fixation on violence ensures that we can check every time with the film’s hyperrarality, expecting some nuances to pull us back.

In turn between the prisoners and their family members in the camp Freedom The tunnel-democracy to sell the story’s sentimentality becomes that it indicates any scope for political comments. This is despite the arrival of Malavika Avinash’s lawyer character; We hardly know that the legal support he is claiming is claiming. Even the character of Ramesh Kanna’s CBI officer, whom Sudev reports, disappears. In fact, seeing another task of one late Freedom The political reference or background of the film cannot be found.

Still ‘freedom’. Photo Credit: Special Arrangement

With small materials to hang, the film raises at the speed only after a plan to run into the final-khai attempts. Nevertheless, we have to bear some tedious stretch before we get ourselves to escape.

Freedom There is a disturbing attempt to exploit the sympathy of the audience. It is neither fine, nor does it dig into a large story of the plight of the Sri Lankan refugees, nor the factor in any concrete about the barbarity of the police – a social evil that has become a major speaking point in Tamil Nadu (the film is being released when the state is starting when the state is starting to resume due to the death shock of the protection of Ekjith Kumar).

It is tired to train filmmakers repeatedly on an important subject to train an insensitive lens, which are well intentions. Perhaps this is the time that is a filmmaker who claims to speak for humanity, begins to believe in the ability of the audience for sympathy.

Freedom is currently running in theaters.