vetrimaran tamil

Every Vetrimaaran Film Ranked

Tamil filmmaker Vetrimaaran belongs to one of those breeds of director whose tight scripts, apt casting, and realistic treatment of storyline has made fundamental changes to the very nature of mainstream filmmaking. His films are made for a multi-cultural audience and backed by the strength of their storytelling and sculpted dialogue, which has reinvigorated the art of popular cinema with a breath of fresh air.

Related Read to Vetrimaaran Films: Every Lijo Jose Pellissery Film Ranked

Each of the films is imbued with a powerful, coherent aesthetic that guides viewers through a dark matrix. At its best, it augments a captivating narrative and sinks viewers into a world of social realism of rural Tamil Nadu. Even urban reality is being depicted showcasing more fallible and life-like characters. The cinema of the carnivalesque with its larger-than-life characters, melodramatic orientation and highly romanticized canvas is something that does not whet his appetite for creativity.

With a filmography of five features and one short film as a director, he has earned his reputation as the most one of the most accessible filmmakers of the last decade. His style involves artistically thriving with a soothing pace lending itself to an atmospheric work filled with oneiric undertones. Some viewers may find his films brutal and gut wrenching as it gets; yet, despite its ruthless depiction, it’s also surprisingly heartwarming.

5. Polladhavan (2007)

Vetrimaaran’s debut feature film opens up with a gruesome and brutal fighting sequence and then using the device of flashback, the filmmaker takes us into the dynamic world of contemporary Chennai, where an educated young man, Prabhu ( Dhanush ) fight injustice and in the process is forced to unleash the animal within him.

Also, Read: Every Sriram Raghavan Film Ranked

The protagonist of the film is an uneducated youth who due to turn of events confronts his father (Murali) and an argument regarding the responsibilities of parents towards their offspring ensues. As a result of this conflict, Prabhu gets a hefty amount from his father and he uses the money to purchase a Bajaj Pulsar bike. This appears to be a wise investment because owning the vehicle enables him to get a job and earn respect in society. But the situation takes a drastic turn when a gang of anti-socials steals his bike. Thereafter the film presents the viewers with the transformation of resilience into power and its hold over the life of an individual’s struggle to maintain his position in the harsh reality of everyday life.

The plot of the film has similarities with Wang Xiaoshuai’s Bejing Bicycle (2001). But the well worked out mise-en-scenes of Polladhavan makes it an entertaining tale of a casual urban carefree person’s conversion into a person of genuine worth and true dignity. Polladhavan was remade in Kannada as Punda, in Telugu as Kurradu starring Varun Sandesh, in Sinhala as Pravegeya, in Bengali as Borbaad (2014) and in Hindi as Guns of Banaras (2020). But none of them could achieve the excellence earned by the original version.

4. Visaranai (2016)

Based on the Tamil novel Lock Up by M. Chandrakumar, Vetrimaaran’s third outing in its first half has such brutal scenes of police torture that one could genuinely feel the bestial act of police torture. The viewers are compelled to cringe as well as empathize with the plight of four helpless souls. The narrative of the film can be divided into two sections-before and after the intermission. Four migrant workers are falsely accused in a burglary case that has taken place at a rich and affluent man’s bungalow. The police beat these four characters in black and blue and want them to confess. Not able to withstand the pain they agree to accept the charges. Once they are produced in the court the narrative of the film takes a twist and the viewers are presented with one shocking surprise after the other.

Related Read to Vetrimaaran Films: Salt Of The Earth (1954) : A Landmark American Independent Cinema On The Working Class  

The filmmaker displays superb craftsmanship and commitment to an engaging dramatic tale that ends in a tragedy. The film subtly depicts that the characters in the film become a victim because of the system that protected the criminal over the accuser. It is a deeply troubling film that is devoid of cathartic and healing moments. Vetrimaaran does not feel hesitant in constructing the brutal scene with ease and he is neither afraid to carve out its own unique style.

The film had its world premiere at the 72nd Venice International Film Festival, where it won the Amnesty International Italia Award. Back home it had won three National Film Awards- Best Feature Film in Tamil, Best Supporting Actor and Best Editing.

Watch Visaranai (2016) on Netflix

3. asuran (2019).

What becomes the last resort for a farmer who goes on the run with his family as he is compelled to protect his son, who has murdered a wealthy upper-caste landlord in a fit of vengeance? The reply should be to fight with the oppressing forces and reclaim his identity. That is exactly what Sivasaami (Dhanush) does to break away from the uncomfortable social status he has inherited. Based on the novel Vekkai by Poomani, Vetrimaaran’s screen adaptation is so watertight that every occurrence in the screenplay feels alluring.

Related Read to Vetrimaaran Films : Asuran (2019) Review: Rise, Asuran, Rise!

With Asuran Vetrimaaran continues his excellent cinematic flair as a director enhancing his commendable grasp on the tropes of mainstream cinema. The film also benefits from technical polish – the cinematography, background score and editing are all top-notch. Asuran too has gut-wrenching violence and prepares the viewer for the edge-of-seat tension. The narrative follows a rhythm where the plot is revealed without wasting much of the screen time. The film belongs to the genre of revenge saga told from the perspective of a lower caste protagonist.

It’s one of those mainstream films that fulfill a social purpose, for it’s hard to imagine anyone viewing Asuran and not abhorring the evil practice of casteism in our country and how it voluntarily degrade human values and status. At the Norway Tamil Film Festival Awards, 2020, Vetrimaaran won the award for best director. The film had won two National Film Awards- Best Feature Film in Tamil and Best Actor.

Read the Complete Review of Asuran (2019) Here

Watch asuran (2019) on prime video , 2. vada chennai (2018).

A tale of criminal activities narrated in a non-linear pattern over the span of more than a decade is the perfect recipe for a crime sage. Vetrimaaran’s narrative takes the viewers on a journey that lasts for nearly a hundred and sixty-four hours and introduces them to the world of guilt, regret and vital decisions leading to loyalty turned into betrayal. The protagonist of the film Anbu (Dhanush) is an expert carrom player but his life gets entwined into the world of crime. He gets pulled into the vortex so deeply that penitence alludes to him after a point in time.

Related Read to Vetrimaaran Films : Top Tamil Movies of 2018 and Where To Watch Them

With a multiple cast the story of the film is set in the underbellies of North Chennai as the title of the film implies and the theme of the film is more nuanced than the conventional black-and-white morality tales where evil is punished by good at the end. The film blatantly showcases the graphic world of crime and violence, investigates the nature of friendship, the ethics of vigilantism, and the nature of unhappiness. Vetrimaaran delves deeply into the minds of his tortured characters and explores how the men and women he depicts grapple with moral codes and their emotions.

He further engages with many of the most basic questions about our humanity and how we relate to one another in a complex world. The stylistic elements in the film earn comparisons, bearing marked connections to several of Vetrimaaran’s other films. The film won the Best Film (People’s Choice Award) at the Pingyao International Film Festival, 2018. At the Filmfare Awards South, Dhanush won the trophy for the Best Actor.

Read the Complete Review of Vada Chennai (2018) Here

Watch vada chennai (2018) on disney hotstar, 1. aadukalam (2011).

As the roosters combat in the arena with each other, it becomes a fight of the egos of the individuals who own the fowl. So, when Karuppu’s rooster emerges victorious he not only earns a lot of money but also the enmity of his boss Periyasamy (V. I. S. Jayapalan) and Rathnasamy (Naren). And from then onwards the life of our protagonist will be filled with one hurdle after the other as the tale of loyalty, self-esteem, deception, and honor unfolds.

Related Read to Vetrimaaran Films : 10 Great Tamil Movies You Can Stream On Netflix Right Now

In his sophomore, Vetrimaaran presents a varied cultural pattern of rural Tamil Nadu and uses realism, tradition, and contemporaneity, soaked in local flavor within the narrative structure of his tightly structured screenplay. The conflicts introduced within the plot points create tension by employing smart conventions that are able to sustain the viewer’s anticipation. The editing pattern of the film creates a commendable pace and multi-layered visual design that heightens the impact of the film. Though the filmmaker has openly admitted that he was inspired by the dogfighting scene of Amores Perros (2000), Vetrimaaran has infused his own style and poise within the film, which is anything by blatant copy.

Despite having strong content and potential for box-office success, filmmakers from another region could not dare to remake the film until now. The reason being the milieu of the film is so rooted in the soil of Tamil Nadu and that makes it the best film in the oeuvre of Vetrimaaran’s impressive career. At the 58th National Film Awards, the film won five awards-Best Director, Best Screenplay, Best Editing, Best Choreography and Special Jury Award for Acting.

Special Mention: Oor Iravu (2020)

Oor Iravu is a part of the Tamil anthology drama Paava Kadhaigal (2020). Owing to its shorter running time, I have included it in the category of special mention. On the surface level of its narrative, the film depicts the tale of a daughter Sumathi (Sai Pallavi) who had eloped from her village and now she has reunited with her father Janakiraman (Prakash Raj). But as the story of the film moves forward we discover the sensitivity and intricacies of the complex human psyche of individual characters within the film.

Also, Read: Paava Kadhaigal (2020) Netflix: Sinful Filmmaking under the Garb of Hard Hitting Social Drama

Vetrimaaran treated the film with a style that is bold and innovative with the choice of a subject in which the form and content merge into one. The pacing is not fast like his other films rather it is a slow study of how Sumathi’s drastic decision had impacted the lives of various members of his family. Vetrimaaran did not deviate from his usual style of narrative exploration but he has brought an understated rhythm to the unfolding of the events.

There is a kind of freshness in his approach and courage displayed in choosing to build a film around the brutal concept of associating the honor of the family with the sanctity of a woman. The film ends on a depressing note as we realize that such evil things are a reality and will continue to happen unless and until the evils of casteism are not obliterated from our society.

Watch Oor Iravu (2020) on Netflix

Vetrimaaran links : imdb , wikipedia.

Dipankar Sarkar is a freelance writer on various topics related to cinema. His articles have appeared in Scroll, The Hindu, Livemint, The Quint, The Tribune, Chandigarh, Upperstall, and vaguevisages.com amongst others.

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Viduthalai: Part 1

A police officer is recruited to capture the leader of a separatist group. A police officer is recruited to capture the leader of a separatist group. A police officer is recruited to capture the leader of a separatist group.

• Vetrimaaran
• Vijay Sethupathi
• Bhavani Sre
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• Constable Kumaresan

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• Sunil Menon

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• Trivia It's inspired from a poem of Lyrist Na.Muthukumar.
• Goofs The film is set in the late 1980s. However, when Kumaresan is introduced by Head Constable Chandran to a tea-selling undercover militant, the SBI bank's new board design---introduced after 2017, is shown. Also, near the bank, an Activa (introduced in India in the 2000s) is parked.
• Connections Features Maithili Ennai Kathali (1986)

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• Apr 4, 2023
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Why Vetrimaaran is the most interesting director in Tamil films today

Vetrimaaran is arguably among the most interesting filmmaker working in the tamil film industry. here’s documenting his rise and what it takes to be a talent like him..

His production house’s name, Grass Root Film Company, is a clear pointer to Vetrimaaran’s worldview. This Deepavali’s biggest release in Tamil Nadu is, arguably, Kodi (Flag), a political thriller he has produced that stars Dhanush in his first double role, as twin brothers. The twins may be identical but their natures are mutually exclusive. Refreshingly, Kodi casts Trisha as a feisty woman politico, giving Dhanush’s eponymous hero a run for his money.

“For a hero movie, it’s pretty decently written,” pronounces Baradwaj Rangan, film critic and associate editor at The Hindu. “There’s a conflict, there are surprises and even within a commercial film, it’s properly written and directed. It’s not some random moments strung together to get people whistling.”

The film’s premise is how politics and political interests shape communities and the quality of their life. In this case, it involves skullduggery surrounding a factory emitting toxic effluents. It could be happening not too far away from our backyards.

At the Oscars

Vetrimaaran himself, however, was conspicuous by his absence during Kodi’s promos. He has a bigger task on hand. Visaaranai (Interrogation), the part-docudrama, part-crime thriller he directed, is India’s official entry to the 89th Academy Awards in the Best Foreign Language Film category. So he is in the US persuading jurors take note of his film, which has some truly hairy torture scenes. The last Tamil film that made it to the Oscars was 16 years back: Hey Ram starring Kamal Haasan.

Usually, the choice of any film to represent the country at the Oscars polarises critics, but Visaaranai remains largely unchallenged. Rangan agrees. “Visaaranai was a fantastic film.”

It tells the story of innocent migrant labourers picked up and tortured by the police to extract a false confession for a fatal robbery at an influential man’s house. How the film, shot in 42 days on a Rs 2-crore budget and eventually wining three National Film Awards, got made is interesting. After his Aadukalam in 2011, Vetrimaaran had busied himself with his production ventures, Udhayam NH4, Poriyaalan and Kaaka Muttai. When he was prepared to shoot his next, the script he picked was Soodhadi, a story on gambling, proposing Dhanush in the lead role. However, the actor had to take time off to work in Balki’s Shamitabh, being shot in Mumbai.

Vetrimaaran was mooting a book adaptation when director Balu Mahendra’s assistant serendipitously presented him with Lock Up, a riveting, partly autobiographical book written by M Chandrakumar, a former autorickshaw driver. The book, which took five years to write and another four to publish, narrates his harrowing experience while in jail in (then) Andhra Pradesh.

“When I pitched the story to Dhanush, who later produced the film, I said I can only guarantee you a three-day weekend run at the box office. But it’s a low-budget venture; you’ll get your investment back,” Vetrimaaran laughs. “Dhanush was amused, but agreed to fund the project. [I thought] it’s the kind of film that would not bring in repeat audiences. I was proved wrong and it got a good three-week run.”

The author, Chandrakumar, was incarcerated for a fortnight way back in 1983. “Yet his experiences are relevant even today,” points out Vetrimaaran. “Visaaranai reflects a stark reality from which you cannot shut yourself out: that is its success. It was challenging to find the right kind of actors and locations. We employed real stuntmen who could exercise restraint while beating up the actors.”

“What was unique was that there were a lot of first-time actors in the film; that added rawness to it,” says K Hariharan, filmmaker and critic. “Actors like Samuthirakkani and Kishore were entirely on the sidelines. That made it an interesting watch.”

Astutely, the team decided to send it to international film fests right away, confident it would work with foreign audiences. Visaaranai premiered at the Orrizonti section of the 72nd Venice Film Festival, a first for a Tamil film, and won the Amnesty International Italia Award. Crucially, the European audience was exposed to a hitherto unexplored form of Tamil cinema that dealt with grim reality in a non-dramatic but powerful way.

“Europeans have a different policing system. They found my narrative a bit harsh, though they were moved,” explains Vetrimaaran.

A rooted voice

It is Vetrimaaran’s preoccupation with sometimes gritty, sometimes heartwarming reality that makes this 41-year-old one of the best filmmakers of our times.

“The best thing about the regional filmmakers is that they bring in a very ‘native’ feel,” says Rangan. “Like if I watch Nagraj Manjule’s Sairat for instance, I find [elements] that remind me of Vetrimaaran. But that’s more because these filmmakers do these ‘rooted’ things very well. They give you the sense of the atmosphere, the rhythms of life in that particular environment, they take care to bring them alive.”

His critically acclaimed debut venture, Polladhavan (Ruthless Man) in 2007, followed a lower middle-class young man’s search for his stolen bike, an exercise that takes him through the seamy underworld. Four years later came Aadukalam (Arena), a Pongal release that raked in six National Film Awards. The cockfight arena was where love, ego, honour, friendship and betrayal were played out in the rustic backdrop of Madurai.

Says Manimaran, long-time friend and assistant, “Vetri used to like watching cockfights in the neighbourhood in our hometown. So he thought we could develop a story around them.”

There was no doubt about who would play the lead. “I wrote Aadukalam keeping Dhanush in mind,” says Vetrimaaran. “As an actor, he delivers exactly what I need and sometimes more. As a producer, he offers me complete freedom and does not interfere at all. He trusts me completely.”

Rangan explains the Vetrimaaran touch, “There is a world of difference in the way he uses the song and dance elements in Polladhavan and Aadukalam. They have become more organic and rooted; they’re not fantasy elements.”

“I personally prefer Aadukalam to Visaaranai, but it’s like comparing apples and oranges,” says Hariharan. “Aadukalam had a certain kind of warmth and spontaneity. Visaaranai, to me, looked rather staged.”

He explains, “Visaaranai’s [appeal across the world] is that for the first time in Tamil cinema, you see this kind of brute reality without the director taking recourse to a love story or family drama. It’s also interesting that a country like India allowed such a strongly critical film on the system. There’s no doubt that Vetrimaaran is a bold filmmaker.”

Vetrimaaran’s productive chemistry with Dhanush has paid rich dividends. The two went on to produce Kaaka Muttai (Crow’s Egg) in 2015, a subversive film poking fun at what is regarded as cool - pizzas, in this case. This little gem, premiering at the Toronto International Film Festival, tracks two brothers from a Chennai slum dying to taste a pizza. Directed by M Manikandan with wit, not once is the children’s dignity compromised. Their family struggles in a heartless and corrupt city and soon we find ourselves cheering for our little heroes. Kaaka Muttai pocketed two National Film Awards.

“There is a stamp of quality that people have begun to associate with Vetrimaaran, because even the films he produces are pretty decent,” says Rangan, adding that he looks for, and gets, that certain quality.

Vetrimaaran’s genius lies in shining a light on people we would not even glance at in our rat race. His films show us that ordinary people often lead extraordinary lives if only we stop to talk to them.

Smitten by cinema

Born in Cuddalore near Puducherry and raised in Ranipet, a suburban town in Vellore district, two and a half hours from Chennai, Vetrimaaran was smitten by cinema even as a child. His mother, a writer, ran a school in the area, while his father was a veterinarian. Friends remember him as a film buff who watched every movie that came to town.

“He would bunk classes and watch them, each three or four times. Then he would come to the school ground where we used to hang out until 7:30 in the evening and would retell the whole story to us. My friends and I have actually walked out of the theatre at times because the film was nowhere as good as his narration. He still has that quality,” says Manimaran, his assistant.

Vetrimaaran was in his second year of Masters in English Literature in 1999 when the now-deceased filmmaker Balu Mahendra was invited to judge a short film contest at the Loyola College, Chennai. Shortly afterwards, he attended a seminar conducted by the director and was inspired enough to assist him in Julie Ganapathy, Athu Oru Kanaa Kaalam and the television series Kadhai Neram.

Athu Oru Kanaa Kaalam cemented his friendship with the lead actor, Dhanush, whom he describes as his best friend. While still assisting Balu Mahendra, Vetrimaaran pitched the story of Desiya Nedunchalai, and the actor readily agreed to play the lead.

Recalls Manimaran, “Producers were not hard to come by because we had Dhanush. But a few had misgivings about how Vetri would handle the project as a newcomer. So we tossed aside that script, which I later made into Udhayam NH4.”

The initial years proved to be rough. “I was pitching different scripts to different people for three years and it was the sixth producer who okayed Polladhavan,” says Vetrimaaran on his directorial debut.

Adds Manimaran, who assisted him in the project, “After the film was edited, we were really scared to show it to the producer. We kept stalling the screening telling him it may not have come out as he expected. Finally, when he saw it, he was satisfied. We were relieved and gradually grew confident.”

Pushing for excellence

When Manimaran himself forayed into direction with Udhayam NH4 in 2013, Vetrimaaran returned the favour by stepping in as producer under his banner, Grass Root Film Company. As he puts it, “I want my production house to be a platform for good, interesting ideas. I can find a producer for my films, but others, who may be first-time filmmakers, might have innovative scripts that mainstream producers might not understand. Like Kaaka Muttai for instance.

“I produce films in partnership as I may not be able to afford the entire budget. Dhanush ends up co-producing some of them as our tastes are similar. None of my producers ever ask me for the budget. I always make sure it is within their means and I can give the desired returns.”

For someone who has been successful both commercially as critically, Vetrimaaran has directed only three films in nine years. “For me, every film is a learning process. After each, I take time to unlearn. Then I find new content, learn it completely and then execute it.”

Manimaran describes his working process thus, “Many directors make changes to the script on the spot. But Vetrimaaran is different because he pays attention to detail. He puts in a lot of effort, so there may be last-minute adjustments with lighting and locations. Unlike working with other directors, you need to be available 24 hours.”

Outside of work, the father of two, who met his wife Aarthi while at college, likes to race pigeons, pretty much like the characters he portrays. His rootedness has also led him to voice the germ of an idea: setting up an organic farm eventually.

Rangan describes grit as the definitive quality of Vetrimaaran’s films, and praises his skill in animating the atmosphere in terms of the integrity of the characters, the plot, and the texture. “The way he shapes the characters and writes them, you feel that these are not [just] individual people; you get a sense of where they come from, where they belong. [They’re] not just some random characters floating around.”

His fans are already talking about his fourth film, Vada Chennai (North Chennai), an ambitious gangster trilogy he has been planning since 2003. After undergoing several changes of scripts and stars, Dhanush, Vijay Sethupathi, Amala Paul and Samuthirakkani are among those confirmed on the project that is currently under way. Slated for release next year, Vada Chennai is also bound to have the by-now classic Vetrimaaran stamp.

(Published in arrangement with GRIST Media.)

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Vetrimaran's 'Viduthalai' to release in two parts

CHENNAI: Ace director Vetrimaran's eagerly-awaited upcoming film,'Viduthalai', featuring Soori in the lead and actor Vijay Sethupathi as 'Vaathiyaar', will release in two parts, its makers have now announced. Interestingly, both parts of the film -- 'Viduthalai' and 'Viduthalai-2' -- are to be presented by actor, producer and politician Udhayanidhi Stalin's production house, Red Giant Movies. The shooting of 'Viduthalai-1' has already been completed and post-production work is on in full swing. Only a few portions are left to wrap up the shooting of 'Viduthalai-2', which is currently happening in Sirumalai and Kodaikannal. Produced by RS Infotainment's Elred Kumar, the 'Viduthalai' franchise is being made on a whopping budget. The film's grandeur has been generating a strong buzz. Only recently, a train and Railway bridge set worth Rs 10 crore was erected for the film. The train compartments as well as the bridge were made using the same materials that engineers use to manufacture trains and build bridges. Earlier, the art department headed by Jackie had erected a huge village set in Sirumalai. The makers of 'Viduthalai' say that it is an intense story that needs proper storytelling to make sure it appeals to the audience. It is for this reason that they say they decided to break the story into two different parts. Currently, preparations for shooting a breath-taking action sequence between Vijay Sethupathi and Soori are going on in Kodaikanal. Peter Hein is choreographing this action sequence in which a group of proficient stuntmen from Bulgaria will be a part. The star cast of 'Viduthalai' includes Vijay Sethupathi, Soori, Bhavani Sre, Prakash Raj, Gautham Vasudev Menon, Rajeev Menon and Chethan. Maestro Isaignani is composing music for 'Viduthalai', which features cinematography by Velraj.

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​வெற்றிமாறன்

தமிழ் சினிமாவில் தனித்துவமான படங்களை இயக்கி தனக்கென தனி இடத்தை பிடித்திருப்பவர் தான் வெற்றிமாறன். இயக்குனர் பாலு மஹேந்திராவிடம் உதவி இயக்குனராக தன் திரைப்பயணத்தை துவங்கிய வெற்றிமாறன் தனுஷின் பொல்லாதவன் திரைப்படத்தின் மூலம் இயக்குனரானார். 2007 ஆம் ஆண்டு தீபாவளி பண்டிகையை முன்னிட்டு எந்த வித எதிர்பார்ப்பும் இன்றி வெளியான பொல்லாதவன் திரைப்படம் மாபெரும் வெற்றியை பெற்றது. அதன் பிறகு ஆடுகளம், விசாரணை, வடசென்னை, அசுரன், விடுதலை என தான் இயக்கிய அனைத்து திரைப்படத்தையும் வெற்றிப்படமாக கொடுத்தார் வெற்றிமாறன். தற்போது சூரி மற்றும் விஜய் சேதுபதியை வைத்து விடுதலை 2 படத்தை இயக்கி வருகின்றார் வெற்றிமாறன்

வெற்றிக்கூட்டணி

தனுஷ் மற்றும் வெற்றிமாறன் தமிழ் சினிமாவின் வெற்றி கூட்டணிகளாக வலம் வருகின்றனர். பொல்லாதவன், ஆடுகளம், வடசென்னை, அசுரன் என தனுஷை வைத்து நான்கு படங்களை இயக்கியுள்ளார் வெற்றிமாறன். இதில் இரண்டு படங்கள் தனுஷிற்கு தேசிய விருதை பெற்று தந்துள்ளது. இந்நிலையில் தனுஷின் ஆஸ்தான இயக்குனரான வெற்றிமாறன் வடசென்னை படத்தின் இரண்டாம் பாகத்தை எப்போது துவங்குவார் என்பது தான் தமிழ் சினிமா ரசிகர்களின் கேள்வியாக உள்ளது. 2018 ஆம் ஆண்டு வெளியான வடசென்னை திரைப்படம் மாஸ் ஹிட்டடித்ததை தொடர்ந்து அப்படத்தின் இரண்டாம் பாகத்திற்காக கடந்த ஆறு ஆண்டுகளாக தனுஷ் ரசிகர்கள் காத்துகொண்டு இருக்கின்றனர். ஆனால் வெற்றிமாறன் விடுதலை 2 பட வேலைகளில் பிசியாக இருக்கின்றார்

வெற்றிமாறன் தற்போது சூரி மற்றும் விஜய் சேதுபதியை வைத்து விடுதலை இரண்டாம் பாகத்தை இயக்கி வருகின்றார். இப்படத்தின் படப்பிடிப்பு தற்போது விறுவிறுப்பாக நடைபெற்று வருகின்றது. இப்படத்தை முடித்த கையோடு வெற்றிமாறன் சூர்யாவை வைத்து வாடிவாசல் திரைப்படத்தை இயக்க இருக்கின்றார். தமிழ் சினிமாவே எதிர்பார்த்து காத்துக்கொண்டிருக்கும் வாடிவாசல் திரைப்படத்தை வெற்றிமாறன் எப்போது துவங்குவார் என்பது தான் கேள்வியாக இருந்து வருகின்றது. கண்டிப்பாக இந்தாண்டே சூர்யாவின் வாடிவாசல் திரைப்படத்தை வெற்றிமாறன் துவங்குவார் என்றே எதிர்பார்க்கப்படுகின்றது

​பாதியில் நிறுத்தப்பட்ட திரைப்படம்

வெற்றிமாறன் தனுஷை வைத்து பொல்லாதவன், ஆடுகளம் ஆகிய படங்களை இயக்கினார். அதன் பிறகு மூன்றாவது முறையாக சூதாடி என்ற படத்தின் மூலம் இக்கூட்டணி மீண்டும் இணைந்தது. படப்பிடிப்பும் துவங்கப்பட்டு தொடர்ந்து சில நாட்கள் நடைபெற்று வந்தது. ஆனால் வெற்றிமாறனுக்கு படத்தின் கதை மீது சந்தேகம் இருந்ததாம். இப்படம் ஒர்கவுட் ஆகுமா என்ற தயக்கம் வெற்றிமாறனுக்கு வரவே தனுஷிடம், எனக்கு இக்கதை மீது முழு நம்பிக்கை இல்லை. எனவே இப்படத்தை நிறுத்திவிட்டு சில மாதம் கழித்து சரியான கதையுடன் வேறொரு படத்தின் மூலம் நாம் இணையலாம். அதற்குள் நான் சிறு பட்ஜெட் படம் ஒன்றை இயக்கிவிட்டு வருகின்றேன் என்றாராம் வெற்றிமாறன். தனுஷ் எந்த மறுப்பும் தெரிவிக்காமல் அந்த சிறு பட்ஜெட் படத்தையும் தானே தயாரிப்பதாக கூறி விசாரணை படத்தை தயாரித்துள்ளார் தனுஷ். இத்தகவலை வெற்றிமாறன் ஒரு பேட்டியில் கூறியுள்ளார் என்பது குறிப்பிடத்தக்கது

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About start small; dream big.

Film as a mass-entertainment industry has as its core creative impulse, cine-technological expertise, commercial acumen, culture sensitivity, and social responsibility. Filmmaking is, thus, a unique industrial production of entertainment with people as focal point and end beneficiaries.

Our Institute recognizes that filmmaking is essentially a people-process and has designed this Course as a harmonious blend of the above-said core aspects of cinema.

Visionaries

Director Vetri Maaran

Mr. Vetri Maaran is a National award winning Director who primarily works in the Tamil film industry. A graduate in Literature from Loyola College, Chennai, his grounding in Tamil Culture and Literature, his keen eye for detail and his sensitivity to the Political, socio-cultural context within which he stages his stories drives his unique film journey. He wears multiple hats – Producer, Director, Writer and as an educator with the founding of International Institute of Film and Culture (IIFC). IIFC is his way of giving back to society by providing opportunities to dreamers and creators from marginalised communities.

Dr. Fr. S Rajanayagam

A pioneer in Visual communication education in Asia, Dr. Fr. S Rajanayagam SJ guides young seekers at Noshram, a retreat envisaged as a space for search for truth, growth and higher learning.  As a psephologist, he heads the Institute of People studies that undertakes extensive studies and surveys into electoral patterns, voting behaviour and political discourse. He is an innovator in pedagogy and  mentors the teaching-learning methods at IIFC in unique ways helping the team of faculty and students navigate the journey from storytelling to digital imagination to cultural competencies.

Mr. Vetri Duraiswamy

Mr. Vetri Duraiswamy is an entrepreneur, wildlife photographer, filmmaker and philanthropist. He wrote and directed his first film Enraavadhu Oru Naal that went on to win the Best Film Award at Chennai International Film Festival, 2021. As co-founder of the IIFC, he continues his family’s  legacy of  facilitating education for young knowledge seekers.

Academics Non - linear Learning

Campus Life at IIFC

Courses Innovative Pedagogy

The design of the courses at the International Institute of Film and Culture (IIFC) is innovative andunique. The teaching-learning philosophy at IIFC is self awareness and social responsibility. It is guided learning through inputs, complemented by immersive and experiential understanding of cultural rooting and film making as an integral, iterative yet interrogative art form. These learnings are complemented through masterclasses by experts from various disciplines who share insights with the students. The process of immersion, introspection, and internalisation is consolidated through intensive self examination and critical evaluation of the world around them. They then create with a deeper understanding of themselves their society and their film craft. The multi-pronged approach will result in creative works that can catalyse social change.

POST-GRADUATE DIPLOMA IN FILMMAKING

• The flagship one PG Diploma course is offered over 4 semesters of theory and practicals. Each 3 month semester is further divided into 2 compact mandalams of 45 day each. Every semester consists of theory classes, practical exercises, masterclasses and workshops, field visits, and weekly seminars.
• The ratio of theory and practice is 1:1 and the assessment is a mix of continuous weekly and mandala evaluation and end semester exams. The CA is based on assignments, performances, daily reports, class presentations and weekly exercises. The end semester written exam and projects will assess the theoretical input assimilation and practical applications.
• Each Teaching- learning strategy has a clearly defined goal and lends itself to evaluation and assessments on the basis of Key Learning Indicators
• A blend of classroom inputs, outdoor experiences and guided and self designed activities.

Contact Connect to us

Conduct a seminar

If you're a faculty in the field of visual communication anywhere in the world, and would like to conduct a seminar in IIFC, please fill out a form with following fields, Name, Area of work, position, country, Seminar paper title, a brief on seminar paper, mode of presentation (Audio Visual/paper handout), and links to your work. We'll review and decide on your eligibility to conduct a seminar.

International film festival

If you'd like to participate in the yearly International film festival, please send us a brief on film festival and the requirements to participate in international film festival in IIFC. Please fill our form with following fields, Crew details, Roles, Bio of each crew member, synopsis, Private Link & Password, links to your work. We'll review your submission and update if selected.

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