logo
Already a member? Login here

My Church Was Right: Harry Potter Was a Threat to My Faith

This year marks 25 years after the first Harry Potter book first turned many children into avid readers — and the beloved series has never been in worse shape.

In recent years the series’ author, J.K. Rowling, has repeatedly expressed concern about the effect that trans rights legislation will have on women and girls — transphobic views that have moved her fans and opponents alike to call her a transgender exclusionary radical feminist, or “TERF.” The series itself has been heavily criticized for its functional but ungraceful prose, numerous plot holes, and reliance on stereotypes of marginalized groups, including antisemitic goblins and an Irish character known for blowing up his spells. As a result, a generation who grew up with The Boy Who Lived are abandoning the series and moving on.

It’s a complicated time to still consider myself a fan of the original story.

When I first learned about J.K. Rowling’s transphobic views, I was devastated. Like many other millennials, I considered myself to be a card-carrying member of the Harry Potter generation, graduating from high school right as the seventh and final book in the series was released. I loved being a part of many literary fandoms, from The Chronicles of Narnia to The Lord of the Rings, and the Harry Potter series was my favorite.

But for me, Harry Potter fandom wasn’t just about enjoying a fun book series or exploring a fantasy world; reading J.K. Rowling’s books transformed my understanding of the Christian faith, helping me scrutinize my fundamentalist Baptist upbringing and eventually leave conservative Christianity. Characters like the Weasley family and Hermione Granger — who stood with muggle-born wizards and house elves when others in the magical community did not — taught me what it means to love and welcome my neighbor. Similarly, the protagonists’ protracted struggle to convince the Ministry of Magic to take Lord Voldemort’s return seriously enabled me to see more clearly the way the structures in our world, including our churches and government, fall short. I didn’t want to become a person who ignored things that were evil; I wanted to be someone who took action to end them.

I was in elementary school when the first Harry Potter books were published in the United States. At the time, I was a painfully shy and awkward child; I treasured my library card and found solace in the stacks of books I carried home from our local branch. Though I was a prime target for a sensational new children’s book series, my parents — like the rest of our fundamentalist Baptist church — deemed anything about witchcraft inappropriate reading for good Christian children.

I pleaded with them for months and we finally struck a bargain: I would read the book alongside my parents, and we would discuss any concerning themes; they relented. I was elated as I brought home Harry Potter and the Sorcerer’s Stone. By the end of the book, I felt confident they would see what I had seen: a battle between good and evil, hate and love — one that mirrored the child-size theology about God and sin I had been taught in Sunday school. The story seemed wholesome, like an obvious fit for me.

My parents disagreed. “It has witches in it,” my mother shrugged. “It’s not appropriate.” They told me not to read any more of the books; I was devastated — but accepted the challenge.

On my second day of middle school, I found Julianne, a fellow nerdy kid and now-lifelong friend. She was also Christian, but unlike me, her family attended a church that was part of the Presbyterian Church (U.S.A.) denomination. She was allowed to read the book series, which seemed deeply unfair.

We devised a plan: Julianne would bring me the other books that had been released, and I would sneak them into my bedroom to read once my parents had gone to sleep. It worked brilliantly, though my mother became increasingly suspicious when the corner of my mattress popped up higher and higher as each book was thicker than the previous one.

As I read more books from the world of Harry Potter and beyond, I began thinking critically about what happens when communities accept and even celebrate differences, especially the differences that often mark someone as an outsider. I began to consider how evil forces can corrupt trusted systems, even systems with well-meaning adults at the helm. In the books, it took people outside of the established power structures of magical society to see the good and the evil in the wizarding world. Neither the Minister of Magic nor the upper-class members of the wizarding community save the day; it was the bravery and courage and love coming from ordinary and often marginalized wizards and magical creatures that ultimately prevailed. It made me wonder what else the cookie-cutter, prosperity gospel-focused side of the Christian church, and my own faith by extension, was missing.

Eventually, I left the fundamentalist church of my childhood. I took a break from Christianity, then joined Julianne’s church, which seemed to more closely reflect what Jesus called his followers to do. I befriended kids from many faith backgrounds at summer camp, and by the time the sixth book came out, I was the rebellious goth kid standing in line at Barnes Noble to get my copy at midnight.

So when I think about the Harry Potter books today, I’m left wondering: what now? How do I engage with a series that isn’t spectacularly well written, whose author has taken a stand against people I love and care about?

I will always have mixed feelings about it because of who I am and how my story played out. The series isn’t exactly the pinnacle of fantasy writing, and I will always mourn for its shortcomings, the views of its author, and those who could have been reached through it if she hadn’t alienated so many with her hurtful, oppressive views. I am happy to financially abandon the franchise, supporting only the independent creators who are inspired by the book series. I still own the book series, though it no longer has place of pride on the main bookshelf in my living room. And instead of re-reading the books, I’m more likely to listen to podcasts like Witch, Please, which thoughtfully and critically examine the story through a progressive academic lens.

But it was a crucial part of the path that led me to where I am now in my faith journey. My story is intertwined with the story of Hermione’s house-elf activism, Luna’s dedicated friendship despite knowing her peers see her as an oddball, and the Order of the Phoenix speaking against the powers of Death Eaters in their midst. And when I speak truth to power, I’m reminded of Harry himself, resisting the authority of the adults in his life who wanted him to lie for their benefit and, instead, choosing to tell the truth, even when it was hard or inconvenient — remarkably like the teachings of Jesus. Without Harry Potter, I wouldn’t be the progressive Christian I am today, and a part of me will always love the series for giving me that.

Intense Trailer for ‘Attack on Finland’ Action Movie Landing in July

Intense Trailer for ‘Attack on Finland’ Action Movie Landing in July

by
May 31, 2022
Source: YouTube

Attack on Finland Trailer

“We made a deal. You broke it.” Samuel Goldwyn has revealed the official US trailer for a Finnish action thriller titled Attack on Finland, which is the international release title. It also goes under Omerta 6/12 or 6/12, which is a reference to December 6 the Finnish Independence Day. A celebration during the holiday in Finland takes a tragic turn when the Presidential Palace is attacked and the president is taken hostage. Soon it is clear that the main target behind the attack is a plan to destabilize the security of Europe. That sounds a lot like Finland’s version of Olympus Has Fallen or White House Down. The action film’s cast includes Jasper Pääkkönen, Nanna Blondell, Sverrir Gudnason, Cathy Belton, Nika Savolainen, Pertti Sveholm, Juhan Ulfsak, Zijad Gracic, Miodrag Stojanović, and Dragomir Mrsic. This looks hyper-stylized and intense, but it also feels a bit made-for-TV in quality. Still may be an entertaining watch.

Here’s the official trailer (+ poster) for Aku Louhimies’ Attack on Finland, direct from YouTube:

Attack on Finland Poster

Finland’s Independence Day celebration on December 6th is interrupted by an attack on the Presidential Palace. A set of distinguished guests are taken as hostages. Security service officer Max Tanner (Jasper Pääkkönen) is set as the negotiator of the hostage crisis and soon it is clear that the main target behind the terrorist attack is a plan to destabilize the security of Europe. Tanner must make bold and even painful decisions to figure out who is behind the attack. After all, there are not only human lives to protect, but the future of Europe as a whole. Attack on Finland, aka Omerta 6/12, is directed by prolific Finnish filmmaker Aku Louhimies, director of many movies including Restless, Lovers Leavers, Frozen Land, Frozen City, Man Exposed, 60 Seconds of Solitude in Year Zero, Naked Harbour, 8-Ball, and The Wait. The screenplay is written by Jari Olavi Rantala; based on the script by Antti J. Jokinen, Mika Karttunen. Produced by Antti J. Jokinen, Evelin Penttilä, Sirkka Rautiainen, Mikko Tenhunen. It first opened in Finland last fall. Goldwyn Films will release Attack on Finland in select US theaters + on VOD starting July 1st, 2022 this summer.

Find more posts: Foreign Film, To Watch, Trailer

‘Hogwarts Legacy’ is delayed until February 10th, 2023

Try as it might, Hogwarts Legacy developer Avalanche Software can’t magically make its creation arrive any sooner. In fact, Warner Bros. Interactive Entertainment has once again delayed the game, which at least now has a firm release date. It will hit PC, PlayStation 4, PS5, Xbox One and Xbox Series X/S on February 10th. The Switch release date will be announced sometime soon, indicating that version faces a further delay.

“The team is excited for you to play, but we need a little more time to deliver the best possible game experience,” a tweet on the Hogwarts Legacy Twitter account reads. The game was announced at the tail end of 2020 with a release expected the following year. Warner Bros. pushed back Hogwarts Legacy to 2022 and later said it would arrive sometime this holiday season. However, it has delayed the game once more.

Hogwarts Legacy is an action RPG that takes place in the Harry Potter universe, though it’s set long before The Boy Who Lived, well, lived. As a student at Hogwarts School of Witchcraft and Wizardry, you’ll craft potions, learn spells, tame wild creatures and (ugh) attend classes. Shockingly enough, you’ll need to take what you learned and use it to fend off your enemies.

New Behind-the-Scenes Featurette for Jordan Peele’s Sci-Fi ‘Nope’

New Behind-the-Scenes Featurette for Jordan Peele’s Sci-Fi ‘Nope’

by
June 8, 2022
Source: YouTube

Nope Featurette

“I tried to write a script that I didn’t know how to pull off. And then assembled the team to help me pull it off.” Universal has launched a new 2-minute behind-the-scenes featurette for Jordan Peele’s movie Nope, which seems to be a sci-fi thriller involving an extraterrestrial appearance in a small town. That’s still all we know about it. The full-length official trailer is out now, to go along with this making of preview. Along with the first trailer back in February, this footage is all so mysterious and interesting. Is it aliens or something else? Nope’s cast features Daniel Kaluuya, Keke Palmer, Steven Yeun, Barbie Ferreira, Michael Wincott, Donna Mills, and Terry Notary. This featurette provides a cinematic look at the production, without much dialogue or any explanations as to what we’re seeing. Always nice to see so many full IMAX cameras in use on set! I’m still excited to find out where Peele is taking this story and what’s really going on.

Here’s the “Cinematic Event” featurette for Jordan Peele’s Nope, direct from Universal’s YouTube:

Nope Featurette

You can rewatch the first official trailer for Jordan Peele’s Nope here, to see the first look reveal again.

For more clues + updates on Nope’s release, visit @Nope_Movie on Twitter or @nopemovie on IG.

No plot details have been revealed yet – only the vague posters and first trailer so far. Nope is both written and directed by American actor / comedian / writer / producer / filmmaker Jordan Peele, director of the films Get Out and Us previously, as well as a producer on Keanu, Candyman, and BlacKkKlansman and the TV series “The Twilight Zone”, “Lovecraft Country”, and “The Last O.G.”. It’s produced by Ian Cooper and Jordan Peele. Featuring cinematography by Hoyte van Hoytema, and music by Michael Abels. Universal will release Peele’s Nope in movie theaters nationwide starting July 22nd, 2022 this summer. Still look good?

Find more posts: Featurette, Sci-Fi, To Watch

Hogwarts Legacy’s UI may have been hidden in the game’s State of Play reveal

UI elements from Hogwarts Legacy may have been spotted in a blink and you’ll miss it flash frame from the game’s State of Play presentation.

The Sony event took place in March and was used to showcase over 14 minutes of Hogwarts Legacy PS5 gameplay, which is viewable below.

As posted to the r/HarryPotterGame subreddit, menu elements appear for as little as a few frames. The image below, which has been brightened to highlight them, shows off four spells and what could possibly be a mini-map in the top left corner.

Hogwarts Legacy’s UI may have been hidden in the game’s State of Play reveal

While it’s likely that these HUD elements are temporary placeholders, it does give some indication of the spells that players could have at their disposal in the game.

Based on the image and in the context of the clip, it’s possible that the four spells the character has access to are Accio (which brings things to the user, as depicted by the blue icon), Wingardium Leviosa (which causes objects to levitate, as depicted by the gold icon), Lumos (which illuminates the environment around the caster, as depicted by the grey icon), and Expelliarmus, which is used by the player in the seconds following this image in the video.

Hogwarts Legacy is an open-world action RPG set in the world first introduced in the Harry Potter books.

Due to be published under Warner’s Portkey Games label, it was originally scheduled to be released in 2021 for PS5, PS4, Xbox Series X/S, Xbox One and PC.

However, last year Warner delayed the game’s release window to 2022. It recently reiterated plans to release Hogwarts Legacy this year (including a previously unannounced Switch version), along with WB Games Montreal’s Gotham Knights, which will arrive in October.

Los Angeles based band makes a song cover on Rashmika Mandanna’s Srivalli; the actress loves it

Rashmika in Pushpa has created a whole new fan base all across the nation. After the release of the song, the actress has been crowned the ‘Srivalli’.

On the work front, apart from ‘Goodbye’, Rashmika has the sequel of ‘Pushpa’ 2 under her kitty along with ‘Mission Majnu’ opposite Sidharth Malhotra, and Varisu with Vijay Thalapatty.

Amtrak Becomes Official Partner of Philadelphia’s Harry Potter: The Exhibition

Amtrak has become the official travel partner of the Franklin Institute in Philadelphia’s new exhibit, Harry Potter: The Exhibition, available now through September 18.

As the official travel partner, Amtrak is promoting the exhibition and the ten routes to the city’s William H Gray III 30th Street Station (PHL), which is located within a mile of the Franklin Institute.

After more than two years, tourist train trips in Latin America return. (Photo via Belmond).

Rail Travel and Tourism is Back on Track in Latin America

A driver and passenger using a ride-hailing provider.

Lyft Reports Record Earnings for Second Quarter

Church Street in Burlington, Vermont

Amtrak Restores Vermont’s Ethan Allen Express Route

Harry Potter: The Exhibition is a 21-gallery, 18,000-square-foot exhibit encompassing all things Harry Potter, including beloved Hogwarts places such as the castle, Hagrid’s Hut, the four houses and the Great Hall.

Children and adults alike will be immersed in the Wizarding World, getting to choose their own houses, wand and Patronus, with personalized interactions with parts of the exhibit via an RFID wristband, which catalogs a person’s choices made throughout the exhibit.

“Amtrak is proud to serve as an official transportation partner for Harry Potter: The Exhibition at the Franklin Institute in Philadelphia,” said Amtrak Assistant Vice President National Advertising Brand Management, Darlene Abubakar. “By taking Amtrak, families can travel to the Exhibition without dealing with the hassles of driving, expensive gas prices and parking. Remember to book early for the best Amtrak fares.”

Amtrak offers routes to Philadelphia from places such as Florida, Vermont and Chicago, with Amtrak Saver Fares available for the best rates.


For the latest travel news, updates and deals, subscribe to the daily TravelPulse newsletter.

Anne Heche Film About Sex Trafficking Set to Air After Car Crash

A new film starring Anne Heche about sex trafficking will still air after news that Heche is not expected to survive after a fiery car crash.

“Girl in Room 13,” remains set to premiere on Sept. 17, according to the Lifetime Movie Network, the production company that made the film.

According to Lifetime, in the film Heche plays a mother in search of her daughter who fell victim to human trafficking, and “discovers the dark world of human trafficking and the shocking statistics about its widespread victims and its unexpected accomplices.”

Heche, an Emmy Award winner, was originally scheduled to appear on the film’s panel at the Television Critics Association virtual press tour on Aug. 11, but she was hospitalized after her blue Mini Cooper smashed into a Los Angeles home on the morning of Aug. 5 and flames erupted.

During the panel on Aug. 11, Amy Winter, the Lifetime network’s executive vice president and head of programming, asked reporters to “kindly refrain from inquiring about her health status,” reported Deadline.

“As many of you know, Anne remains in critical condition and all of us here at Lifetime are deeply concerned for her and everyone affected. We hope that her friends and family stay strong during this difficult time,” Winter said on Aug. 11.

“You know, just as much as we do, that we ask that you kindly refrain from inquiring about her health status,” she added. “This project is important to Anne, along with each and every one of us. We all sought to make a film that would bring attention to this appalling issue of human sex trafficking.

“We hope that this film reached you and that you are just as inspired as Anne was to help us with our mission to stop violence against women. Thank you for your support and your questions about the film.”

During the panel, director Elisabeth Rohm confirmed that filming on the movie was completed and that it is scheduled to premiere in September. Rohm said that Heche “did a phenomenal performance” in the film.

The Los Angeles Police Department announced on Aug. 12 it had ended its investigation into Heche’s crash.

“As of today, there will be no further investigative efforts made in this case,” the department said. “Any information or records that have been requested prior to this turn of events will still be collected as they arrive as a matter of formalities and included in the overall case. When a person suspected of a crime expires, we do not present for filing consideration.”

Detectives looking into the crash had said narcotics were found in a blood sample taken from Heche.

In a statement obtained by Deadline on Aug. 11, a representative for Heche’s family said that owing to the accident, the actress “suffered a severe anoxic brain injury and remains in a coma, in critical condition.”

“It has long been her choice to donate her organs and she is being kept on life support to determine if any are viable.”

“Anne had a huge heart and touched everyone she met with her generous spirit. More than her extraordinary talent, she saw spreading kindness and joy as her life’s work—especially moving the needle for acceptance of who you love. She will be remembered for her courageous honesty and dearly missed for her light,” the statement reads.

Heche was brain dead and was on life support, pending evaluation for organ donation, before the life support was removed on Aug. 14.

The Associated Press contributed to this report.

Mimi Nguyen Ly

Magical footage of upcoming Harry Potter game revealed

Harry Potter fans have been treated to brand new footage of an upcoming online game taking place in the Wizarding World. Hogwarts Legacy was first announced in 2020 and since then not a lot of news regarding the game’s development has been announced.

But a State of Play update has provided a whopping 14 minutes of gameplay footage showing what hopeful wizards can expect from the game. Developers Avalanche Software have also provided some plot details so players can get a grasp on the story they will be directly involved in. The game will be set in the 1800s before any of the Harry Potter or Fantastic Beasts events have taken place.

Read more: Online Safety Bill: The proposed new internet laws explained

Players will be taking on the role of a fifth-year Hogwarts student, engaging in wizarding duels, learning potions and coming to grips with flying a broomstick. The game will also feature plenty of magical creatures, some of which will play a key role in the game’s story as rumours spread of a ‘goblin rebellion’.

When will Hogwarts Legacy launch?

No official date has yet been given for Hogwarts Legacy launch but fans can expect the game to launch sometime this year.

The game will be available on PlayStation 5, Xbox Series X/S and PC so fans won’t have to fork out money on a new console just to play.

Did J.K Rowling write the story for the game?

The Wizarding World author has come under a wave of criticism recently for her negative comments towards transgender people. Because of this, some fans raised concerns over supporting the game as it is directly linked to the controversial author.

But it appears Rowling’s involvement in the game was limited with Warner Bros officially stating: “J.K. Rowling is not directly involved in the creation of the game, however, her extraordinary body of writing is the foundation of all projects in the Wizarding World.”

Read more gaming news: PlayStation 5 back in stock at Currys but gamers will need to be quick to buy

Read more tech news: Review: Apple iPhone SE 2022

Click here for the latest headlines from the Manchester Evening News

‘Iravin Nizhal’ movie review: R Parthiban’s breathtaking single-shot film is a remarkable technical achievement

A single-shot film creates an illusion of continuity of time and space, like in real life. This ‘illusion’ or rather the technique employed to make the film look seamless is often dismissed as gimmickry — whether it is Hitchcock’s Rope or Sam Mendes’ 1917. In most cases, single-shot is a myth that filmmakers create in order to distract the audience from noticing the cuts, unlike, say, Don Palathara’s Santhoshathinte Onnam Rahayasam which was actually shot like a continuous film. In some cases, you cannot even guess these invisible cuts. For a single-shot film to work, the filmmaker has to sustain this illusion of continuity.

And it is not a coincidence that Parthiban’s Iravin Nizhal opens with a mirage: distorting images with lights and shadows tumble out, as Rahman’s haunting ‘Kaayam’ plays in the background. But, unlike the famously shot one-take films, there is no editing gimmickry involved in Iravin Nizhal. Before the film begins, a 30-minute video is shown to illustrate this point.

Single-shot films are so complex to execute that it begs us to ask this question: does this story warrant to be told in this format — like a single, unbroken shot? But that is the choice of the filmmaker and we have to only assess what we see on screen and whether it is working or not. One of the earliest and classic examples of a single-shot film is Rope, which Hitchcock once said, “ was an experiment that didn’t work out”. Hitchcock was so enamoured by the play that he decided to make Rope as a single-shot film, perhaps, as a means to sustain the suspense amongst the audience.

Rope is a good example to understand Iravin Nizhal. The latter too, unfolds like a lavish Broadway theatrical production. But the main difference is, in a play, things unfold in real time for an audience. However, in the film format, the camera’s gaze becomes the audience’s. In that sense, Iravin Nizhal is a film that downloads right in front of our eyes just like a play, and the audience’s engagement remains vital. But there is a catch in that too. We miss the most important part of the camera when it takes the audience’s point of view: focus.

Only a handful of filmmakers have dared to make a film look like one continuous shot, given the number of logistical nightmares involved. But even those films were centred around vast spaces or at least had the elbow room for the cameraperson. Every shot in Iravin Nizhal comes with a fresh set of challenges — for the cinematographer, set operators, assistant directors and actors. About the composition of Birdman, its cinematographer Emmanuel Lubezki was quoted in The Hollywood Reporter as saying. “We created the transitions by rehearsing; for the more difficult ones, we had to have visual effects.” 

A still from ‘Iravin Nizhal’A still from ‘Iravin Nizhal’

Iravin Nizhal doesn’t use visual effects but it does follow a similar approach. Films like Rope, Birdman and 1917 are shot like a continuous film with a series of long shots, stitched together at the editing table. These ‘invisible’ cuts are not noticeable to our naked eyes. But Parthiban employs a new technique to this editing transitions, wherein the camera’s gaze pauses, fixedly at an image for a few seconds giving the actors and set operators a breathing room, to get ready for the next scene, next set piece — all in a matter of a few seconds. Sounds crazy? Ridiculous? There is a catch in that too.

In the same interview, Lubezki talks about the lighting complication they faced. “Lighting Michael at his makeup mirror will create a shadow a minute later if we move around the room. So we had to time all of the lighting changes, making sure you don’t see shadows.” Iravin Nizhal’s set consists of 59 little blocks like a maze. Its frames are crowded with people, props and set pieces that further complicates Arthur Wilson’s job. For, he has to carry the Sony Venice camera on his shoulder for 100 minutes, with so many landmines. Even if one actor goes out of focus or if the camera topples, or if they don’t get the lighting right, it is back to square one. In short, what Parthiban, Wilson and their team have achieved — even if it went for 23 takes — is nothing short of phenomenal. They are sure to wow the National Awards committee.

The idea for Iravin Nizhal is this: a bruised man in his 50s rummages through past memories, while on his way to settle things with an old acquaintance. We get a sense of his life through the memories that unfold in a disorderly fashion. For a film that has a high degree of difficulty to pull off, it requires tons of patience and belief. Not just Parthiban but his actors too, need to maintain a positive frame of mind, even if they were to take the blame for losing a take.

Parthiban is also human. He loses his cool when someone screws up in the 90-something minute, when they don’t press a button properly. Which means they have to start again — from the beginning. We see Parthiban bursting him. But because the director is smart, he turns this goof up into a natural moment in the film.

A scene from ‘Iravin Nizhal’A scene from ‘Iravin Nizhal’

There are quintessential Parthiban things that really stand out. A character is on the way to kill the ghost of the past. He enters the graveyard through a hole he breaks open in a wall, while we hear a baby’s wail in the background — as if a metaphor on him returning to mother’s womb. A man who has only seen downers in life, forcing him to stop believing in God or hope, has a daughter named Arputham. She calls him ‘thappa’ instead of ‘appa’, as if a reminder of who he is: someone who got on the wrong side.

Posing like Orson Welles with a hat in The Third Man, the protagonist of Iravin Nizhal is afraid of his own reflection, own shadow. There is that trademark wordplay between amman (goddess) and ammanam (nude), mangalam undagattum (may you prosper) and undagirukken (I’m pregnant). Six o’ clock is pronounced sex o’clock to highlight someone’s post-evening rituals. There is a joke linking motherhood and marital rape that doesn’t land well. But that is the thing, the women we meet are either treated as goddesses or vamps. There is a shot of a baby lying on his dead mother’s breast, wailing in hunger. He is a product of an extramarital affair and he begins to wonder if he was breastfeed milk or poison [fortunately, Parthiban arranged a special screening. We saw the uncensored version].

A film’s merit cannot, shouldn’t be restricted to it being the ‘first’ of many. When Hitchcock made Rope, the film’s merit was not just it being shot as a continuous film. Likewise, the focal point of Iravin Nizhal shouldn’t just be the single-shot aspect; what the filmmaker does within the format is crucial too.

It is like this: within the constraints of time and space, you can either make an outstanding single-shot film or make a single-shot film look outstanding. Parthiban, unfortunately, takes the latter route. Don’t get me wrong. Iravin Nizhal, without an ounce of doubt, is a remarkable technical achievement wherein Parthiban flexes his directorial prowess. But beyond the stamp of ‘world’s first nonlinear single-shot film’, does it leave you with a wholesome feeling of having witnessed something special? Yes, for its ambition; no, for what is edited out [Parthiban says this is a film edited during the writing stage]. 

The writing is not slender — but the production is, so, everything has to be accommodated keeping the set design in mind. As a result of this onslaught, some moments — like a character’s affair or when someone dies by immolation, or when Parthiban uses voiceover as a device to fill up narrative gaps — needed elaborate staging and better emotional payoff. Sometimes a lot is packed in the frame that you wish there was a little more pacing [Rahman’s gentle music does this for the most part] and coherence between the scenes. For an average viewer, this might not be a problem. But for us film writers, it comes across as too easy, too convenient at times. Nevertheless, Parthiban does dare to dream big. He seems to enjoy taking risks, outdoing himself. Keep daring, Parthiban.

Iravin Nizhal releases in theatres this Friday