A single shot filmland produce an figment of continuity of time and space, like in factual life. This ‘ figment ’ or rather the system hired to make the movie appearance indefectible is constantly brushed off as gimmickry — whether or not it's far Hitchcock’s Rope or Sam Mendes ’ 1917. In maximum cases, single- shot is a fable that filmmakers produce so as to distract the target target request from noticing the cuts, not like, say, Don Palathara’s Santhoshathinte Onnam Rahayasam which come without a distrustfulness shot like anon- stop movie. In a numerous cases, you can't indeed stake those inconspicuous cuts. For a single- shot movie to oils, the filmmaker has to maintain this figment of durability. And it is not always a accident that Parthiban’s Iravin Nizhal opens with a mirage distorting snaps with lighting institutions and murk tumble out, as Rahman’s haunting ‘ Kaayam ’ performs withinside the background. But, not like the famously shot one- take cinema, there may be no modifying gimmickry bothered in Iravin Nizhal. Before the movie begins, a 30- nanosecond videotape is proven to demonstrate this point. Single- shot cinema are so complicated to execute that it begs us to invite this question does this tale leave to be instructed on this format — like a single, unbroken shot? But this is the selection of the filmmaker and we need to most effective inquiry what we see on display and whether or not it's far operating or not. One of the foremost and traditional samples of a single- shot movie is Rope is a genuine companion to grasp Iravin Nizhal. The last too, unfurls like a luxurious Broadway dramatic creation. Be that as it may, the primary distinction is, in a play, goods extend continuously for a group of people. Be that as it may, in the film design, the camera's look turns into the crowd's. In that sense, Iravin Nizhal is a film that downloads directly before our eyes truly much like a play, and the crowd's commitment staysvital. Yet, there's a trick in that too. We miss the main piece of the camera when it takes the crowd'sperspectivecenter.You knowhow they say your entire life flashes before your eyes before you die? That’s the overall effect of Iravin Nizhal. Like Otha Seruppu, the effect is stagy – this is not a" natural" film. It's a stylised film, with characters that include a fake godman and godwoman, locales that include multitudinous places of idolization, women who include several suckers, and adult content that includes virile and womanish bareness in addition to sodomy and a ton of swear words.