Review of the film Vaazhai: An unwavering, pure, and potent voyage to the center of Mari Selvaraj's mind 
Review of Vaazhai movie: Mari Selvaraj's fourth film is his most personal and, hence, the most powerful, with outstanding performances, music by Santhosh Narayanan, and visuals by Theni Eswar.
Review of Vaazhai movie: It is said that politics is personal. In addition to being deeply intentional, Mari Selvaraj's films have personal politics. It differs from piecing together a few sentences and hoping that the wind will carry them to their proper position. Every beat in Mari's films has a distinct purpose that is done with precision and attention to detail. That's why your thoughts wander when he begins Vaazhai with a young Sivanaindhan (a fantastic Ponvel) shouting himself half-dead in the hopes of finding something. What is he looking for?He's flinging some banana stalks into the sea, but why? This Mbaaaaa—who is it? We begin to see the kinds of stories we anticipate seeing in Mari Selvaraj's films due to our overactive imagination. Vaazhai, however, isn't just another Mari movie. It's the movie that required the events of Pariyerum Perumal, Karnan, and Maamannan beforehand. Vaazhai is unapologetically brutal, provocative, and poignant in a cavalier way. Mari must see three significant movies in order to get experience, and viewers must relate to the director and comprehend his creative process. What is he looking for? Why does he always use small bursts of water to quench his burning rage in his films? This Mari Selvaraj, who is she? 
Sivanaindhan resides in a modest setting. Among them is his closest pal.the greatest theme song use of Nayakan in Tamil cinematic history. It's quite humorous and seems like the creator is letting everyone inside the kids' world with the only request that they observe instead than passing judgment. Upon observation, we comprehend the utter poverty of the village and its people. Despite knowing they are being taken advantage of, they are powerless to stop it. In the late nineties, not a single home has electricity. Despite their desire for their children to pursue education and become successful adults, the harsh realities of the market compel parents to send their kids to work. As they say, "Flowers bloom even in a war," and in the middle of Sivanaindhan's daily tribulations, he comes to love Poonkodi, his teacher, unconditionally. 
At the end of the day, though, when the heartbreaking truths sink in like a ton of bricks, we are reminded that Vaazhai, like other Mari films, isn't obsessed with dehumanizing people. It extends an invitation to have a coffee. It's an invitation to join in a midnight dance. You are invited to a political discussion on a level playing field. It asks you to consider the reason banana sap stains turn dark after they dry up, precisely like blood. Vaazhai provides a window into the stories of the oppressed that go unspoken. It indicates that politics is personal. It narrates the tales of those who were abandoned. It explains why some people have greater meaning in life.