There is a fascinating negative look that Arun Matheswaran accomplishes in his motion pictures by involving monochrome visuals as a method for conveying hopelessness and mulling. Arun uses this high differentiation cinematography right at ranges, especially for the characters' flashbacks — both in Rocky and Saani Kaayidham. It is much of the time said to depict Bergman's exceptionally differentiating motion pictures and the adverse consequence they had. Be that as it may, the skepticism in Arun's films comes from weakness. The monochrome, with everything taken into account, is supposed to convey the serenity of the characters and the setback of assortment in their lives. This, clearly, can be attributed to the record choice with an unquestionable explanation: to push us with a flashback. Regardless, the set of experiences never transforms into the front, it is only an update.

There are somewhere near two absolutely stunning shots in the flashback that really assist you with recollecting Bergman — basically concerning its development. First is a very slim possibility of an unwanted lodge and a youngster who looks deserted. Second, moreover a very vague possibility, of an (unwanted?) mother and her daughter in the middle, while the youngster transforms into a shadow figure in the background. My jaw dropped. Cinematographer Yamini Yagnamurthy buckles down; her work is very formal. She opens with a wide, a mid, and a close by shot. This sort of association is what you would find in praiseworthy motion pictures. Yamini is especially gigantic with respect to shooting scenes of sexual encroachment, yet more about that later.

Arun Matheswaran is an enamoring capacity, no inquiry. He looks at film for the vast majority recapping stories as well as adventures. Thusly, he isn't content with making films, but stories. As we found in his marvelous show Rocky, Saani Kaayidham likewise is coordinated nearly like a significant piece of expressive message — with six sections disconnected by a presentation and an epilog. Arun's Rocky was a succinct examination of land by having a legend who has his hidden establishments in Sri Lanka. The administrative issues in Saani Kaayidham is prompt and closer to reality with position based brutality. Expecting Rocky was about a man authenticating his genuine spot in an untouchable land, Saani Kaayidham is a verification rise above the social solicitation. Both these motion pictures are about the slight engaging their heading to the top.

If you get recompense as a sort, most makers would look at it from the precious stone of conditions and intelligent outcomes. Besides, along these lines, they would be content with having three extremely important occasions in the record. Then again maybe four. Nonetheless, in Arun's motion pictures, these critical defining moments are what they are about. These extremely important occasions aren't in fact "huge" in the normal sense, express, as in a Vetri Maaran film. These are enormous in contemplations, choices and the scale with which edges are painted with blood. Accordingly, Arun Matheswaran's motion pictures don't push toward mercilessness. They are expected to begin and end in hostility, even at the hypothetical level.

This intriguing conviction that Arun has makes him a genuine maker. That obligation is altogether more surprising to find these days when motion pictures are logically becoming corporate-controlled and makers superfluously pandering to the tendencies of the market. Having said that, this writer unquestionably feels Arun needs to put the demonstration of his stylised viciousness all the more promptly use. He needs to organize his severity towards the group and not be content with exploiting it for "shock" regard. He needs to organize his viciousness towards making champion courses of action. Suresh is the goddess of viciousness in this affection letter to vindicate