samxxxul
Joined Feb 2013
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Reviews377
samxxxul's rating
With its dreamy animation, magical realism, and themes of loneliness and finding one self. This 21-minute short film is a pure heartwarming journey through the eyes of a lonely boy named Dong-Dong who with his magic candies sets to communicate with his past and discover himself.
I personally loved the bond between Dong-Dong and his dog, Gunsuri, truly a standout sequence in this short film. From playful puppy days to their quieter moments now, it's a heartfelt reminder of how pets become family. And when Dong-Dong finally connects with his grandma near the end, it's pure warmth, you can feel the love in every frame. Also the early conversation with the couch was funny. The moments with his dad when he will be doing the dishes was neatly done.
Sure, the ending is predictable, but it doesn't matter. What sticks with you is the soothing tone and simple message: sometimes, breaking free from your own head means opening up to those around you. The background score complemented the ending scene.
It reminded me of some of my favorites films that find magic in everyday life. Shinji Somai's Moving (1993), Aivars Freimanis's Puika (1967), Hugo and Josefin (1967), and Royston Stan's 4:30 (2005). I have reviewed all these titles so of you have a time please check it out.
In closing, this is a good short film cozy, and full of heart, this one's worth a watch. No wonder it's up for a 2025 Oscar's.
I personally loved the bond between Dong-Dong and his dog, Gunsuri, truly a standout sequence in this short film. From playful puppy days to their quieter moments now, it's a heartfelt reminder of how pets become family. And when Dong-Dong finally connects with his grandma near the end, it's pure warmth, you can feel the love in every frame. Also the early conversation with the couch was funny. The moments with his dad when he will be doing the dishes was neatly done.
Sure, the ending is predictable, but it doesn't matter. What sticks with you is the soothing tone and simple message: sometimes, breaking free from your own head means opening up to those around you. The background score complemented the ending scene.
It reminded me of some of my favorites films that find magic in everyday life. Shinji Somai's Moving (1993), Aivars Freimanis's Puika (1967), Hugo and Josefin (1967), and Royston Stan's 4:30 (2005). I have reviewed all these titles so of you have a time please check it out.
In closing, this is a good short film cozy, and full of heart, this one's worth a watch. No wonder it's up for a 2025 Oscar's.
Oh my goodness, "Ponman" is a movie where I wished it would end sooner-not as a negative critique, but as a testament to how deeply I rooted for PP Ajesh to catch a breath, even for a moment. This character, played by Basil Joseph, who is a hot mess in this film, and his struggles are so palpable that you can't help but feel for him.
Director Jothish Shankar, in his debut, has managed to craft an exceptional adaptation of GR Indugopan's novel Naalancheru Cheppuvaakkaar (Four-Five Young Men). He presents a murky character study of individuals who are neither black nor white but exist in shades of gray, and "Ponman" embodies this complexity beautifully. The film also offers a vivid portrayal of the Lenten season celebration, the Latin Catholic community, and the unique biosphere of Thalavettichira Island, adding layers of cultural richness to the narrative.
The supporting cast is just as fabulous. Lijomol Jose, as Steffi, plays the bride who yearns for gold, raised by her widowed mother (Sandhya Rajendran). Sandhya's character has an intriguing arc that goes beyond pleading and sobbing for some time extensions to repay Ajesh. Then there's Mariano, played by Sajin Gopu, whom audiences might recognize from "Aavesham" as the Amban character. In "Aavesham," he was a villain you loved to hate but secretly wanted to shake hands with; in "Ponman," he's someone you'd want to stay at least 10 feet away from-especially his shrimp farm.
Another decent performance is given by the character Bruno, Steffi's brother. A shout-out also goes to that quirky friend-in-need who steals every scene with his antics. He's the kind of character who feels like a savior, and you'll understand why when you watch the film.
But the showstopper, of course, is Basil Joseph. I've always known Basil to be a talented dramatic actor, but this is undoubtedly his best work yet. The constant escalation of absurd comedy, particularly during the drinking scenes, and the mounting tension and stakes are almost nauseating. Watching Ajesh's life spiral into chaos is mesmerizing, and Basil embodies the role flawlessly. His physicality, accent, and delivery are impeccable, leaving you absolutely entranced.
Overall, "Ponman" is an extremely worthwhile tour de force that gives neither the characters nor the audience a moment of peace. One moment, you're laughing; the next, you're gripped with anxiety. The director and the technical team have poured their hearts into weaving together a chaotic yet heartwarming-and bittersweet-story. You'll understand the bittersweetness by the end of the film.
Director Jothish Shankar, in his debut, has managed to craft an exceptional adaptation of GR Indugopan's novel Naalancheru Cheppuvaakkaar (Four-Five Young Men). He presents a murky character study of individuals who are neither black nor white but exist in shades of gray, and "Ponman" embodies this complexity beautifully. The film also offers a vivid portrayal of the Lenten season celebration, the Latin Catholic community, and the unique biosphere of Thalavettichira Island, adding layers of cultural richness to the narrative.
The supporting cast is just as fabulous. Lijomol Jose, as Steffi, plays the bride who yearns for gold, raised by her widowed mother (Sandhya Rajendran). Sandhya's character has an intriguing arc that goes beyond pleading and sobbing for some time extensions to repay Ajesh. Then there's Mariano, played by Sajin Gopu, whom audiences might recognize from "Aavesham" as the Amban character. In "Aavesham," he was a villain you loved to hate but secretly wanted to shake hands with; in "Ponman," he's someone you'd want to stay at least 10 feet away from-especially his shrimp farm.
Another decent performance is given by the character Bruno, Steffi's brother. A shout-out also goes to that quirky friend-in-need who steals every scene with his antics. He's the kind of character who feels like a savior, and you'll understand why when you watch the film.
But the showstopper, of course, is Basil Joseph. I've always known Basil to be a talented dramatic actor, but this is undoubtedly his best work yet. The constant escalation of absurd comedy, particularly during the drinking scenes, and the mounting tension and stakes are almost nauseating. Watching Ajesh's life spiral into chaos is mesmerizing, and Basil embodies the role flawlessly. His physicality, accent, and delivery are impeccable, leaving you absolutely entranced.
Overall, "Ponman" is an extremely worthwhile tour de force that gives neither the characters nor the audience a moment of peace. One moment, you're laughing; the next, you're gripped with anxiety. The director and the technical team have poured their hearts into weaving together a chaotic yet heartwarming-and bittersweet-story. You'll understand the bittersweetness by the end of the film.
Oh, where to begin with "Bottle Radha," Sad to see it's unnoticed and not even a single review. To be the first to share thoughts about it feels great!
Cinema has flirted with the theme of addiction, wrapped up in socio-economic struggles and the unpleasant side effects of intoxication, countless times. I know Malayalam films have done it close to reality. I remember some of my favorite films that explored these themes, notably "Yellow Scarf/Zólty szalik" (2000), which I have reviewed on IMDB, "Affliction" (1997), "Trees Lounge" (1996), and "Krisha" (2015) are some of the best I recommend to those who danced with bottle or whatever and stumbled.
Coming back, Director Dhinakaran Sivalingam's debut feels like a warm, heartfelt hug, proving he's a filmmaker worth keeping an eye on.
"Bottle Radha" feels different-it's not here to shock or exploit. Instead, it tiptoes in with honesty, humanity, and so much compassion, like a friend who sits with you through the hard times, holding your hand. The film introduces us to Radha (Guru Somasundharam), a man whose face tells a story of quiet despair. A scuffle with a coworker, stopped by his nephew, speaks volumes-this is a man chasing an escape, a fleeting high to dull the weight of his world. But addiction, oh, it's a sneaky little monster, isn't it? It doesn't just hurt Radha; it ripples through the lives of everyone around him, especially as we meet them in the de-addiction center, where days stretch long and uneventful.
What makes "Bottle Radha" so special is its gentle touch. Director Dhinakaran doesn't just tell the story of a man battling alcohol; he paints a whole world-Radha's world-where hope flickers like a tiny, stubborn flame. The film's sweet little nod to "The Shawshank Redemption" is such a charming touch. And then there's Ashokan (John Vijay), the rehab owner, who feels like a ray of sunshine. His climactic moment by the lake, offering Radha a puppy and a plant, is both beautifully staged and emotionally resonant.
Guru Somasundharam, oh my, what a performance! He brings Radha to life with such raw, sunken brilliance, making every relapse and moment of self-discovery feel achingly real. But let's not forget Sanchana, who plays Anjalam, Radha's wife. She's the heart of the film, a woman whose life is turned upside down by her husband's addiction, yet she never stops hoping, but stops loving and then starts loving. Her monologue during the end credits is a standout moment.
In closing, I must reiterate that the director deserves praise for crafting a world around Radha that feels meaningful and visually captivating, filled with people who genuinely care for him. The film's educational intent is evident in its portrayal of how addiction dictates behavior, leading to self-betrayal and the betrayal of loved ones. Despite minor hiccups, "Bottle Radha" is a sincere and worthwhile exploration of its theme, and I highly recommend it. And, of course, let's not forget "Kudumbasthan"-a lovely little companion to this touching, unforgettable tale.
Cinema has flirted with the theme of addiction, wrapped up in socio-economic struggles and the unpleasant side effects of intoxication, countless times. I know Malayalam films have done it close to reality. I remember some of my favorite films that explored these themes, notably "Yellow Scarf/Zólty szalik" (2000), which I have reviewed on IMDB, "Affliction" (1997), "Trees Lounge" (1996), and "Krisha" (2015) are some of the best I recommend to those who danced with bottle or whatever and stumbled.
Coming back, Director Dhinakaran Sivalingam's debut feels like a warm, heartfelt hug, proving he's a filmmaker worth keeping an eye on.
"Bottle Radha" feels different-it's not here to shock or exploit. Instead, it tiptoes in with honesty, humanity, and so much compassion, like a friend who sits with you through the hard times, holding your hand. The film introduces us to Radha (Guru Somasundharam), a man whose face tells a story of quiet despair. A scuffle with a coworker, stopped by his nephew, speaks volumes-this is a man chasing an escape, a fleeting high to dull the weight of his world. But addiction, oh, it's a sneaky little monster, isn't it? It doesn't just hurt Radha; it ripples through the lives of everyone around him, especially as we meet them in the de-addiction center, where days stretch long and uneventful.
What makes "Bottle Radha" so special is its gentle touch. Director Dhinakaran doesn't just tell the story of a man battling alcohol; he paints a whole world-Radha's world-where hope flickers like a tiny, stubborn flame. The film's sweet little nod to "The Shawshank Redemption" is such a charming touch. And then there's Ashokan (John Vijay), the rehab owner, who feels like a ray of sunshine. His climactic moment by the lake, offering Radha a puppy and a plant, is both beautifully staged and emotionally resonant.
Guru Somasundharam, oh my, what a performance! He brings Radha to life with such raw, sunken brilliance, making every relapse and moment of self-discovery feel achingly real. But let's not forget Sanchana, who plays Anjalam, Radha's wife. She's the heart of the film, a woman whose life is turned upside down by her husband's addiction, yet she never stops hoping, but stops loving and then starts loving. Her monologue during the end credits is a standout moment.
In closing, I must reiterate that the director deserves praise for crafting a world around Radha that feels meaningful and visually captivating, filled with people who genuinely care for him. The film's educational intent is evident in its portrayal of how addiction dictates behavior, leading to self-betrayal and the betrayal of loved ones. Despite minor hiccups, "Bottle Radha" is a sincere and worthwhile exploration of its theme, and I highly recommend it. And, of course, let's not forget "Kudumbasthan"-a lovely little companion to this touching, unforgettable tale.