Kolamaavu Kokila COCO review

Kolamaavu Kokila sets aside some opportunity to construct its establishment yet Nelson hits gold with the dim diversion. We get the opportunity to meet Kokila (Nayanthara) and her family involving Saranya Ponvannan, Jacqueline and RS Shivaji. Kokila lands expelled from her position after she declines to humor her supervisor's lewd gestures. Her mom is determined to have lung disease with a sticker price of Rs 15 lakh set on her life. A group of restricted means, Kokila attempts to get the cash through a few means advances, NGOs, relatives. When nothing works out and she risks upon a connection with a sneaking posse, she conveys Kolamaavu (slang for cocaine) for the cash.

While the references to Breaking Bad are very self-evident, Kolamaavu Kokila has a considerable measure working to support her. The film takes its generalizations and wonderfully subverts them all in all, hence pushing the film into a position of consistent incongruity. No one expects a bashful, wonderful lady like Kokila to convey drugs. Her accommodation is continually misinterpreted for naivety; no one anticipates that her will be road savvy and turn the tables. This difference between what it is and what it is considered to be stretches out past the storyline to its treatment also. Nelson makes Saranya Ponvannan, who could patent her warm-hovering mother symbol, perform murders. Then again, he makes the faltering, stammering Kokila who shudders in fear at seeing a firearm convincingly dupe hoodlums and policemen. It nearly feels like he has taken the hesitant, coy courageous woman that Kollywood cherishes and given it a tart turn.

Kokila is a splendidly composed character, perfectly played by Nayanthara. She truly offers the calm symbol, too well to possibly be straightforward. Furthermore, she doesn't vacillate. Indeed, even the 'mass minutes' in Kolamaavu Kokila are a subversion to what we get in standard business films. Nayanthara persuades a criminal to murder his own particular men. Be that as it may, she requests that he shoot after she dismisses. As she leaves with the discharge sound out of sight, there is no feeling of achievement, just fear. In another incredible succession, where she is made to shoot a man, she doesn't look at him without flinching with bombast like our saints do. Rather, her eyes travel down. (Anirudh's Gun-in Kadhal is splendidly set here.) The woman genius is in some fine organization with regards to exhibitions. Saranya Ponnvannan and Yogi Babu are in fine shape with whatever is left of the cast conveying what they have to also.

Immovably put in the neo-noir space, Kolamaavu Kokila's lighting and sound go far to keep up its state of mind and upgrade the impact of its written work. There is some awesome surrounding by cinematographer Sivakumar Vijayan and some vital shots too. Nayanthara is always surrounded against columns, windows railings of windows, transport stops and so on – a sign that she is a detainee of condition. A few all around set casing in-outline shots make for extraordinary visuals as well as swing to be allegories for the characters in the edge. Anirudh's energetic foundation score fits the topic perfectly.

Nayanthara is leading an adjustment in Tamil silver screen, one that it merits. With her sharp selection of contents and chiefs, she is gradually demonstrating that silver screen isn't only a man's reality any longer. Hopefully that she keeps up her streak, changing viewpoints as she proceeds.