Spoilers continue…
The director focuses on the heroine’s face, expressive eyes. Aishwarya gives us everything from cowardice to disgust, fear and controlled anger.
and Oru Narr Coutu, Nelson Venkatesan has shown what theater can do. The film was a sober look at modern marriage.his next movie is very interesting monsterwas a complete U-turn, a live-action cartoon about a man fighting rats.and Farhana, proves that the director really doesn’t want to be framed by any genre. Broadly speaking, this is a thriller. But after the clumsily staged opening (which exaggerates the kind of “danger” that awaits a free-spirited woman), we arrive at a drama much like Satyajit Ray’s work. . Mahanagar. A middle-class woman (Farhana, played by Aishwarya Rajesh) takes her job to relieve her family’s financial pressure. In both films her father-in-law objects, and in both films her work is rather unconventional. In the 1960s, when it was common for women to become housewives, Ray’s heroine went out and became a door-to-door saleswoman. In Farhana’s case, her job is at a call center, where she has sex chats with men. Her problem is that she is a devout Muslim.
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