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When is the closure? Wait, let me rephrase this question. What does closure mean to you? Suppose that there was an accident when driving a two-wheeler. There is significant damage but also a tangible path to recovery. Where does this road end? When you get back in the vehicle for the first time, ignoring those trembling hands? Or when you can hear the traffic noise without being overwhelmed? Or when you slowly return to trust, you are pushed to square one by any trigger. The question is whether you can finally close the door and call the past.
Distribution: Taapsee Pannu, Vinodhini Vaidyanathan, Sanchana Natrajan
Director: Ashwin Saravanan
Game Over metaphorically metaphorically. battle in the context of a … video game. It feels like a game, is not it? The levels become harder, the enemy becomes more powerful, you become weaker, then stronger. The film says that life is not so different when asked, and if life was a video game and the déjà vu is just a bunch of checkpoints? It makes a lot of sense.
Game Over is also structured in this way. The trauma of Swapna (Taapsee Pannu) is much more disabling – she is a victim of badual abuse. We do not see exactly what is happening to it, but we do not need to do it. We all know the story too well. Unfortunately, it has become "too common" for people who are not directly affected, that's another story. The film strongly shows the survivor's journey, the trials and tribulations of her struggle to recover, and I am delighted. The film guides us organically through these phases – to blame oneself ("I could have avoided going out that night") to accept that we can not change the past ("I can crying but I can not change what happened ") and finally, trying to make peace with her; when you can finally say Game Over (" sethaalum paravala, sanda podalaam ").
This is an example of good writing when the details do not appear in the dialogs. The writing of Game Over (by Ashwin Saravanan himself and Kaavya Ramkumar) is exceptionally strong, as it maneuvers in the dark and isolated corridors of PTSD. Swapna chooses to wear long sleeves – dull clothes that really "cover" her. She prefers to sleep on the couch. She is nyctophobic. Swapna is real, just like the walls she built around herself. And the effect of the atmosphere created by these details is that we breathe with it – in panic, relief and fear.
Injuries, like tattoos, are permanent in most cases. Even though he may feel lonely, recovery is rarely a solitary exercise – one can not forget the people who choose to carry it out with you. And in the case of Swapna, it's Kalamma (Vinodhini Vaidyanathan), which is literally the help. I do not remember the last time we saw a minor character who is not a caricature; someone who has his own presence. And the relationship between Swapna and Kalamma is beautiful, with organic and remarkable moments. The first time Taapsee talks about her trauma, we do not see her parents. we see Kalamma disappearing in the background – we could even say that she cleans up the damage in Swapna's life. Or at the first moment, we are witnessing these two together. Kalamma gives Swapna her food; the latter takes a bite and frowns. Kalamma does not hesitate to take a mouthful of Swapna's plate and to say in a funny way: " Idhuku enna korachal, uppu konjam kammiya iruku .
And I can not think of two better people to interpret these ornate characters than Taapsee and Vinodhini. It is rather unusual for someone who does not know the language to make the front page of a movie, but as Ashwin mentioned in a recent interview with us, Taapsee is the owner. I've taken a bit of time to get used to the voice, but that does not upset you at any point – thanks to the intensity of its subtle and yet percussive performance (the Dubbing artist Deepa Venkat eliminates all the doubts of the park). Vinodhini is great too. Just watch her when Swapna agrees to meet her separated parents – she is thrilled but does not want to shout out loud. The spark in Vinodhini's eyes is enough. Even actors who play smaller characters (in terms of screen time), Sanchana Natrajan, Mala Parvathy and Ramya leave indelible marks. In addition, what a pleasure to see so many real female characters on the screen! For nothing else, I have the feeling that Game Over should be celebrated for that
Despite all this emotional subtext, Game Over is a thriller and film speak firmly the language of the genre. The cinematography, on several occasions, chooses nooks (like CCTV cameras or, to give a psychological turn, even a traumatism?). And in the hand with the terrific soundtrack and sound design, Game Over manages to surprise us once more with a few brilliant moments – it overturns some familiar tropes with effective use silence and facts. reveals. Ashwin made the most of the run time, a busy 103 minutes. There is not a single useless framework. Each is dotted with visual cues – what's going on and what's going to happen. But these signals are like when you're holding a child at the zoo. The film guarantees that we are not lost but still lets us see what we want to see.
That's what happens with movies that offer you more than what you see. As a director Manikandan has beautifully formulated his sentence, speaking of Kaaka Muttai those who wanted to see the social commentary saw him. Otherwise, it would be a simple drama on two children who want to taste a pizza. On the outside, Game Over is a thriller. Although effective, it leaves you with questions if you choose not to look at all the metaphors. However, I would not want to go back to square one just to play this game again.
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