Express News Service
There’s an inexplicable unease caused by the melancholic lullaby, Kanne Kanmaniye, Sivatmikha’s song that precedes each of the four films in Netflix’s anthology, Paava Kadhaigal. It’s the discomfiting hint that the same parents who so cherish and adore their daughters, calling them Kanne and Kanmaniye, somehow develop the cognitive dissonance necessary to be able to unleash unspeakable monstrosities on them in the name of honour.
The slashes of red in the animation video that charts the growth of a daughter, as she transforms from dependent toddler to a freethinking adult in love and later, marriage, is another ominous sign of what’s to come in the four films. I found Paava Kadhaigal’s foray into the horror of our kind something as specific as honour killings to be such a welcome departure from the anthologies themed on generic topics that have come our way so far. This idea serves to offer filmmakers like Gautham Menon and Vignesh Shivan a chan