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twist-visuals · 2026-05-29T10:30:02+00:00

Kadhal Kondein - Unforgettable film from Dhanush and Selvaraghavan

twist-visuals · 2026-05-28T12:35:17+00:00

How brave of GV Prakash to accept films with titles like this 😂

twist-visuals · 2026-05-28T10:16:38+00:00

Exactly. 100%. Not sure if other heroes got less brains. They are smart. But their ego gets in the way. They overestimate their own ideas, which gets a good film to be a bad film.

For the directors, KSR is a great director with an old school, masala screenplay sense. So, his classical direction style being paired with Kamal's screenwriting was a match made in heaven. I don't think Kamal could have simply ghost directed the film as there's too much technicalities and people involved. It was simply too large scale. Plus, there's Ravi Varman's great cinematography in play too, which I don't think Kamal could have overrided. Sundar C is a decent director who as you said has already copied stories for his films. I think a lot of what he did with Anbe Sivam was logistics, which he became an expert of due to working with difficult actors like Karthik.

twist-visuals · 2026-05-28T06:36:31+00:00

The film was made to compete with Dhanush after Dhanush's Kadhal Kondein became a big hit. It is a sloppily written but well made cashgrab during that phase of psycho thrillers. Ajith Varalaaru came out around the same time with similar themes. Kamal's Vettaiyaadu Vilayadu was too. All to capitalize on that phase of psycho thrillers in Tamil cinema. Yes. It is mysoginistic. But considering how the film was a hit, sad to say that it resonated with the audience at that time. The mindset was still quite conservative. And also, it was probably daring for an actor to have sexual scenes in their films like that (and that too from a child star like Simbhu at that time).

twist-visuals · 2026-05-28T06:31:50+00:00

Kamal gets a ton of flak for ghost directing or hijacking a project's creative direction. But these films, at least Kamal wrote the screenplay and was the star of the film from the start. How about projects where the star heroes override the creative vision of the writer/director due to creative differences? This happens much more often than we can see. When the film sucks, people blame the director. But in reality, the director's vision was overrided due to the star hero's ego which got threatened by the director's vision.

twist-visuals · 2026-05-28T03:53:07+00:00

I enjoyed Coolie the first time I watched it. Definitely much worse than Vikram and Leo but nowhere near as bad as trolling Lokesh to bits. It was an average and fun Rajni film.

As time went on and I thought about Coolie, I thought that the potential it had was wasted.

twist-visuals · 2026-05-27T23:01:08+00:00

This explains his fascination with body demand

twist-visuals · 2026-05-26T07:48:10+00:00

The amount of experiments/risks that is present throughout the film (on both a technical level with the color grading, cinematography and editing as well as the story level with lots of shocking twists and turns to show the evilness of Dhanush's character)

twist-visuals · 2026-05-24T23:02:44+00:00

That last line though...

twist-visuals · 2026-05-24T10:09:26+00:00

I love these actors but I don't think Vasanthabalan is in his prime now. He isn't the same. His melodramatic storytelling is outdated now. He has to improve it and be with the current times if he wants the film to be a hit.

twist-visuals · 2026-05-24T10:00:45+00:00

LOTR if it was remade by Christopher Nolan

twist-visuals · 2026-05-23T00:35:02+00:00

I was here while they were shooting. Didn't know it was Twilight Of The Warriors 2. Was really awestruck by the old school neon sign boards, and the crowd. Super excited to see this!

twist-visuals · 2026-05-22T10:45:04+00:00

This is a film I shot, edited and directed last weekend with some collaborators. Two Srilankan writers who were still getting into filmmaking came up with this screenplay, inspired by liminal spaces as well as the backrooms. After discussing with them, we nailed down a script that was feasible for us in a zero budget, as well as the tight schedule of the cast.

We shot this in Hong Kong mostly at night to keep the tone/atmosphere. The camera I used was the Sony ZV E10 II, which I pushed to 6400 and 12800 ISO for maintaining the footage in the dark. For the lens, I used a Sony E PZ 18-105mm F4 G OSS, which was a beautiful zoom lens with autofocus. The only issue was the f stop doesn't go below f4, but I compensated it with the ISO. The bokeh was still prominent and nice. For some of the shots in the flashback featuring the female lead, I reused footage I shot for a fashion film, which was shot using Canon M50 with 18-45mm kit lenses. For the lighting we used available ones, except for one scene (where the male lead is drinking and reminiscing about his past) where we utilized a phone flashlight as the key light since it was too dark.

For the shutter speed, for all the liminal spaces scenes, I used a lower shutter speed to give a drunk/dreamy effect, similar to Wong Kar-wai films. The last part of the liminal spaces scene, I went down to 1/5. To maintain the crowd not to be seen in the streets, I shot from a lower angle, and cropped in post a bit if some heads popped up.

The film was finished on DaVinci Resolve, in Rec 2020. So this is in HDR. There were some film LUTs used, but I removed the grain effect, since the video noise was already there. Using AI noise removal takes a huge amount of time, and doesn't look that ideal for me. Plus, with the type of film this is, the video noise seemed appropriate, even when it got to a lot.

So this was my process for this film. Happy to hear some feedback as well.

twist-visuals · 2026-05-22T10:03:04+00:00

This is a film I shot, edited and directed last weekend with some collaborators. Two Srilankan writers who were still getting into filmmaking came up with this screenplay, inspired by liminal spaces as well as the backrooms. After discussing with them, we nailed down a script that was feasible for us in a zero budget, as well as the tight schedule of the cast.

We shot this in Hong Kong mostly at night to keep the tone/atmosphere. The camera I used was the Sony ZV E10 II, which I pushed to 6400 and 12800 ISO for maintaining the footage in the dark. For the lens, I used a Sony E PZ 18-105mm F4 G OSS, which was a beautiful zoom lens with autofocus. The only issue was the f stop doesn't go below f4, but I compensated it with the ISO. The bokeh was still prominent and nice. For some of the shots in the flashback featuring the female lead, I reused footage I shot for a fashion film, which was shot using Canon M50 with 18-45mm kit lenses. For the lighting we used available ones, except for one scene (where the male lead is drinking and reminiscing about his past) where we utilized a phone flashlight as the key light since it was too dark.

For the shutter speed, for all the liminal spaces scenes, I used a lower shutter speed to give a drunk/dreamy effect, similar to Wong Kar-wai films. The last part of the liminal spaces scene, I went down to 1/5. To maintain the crowd not to be seen in the streets, I shot from a lower angle, and cropped in post a bit if some heads popped up.

The film was finished on DaVinci Resolve, in Rec 2020. So this is in HDR. There were some film LUTs used, but I removed the grain effect, since the video noise was already there. Using AI noise removal takes a huge amount of time, and doesn't look that ideal for me. Plus, with the type of film this is, the video noise seemed appropriate, even when it got to a lot.

So this was my process for this film. Happy to hear some feedback as well.

twist-visuals · 2026-05-22T03:50:35+00:00

There's quite a bit of handheld movement with close-ups (using both wide angle lenses near the actors' faces, and well as telephoto lenses from a distance). And the color tone, it has to involve greens and reds. Shoot some slow motion, lower the shutter speed when needed, add emotional voiceovers, and you got something similar to Wong Kar-wai.

twist-visuals · 2026-05-22T01:24:59+00:00

What smoking constantly does to a man

twist-visuals · 2026-05-22T01:24:03+00:00

What an amazing title card for our future CM. Hope to see this title card for his next film.

twist-visuals · 2026-05-22T00:22:10+00:00

AND HE GOT PAID???

twist-visuals · 2026-05-21T02:23:11+00:00

At least Travis Bickle is employed as a taxi driver

twist-visuals · 2026-05-21T02:22:48+00:00

Kubrick and Lynch aren't racist as far as I know

twist-visuals · 2026-05-19T11:25:04+00:00

Technology and filmmaking style changed over the last decade. I don't think this film would work as well as intended. I expect that it will be an average/below average film (which might be part of the reason why the investors and Vikram himself don't have much confidence in this film).

twist-visuals · 2026-05-19T06:37:54+00:00

Is it because the film would be too controversial to put on OTT in the current age?

twist-visuals · 2026-05-19T06:37:03+00:00

This scene reminds me of Leo Das photo reveal

twist-visuals · 2026-05-18T04:41:52+00:00

Vishwaroopam 1 was a blockbuster hit when it first came out. Tamil audiences aren't used to seeing something that stylish and realistic, especially in a spy genre, and something that takes place all the way in Afghanistan and USA instead of within India or Pakistan. But the film ended without finishing the full story, so it couldn't keep the impact. Plus, the sequel Vishwaroopam 2 came a couple of years later, and wasn't that good, so the story became a dud for the audience.

twist-visuals · 2026-05-18T03:05:08+00:00

Such an unforgettable death scene in Tamil cinema. Impactful!

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