![]() You see this sincerity in the setting, the casting. Venkatesh Maha, the writer-director who made C/o Kancharapalem, fares much better with this material. The film was shot like a blingy commercial, and Priyadarshan’s stagey, nineties’-style direction felt positively archaic when compared to Dileesh Pothan’s lived-in textures. There were laughs, sure, but you also winced if you’d seen the original. He turned a subtle dramedy into one more suited to his loud, slapsticky strengths. ![]() Given that a lot of Malayalam cinema would practically pass for “art cinema” in the bigger, brasher neighbouring industries that speak Tamil and Telugu, how does one tackle Dilee sh Pothan’s Maheshinte Prathikaaram (2016)? Two years after the Fahadh Faasil starrer came out, Priyadarshan gave us an answer with his Tamil remake, Nimir.
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