Yamakaathaghi

What evil is the family inviting upon itself, and what is left of this family is what Yamakaathaghi is about. Roopa, as Leela, has put out an effective performance in the limited scope her character gets. The same can be said of Anbu (Narendra Prasath). We just see less of Leela and nothing of Anbu. Leela's corpse, reluctant to leave the house seeking justice for her death, has a riveting slow-burn effect, resulting in an engaging first half. The events in the second half ultimately lead to a predictable point. The predictability, however, is not a problem, as the idea of a wronged and departed soul seeking vengeance without the aid and assistance of VFX or SFX was long sold. This treatment comes as a whiff of fresh air after watching countless films of gory-looking apparations making sounds and appearing at the stroke of midnight.

What stands out in Yamakaathaghi is how it cohesively comes together to tell a story of how even the death of a woman cannot settle scores against how much patriarchy and misogyny have been doing wrong for long. Peppin uses a supernatural force and beliefs to craft a commentary to show what the real curse for women is. That the societal beliefs which chide reality and freedom for honour, that a family’s respect lies in how much control it has on women and not the wrongdoings of a man. This idea is carefully aided by the technical prowess of Sujith Sarang (cinematography), Sreejith Sarang (editing and coloring), and Jecin George (music), who bring the life of a rural setting with utmost authenticity. The cast, including Roopa Kodangayur, and Geetha Kailasam, are the main showrunners, who brilliantly shoulder the film with their realistic performance.