Chief Arun Prabhu Purushothaman again places the focus on the idiocy of life in his most recent film Vaazhl, which is gushing on Sony Liv. This film could be considered as an augmentation of his first element film Aruvi, where he focussed on the negligibility of society’s fixation on present day way of life, and how accepted practices are only from time to time kind and just. In Vaazhl, he attempts to see how one can carry on with life according to your own unrestrained choice.

Prakash (Pradeep Anthony), the hero of Vaazhl, is a man stuck in a vacuum. He hails from a decent family, is accomplished and has a well-paying programming position. He has a sweetheart. She is a piece tenacious and continually irritating, however he actually checks all the crates with regards to the traditional meaning of things that one need to carry on with a cheerful and content life in the 21st century. But, he’s distraught and feels as though he is trapped in a type of a void.Society has fooled him into accepting that he has every one of the fine things throughout everyday life and there isn’t anything to whine about. He doesn’t have the words or capacity to clarify the unusual sensation of being inadequate that is whirling in his gut. He can’t differentiate between remaining alive and living. The days just pass him as he wrestles with this pestering inclination in his gut. Will an advancement at work cause him to feel achieved? Will hanging out additional with companions cause him to feel he’s making every moment count? Will more alcohol help? What about yoga exercises? What will assist him with disposing of the vacancy that follows him everywhere?Vaazhl opens with the location of Prakash heaving for breath. He has fallen into a profound opening in mountains. His leg is gotten between two rocks, and he cannot move. No measure of shouting helps on the grounds that nobody can hear him. This figurative circumstance summarizes his life.

Arun, notwithstanding, decides on a cheekier and more reflective tone while tending to Prakash’s existential problem. There are a lot of minutes in the film that will leave you in parts. Particularly, Prakash’s situation with his sister, who is a devoted fanatic of chief Gautham Menon’s Vinnaithaandi Varuvaayaa. She is blindly enamored with a not at all like man Simbu from the film. She is prepared to begin sobbing uncontrollably immediately and transform any circumstance into drama. It appears to be all she needs is a romantic tale, which is deserving of a celluloid gesture.

Furthermore, the scenes among Prakash and TJ Bhanu’s person, a wedded lady with a raucous child, are dim and bent, yet humorous. You can’t resist the urge to laugh uncontrollably when the tune ‘Ennoda Rasi Nalla Rasi’, which generally means ‘my fortunes are acceptable’, plays as a ringtone on Prakash’s telephone when Bhanu’s person goes to his home interestingly. It is on the grounds that we realize that he is going to run stuck between a rock and a hard place.

Arun has not given a name to Bhanu’s person. We either know her as somebody’s little girl, or spouse or mother. She apparently doesn’t have her very own character. Of the relative multitude of titles, she is generally OK with being called Yatra Amma, mother of Yatra. This anonymous person, notwithstanding, has the ability to transform Prakash, and takes him on a life changing yatra (venture).