One genre that does not appear as a formulaic one, is the thriller genre. While it might have some formulaic elements, the objective to create a film which is filled with the apt twists and turns without the audience being able to predict what happens is the mark of a good thriller film. In AK Kumar's Nizhal the thriller elements of the story is combined with vigilantism and messaging to become, well... , a shadown of its own self. In this thriller a woman sets out to avenge the heinous actions that is dealt to her loved one and bring forth justice.

Director: AK Kumar

Cast: Janany, Vishakan, Ramesh Khanna, Hari Vijay

The biggest strength of the film is the technical department. Director of photography Mohankumar seeks to not waste any frame and fill it properly. In the opening montage he uses something as simple as the brakeligh and fills a car with red. In another scene he fills a room with orange without that pop of colour pulling the focus away from the frame's subject. Small additions like these propel the film's look forward. The director of photography is ably aided by the production designer, who has also worked on making the film's colour palette to be very bright and distinct.

Nizhal is headlined by Janany, who takes on the added duty of portraying a double role. The actor tries to do justice to two characters, who carry both the emotional and the social cores of the film. The actor is earnest when delivering messages that challenge misogyny and the alcoholism that leads to violence against women. She is also able to essay the fundamental characteristics of a carefree woman. But the writing for the characters lets down the performances. While Janany's character is tries to break out of the regular lead actress tropes, the writing does not build enough for her character to find her space.

The woes in writing also extends to the dialogues. Ramesh Khanna plays the doting father, who wants best for his daughter. But apart from just being there as a father, his only other purpose to deliver jokes which doesn't land. The placement of the comedic breaks does not seem to be for the audience to catch a breath after intense scenes, it catches you by surprise. This is due to the fact that the tonal shift is not eased in with the help of music or changes in camera angles or edits. Instead the viewers are forced to accept the change and move on.

Nizhal can be acknowledged for its effort to express a real problem that still plagues the nation. It can also be acknowledged for its efforts to elevate women to more serious roles, with its supporting cast, without having to be a bastion for some moral value or another. But it is pulled down by its own ambition, and hence stuck in between wanting to be a competent thriller, to be a story that champions change against societal problems, and a film that entertains. But confused writing, incomplete flow, traps the film to an age old style.