The unexpected postponement of Vijay’s Jana Nayagan may have disappointed many, but it has also created unexpected beneficiaries. Among them are the makers of Jiiva-starrer Thalaivar Thambi Thalaimaiyil (TTT), who were quick to capitalise on the opening and advance their release to January 15. A Pongal release is always considered prestigious, and Malayali filmmaker Nithish Sahadev of Falimy fame, is stepping into Tamil cinema with TTT on this festive day. “Festival releases are always special, but for a filmmaker from Kerala to release his film for Pongal is quite incredible. Back home, I’d still be struggling to get my film out during the Onam season,” he says.
Nithish’s entry into Tamil cinema began with Falimy's remake discussions, which Jiiva initiated. While he admits the money was tempting, the director clarifies that he was never keen on revisiting the same story. “I was happy to sell the remake rights for a good sum, but not to remake it myself,” he laughs, adding that the deal eventually fell through after prolonged negotiations, as the production house was unwilling to part with the rights.
With Jiiva still open to collaborating, Nithish tried pitching a subject he had originally planned in Malayalam, even before Falimy. “It’s based on an incident that happened near my co-writer Sanjo Joseph’s house. I initially tried making it with Suraj Venjaramoodu and later with Sharaf U Dheen, but neither materialised,” he recalls. “After a point, I dropped the idea, especially when many started making films set over the course of a single night. But when this opportunity came up, I felt the story would suit Tamil culture better than Malayalam.” Along with co-writers Sanjo and Anuraj, and with additional dialogues by Vijayakumar Solaimuthu, the team reworked the narrative, introducing fresh elements that eventually shaped TTT.
The film revolves around a local politician who finds himself caught between simmering family conflicts while overseeing a wedding. From the promos, it appears deeply rooted in local culture, rituals and grassroots politics. For Nithish, however, this world felt instinctively familiar. Raised in rural Thiruvananthapuram, close to the Kerala-Tamil Nadu border, he says the cultural overlap was part of his upbringing. “Tamil society was never alien to me. Tamil cinema played a big role in my childhood, with my mother being a huge Sivaji Ganesan fan,” he notes. That said, he acknowledges the challenges of cultural authenticity. “Despite the familiarity, it’s still difficult for a Malayali filmmaker to get everything right. Fortunately, since this story could exist in any setting, we chose to locate it in a fictional town.”
TTT is also being seen as a potential comeback vehicle for Jiiva, who has endured a rough patch in recent years—something Nithish is acutely aware of. A long-time admirer of the actor’s performances in Raam, Katradhu Tamizh, Siva Manasula Sakthi, and “especially E,” the director describes working with Jiiva as a refreshing experience. “I’ve so far worked with Basil and Mammukka, and both are deeply invested in the script and want absolute clarity before stepping onto the set. Jiiva is different. He places blind trust in the filmmaker and completely submits himself to the process, which might also explain why some filmmakers have failed him,” Nithish reflects, while also sharing a life lesson he picked from the actor. “Despite all the setbacks, Jiiva is always relaxed and ensures everyone around him is comfortable. It’s not easy—most people panic in such situations. He also stays incredibly updated, much like Mammukka, keeping track of what’s new and trending.”
After Falimy, Nithish was slated to collaborate with Mammootty, but the project was delayed following the actor’s break last year. The director now confirms that the film is back on track, with pre-production set to resume in earnest after TTT’s release. “We’re hoping to start shooting once Mammukka wraps up Adoor sir’s film. He plays a local gangster, and we’re aiming for a grand theatrical experience,” he says.
Emphasising “big-screen experience,” Nithish reflects on the changing nature of film consumption. “Things have changed since Falimy. If it was released today, people would celebrate it on OTT, but definitely not in theatres. In Malayalam cinema right now, content alone isn’t enough as people are seeking spectacle. Tamil cinema, fortunately, is now prioritising content over theatrical experiences, which is evident from last year when even big films failed.” He adds, “TTT isn’t a massive ‘theatre film’ either, but it’s strong on content, with a climax people will really enjoy. At least, that’s what Jiiva and the rest of the team keep telling me.”