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Chithha Movie Review : Siddharth's Chithha is a hard-hitting and deeply unsettling tale of abuse

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Refrain from posting comments that are obscene, defamatory or inflammatory, and do not indulge in personal attacks, name calling or inciting hatred against any community. Help us delete comments that do not follow these guidelines by marking them offensive . Let's work together to keep the conversation civil.

babu 73 51 days ago

Kaushik manivezh 109 77 days ago.

Social problem depcited in the correct way without any flaws

vasuvaj singh 16 104 days ago

Good acting by siddharth sir .One of the best emotional movie I have ever seen in theatres..I loved this movie..������

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Varshusairam 153 days ago

It was one of the best movies in 2023. MUST WATCH��♥️

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Chithha Movie Review: SU Arun Kumar's 'Chithha' is a solid, affecting story about child sexual abuse and how it affects all parties involved

• 27 Sep 2023
• Release Date: 28 Sep 2023

Chithha Movie Cast & Crew

There is an early scene in SU Arun Kumar's Chithha where Sakthi (Nimisha Sajayan) has to use a public toilet. The floor is dirty, and filled with water. A woman who has used the stall Sakthi is standing in line for opens the door and leaves without cleaning up. Sakthi calls her back, forcefully, and makes her clean up. This small moment tells us a lot about Sakthi – for instance, she is not one to take things lying down. And this display of strength blooms fully when she runs into Eswaran (Siddharth), her one-time boyfriend who left her without an explanation. Even without the toilet scene, even if Sakthi had shown her anger only after she ran into Eswaran, we would have had an insight into her emotions – but that early scene tells us how, even in the absence of Eswaran, Sakthi is determined not to be a pushover again. We see who she is, and then we see why she became that way. 

This is beautiful character-writing, and it's all over this film, which centres on the loving relationship between Eswaran and his dead brother's daughter (Sundari, played by the excellent Sahasra Shree). Eswaran has become the little girl's kinda-sorta foster father, and his relationship with his sister-in-law (Anjali Nair) is equally solid. He is the man of the house, and the situation is so lived-in and so comfortable that there's no awkwardness when they are in close proximity in a cramped kitchen or when he is buying sanitary napkins for her. They give off bestie vibes, and it works wonderfully. There's no weeping, no wailing about the past. These are two people who have accepted a situation and have moved on and are trying to make the best of what life is throwing at them. The chemistry between Siddharth and Anjali Nair is remarkably understated – and that is the flavour of most of the first half.

The A-for-apple background score kills the mood frequently. When Eswaran picks his cute niece up from school, we hear cutesy music, which totally undermines the emotion he was feeling when he met his ex just a little while ago. Each stretch is scored to hype up whatever emotion it represents, and this is an inevitable evil we have come to accept in our cinema. But to compensate, Balaji Subramanyam's cinematography is exquisitely “invisible”. Arun Kumar, in his earlier films, has never displayed this kind of eye for staging, and a lot of the time, we get two or three things being swept into a single, economical, non-showy camera movement. After a mid-shot featuring a female cop (a superb newcomer named Jhansi), the camera follows her as she turns, and we get a wide shot featuring Eeswaran somewhere in the distance. This sort of thing keeps happening over and over, and the camera is alive to both the general environment and the particular proceedings in this story, whether it’s a man fixing a street light or Eswaran crying his heart out in the bathroom. The frames are to die for. Another fantastic bit of staging occurs when the actors move out of the frame, and the camera stays fixated on an empty street – we do not see what these actors are doing beyond the field of the camera.

And what exactly did they do? What happened, exactly? The mystery in the visual ties neatly into the unknowability of what really happened. Eswaran is accused of sexually abusing a little girl, and the screenplay and the editing take these portions to soaring heights. There's not one cliche in how all this information is presented to us. Add to this Siddharth's most sincere, committed, and affecting performance to date, and we are left shattered. This portion brings to fore the very crux of child abuse – that a lot of the time, the perpetrator is someone as close and as "likeable" as Eswaran. The screenplay measures out what we need to know in "real time", just like how the characters who have experienced these events would recall them, instead of dumping us with big stretches of exposition. So even though the love track isn't strictly "necessary" in this story of abuse, it fits smoothly because it was a part of Eswaran before the movie began and it looks like an organic extension of his life now. We are spared the "falling in love" moment, though we do get a fantastic duet: ‘ Kangal edho theda ’, composed by Dhibu Ninan Thomas.

This lived-in quality, this ability of the film to suggest that its characters have had lives before we meet them, is its greatest strength. Everyone seems so fully-formed, so real . And these are not perfect characters, either. Sundari ends up stealing something, and we get to see the peer pressure a little girl faces at school. Suresh A Prasad is the editor. His sharp rhythms (which could also be an offshoot of the screenplay) keep preventing the scenes from getting into obvious zones. For instance, after Sundari's mother slaps her, we cut to a serene scene of the child sleeping with her " chithha ", her chittappa Eswaran. Even a conflict that’s yet to come is built up carefully, with Eswaran humiliating a man by accidentally shoving him into a gutter. And later, when this man turns on Eswaran, you know where the extra animosity is coming from. 

The parts that stick out are the ones that let us know in advance what lies ahead: when two cops talk about the rape of a minor a few scenes before a little girl gets into an auto, there is no surprise left. After this point is where I felt the film made a misstep. When you are wrongfully accused of a horrible crime by the very people you love, when your sister-in-law suddenly changes the way she looks at you, when your close friend suspects you, one part inside you surely dies – as we saw in the wonderful Danish film, The Hunt . I felt Chithha needed to dwell on Eswaran’s emotions a little more – but he bounces back into action almost as though this were a minor blip in his life, as the film splits into two very different tracks. (You could say the first half of the film looks inward, while the second half is all outward.)

One track is a procedural about the hunt for a serial child molester. The other track is about Eswaran’s turning into a vigilante, determined to kill the bad guy. Yes, you could argue that this latter aspect of Eswaran has a lot to do with his humiliation after being falsely accused, but the emotions needed to be way deeper – because in his own way, the (wrongfully) accused suffers as much as the abused. I also wished Sakthi’s revelation at the end had not tied so neatly into the film’s overall themes. Nimisha Sajayan, of course, totally sells the moment. She is incapable of giving a dishonest performance. But it’s too much. It’s too convenient. So yes, the second half feels looser and less intense. The villain’s scenes seem caricaturish when compared to the scenes with everyone else. And a sense of predictability sets in when we see Sundari. (Why didn’t they keep the suspense of whether she is still alive?) We seem to be in a regular thriller. 

But even in the portions where, say, a clue is found rather randomly, the filmmaking is so good that you easily let go of these misgivings. When Eswaran breaks down after believing Sundari is dead, the camera allows him to retain his dignity by not going close. It stays wide, at a respectable distance. You may question where the film goes, but whatever choices the director makes, he sticks to them with utter conviction. Even the many shots of Eswaran sleeping beside his niece have a devastating payoff in a mortuary. Chithha  shows us all aspects of child rape, from the way cases are conducted to the attitudes that need changing. Sakthi tells Eswaran that it’s not about punishing the villain as much as being there for Sundari at a time she really needs him. At this point, the Hero is emasculated, and in a good way. He gets rid of his toxic “heroism”, and realises that it’s better to be a hero to his niece than to be the hero who conquers the villain. To accomplish all this in a “mainstream” format is a truly remarkable achievement.

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Baradwaj Rangan

National Award-winning film critic Baradwaj Rangan, former deputy editor of The Hindu and senior editor of Film Companion, has carved a niche for himself over the years as a powerful voice in cinema, especially the Tamil film industry, with his reviews of films. While he was pursuing his chemical engineering degree, he was fascinated with the writing and analysis of world cinema by American critics. Baradwaj completed his Master’s degree in Advertising and Public Relations through scholarship. His first review was for the Hindi film Dum, published on January 30, 2003, in the Madras Plus supplement of The Economic Times. He then started critiquing Tamil films in 2014 and did a review on the film Subramaniapuram, while also debuting as a writer in the unreleased rom-com Kadhal 2 Kalyanam. Furthermore, Baradwaj has authored two books - Conversations with Mani Ratnam, 2012, and A Journey Through Indian Cinema, 2014. In 2017, he joined Film Companion South and continued to show his prowess in critiquing for the next five years garnering a wide viewership and a fan following of his own before announcing to be a part of Galatta Media in March 2022.

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‘Chithha’ Review: Siddharth, Arun Kumar’s take on sensitive issue is a lesson to many

Director su arun kumar’s ‘chithha’, featuring siddharth, nimisha sajayan and sahasra sree, is a revenge drama. with solid performances, the film offers a new perspective on how to treat victims of abuse..

Listen to Story

• 'Chithha' will release in theatres on September 28.
• The film is helmed by SU Arun Kumar.
• Siddharth, Nimisha Sajayan and Sahasra Sree played lead roles.

Release Date: 28 Sep, 2023

Rarely does a film leave you with an afterthought and make you unlearn. And when a film does that, you want to cherish it, hold it close to your heart and recommend it to everyone. Director SU Arun Kumar’s ‘Chithha’ is one such film and it does the noble work of making you think and see a different perspective on abuse. A much-needed one at that.

Chithha (short form for Chithappa, which means uncle in English) is a doting figure to his niece Sundari (Sahasra Sree). He (Siddharth) is literally like a father figure to her. He bathes her, combs her hair and helps his sister-in-law, who has recently lost her husband. He’s over-protective of not just Sundari, whom he calls Settai, but also her friends.

A series of kidnappings and rapes often get reported in the area they’re living in. And it hits home in multiple ways. Chithha and his friends, along with the local police, try to nab the psycho killer while feeding their rage. But, Chithha, alias Eeswaran’s girlfriend (played by Nimisha Sajayan), helps him see the world differently and so does little Sundari.

‘Chithha’ is a film which SU Arun Kumar has put his heart and soul into. At a time when films like ‘Ratsasan’ and ‘Por Thozhil’, which deal with similar subjects, get a rousing reception, ‘Chithha’ is a film that’s sensitive in its approach. It doesn’t show the intricate details of the crime and takes a voyeuristic approach. Despite doing so, it builds tension and keeps you on the edge of the seats.

The film also shows how women and men respond to a crisis and what kind of approach they take. Whenever a film on child abuse is made, it takes a preachy tone towards the climax. But here, it’s the women who teach the men what’s important during testing times and which emotion to deal with. Director Arun Kumar’s ‘Chithha’ is a documentation of a sensitive subject that needed to be spelt out loud, especially in these times.

Siddharth, who plays the lead role, shouldered the film along with little Sundari. The film moves you, makes you cry and also pushes you to the edge of the seats. More than that, it takes a different route, which will ignite a thought in you once the film ends. When Siddharth and Nimisha Sajayan converse towards the end of the film, you end up being moved emotionally.

The film does not take sides, instead, it documents the emotions of the family and supportive friends. There’s no proper understanding of how to help a sexual assault victim. Instead, people fill themselves with rage, which clouds their judgment. Anjali Nair, as the mother of the kid and as someone who has lost her husband, has done a wonderful job of expressing herself.

Vishal Chandrasekhar’s background score aided well in creating the thrill. So does cinematographer Balaji Subramanyam’s frames, which capture the dry landscape of Palani.

‘Chithha’ is a much-needed film with a solid message. This is truly a hard-watch but will leave with a good afterthought.

3.5 stars out of 5 for ‘Chithha’. Published By: Anindita Mukhopadhyay Published On: Sep 26, 2023 ALSO READ | Siddharth says about quitting Twitter, 'I spoke up against issues, but had no other actors for company'

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Last Updated : 01 Oct, 2023 12:24 PM

Published : 01 Oct 2023 12:24 PM Last Updated : 01 Oct 2023 12:24 PM

திரை விமர்சனம்: சித்தா

பழநியில் துப்புரவு ஆய்வாளராக இருக்கும் ஈஸ்வரன் (சித்தார்த்), அண்ணி (அஞ்சலி நாயர்), அண்ணன் மகள் சுந்தரி (சஹஸ்ர ஸ்ரீ) ஆகியோருடன் வாழ்கிறார். சுந்தரி மீது உயிரையே வைத்திருக்கிறார். காவல்துறையில் பணியாற்றும் தன் நண்பன் வடிவேலுவின் அக்கா மகளும் சுந்தரியின் வகுப்புத் தோழியுமான பொன்னி (அபியா தஸ்நீம்) மீதும் பாசத்துடன் பழகுகிறார். ஆனால், பொன்னி பாலியல் வன்முறைக்கு உள்ளாக, பழி ஈஸ்வரன் மீது விழுகிறது. அதிலிருந்து ஈஸ்வரன் விடுபடும் தருணத்தில், சுந்தரியை அடையாளம் தெரியாத நபர் கடத்திச் செல்கிறார். சுந்தரி கிடைத்தாளா? பொன்னியை பாலியல் வன்முறைக்கு உள்ளாக்கியது யார்? இந்தத் தேடுதல் பயணத்தில் ஈஸ்வரனுக்கு நிகழ்வது என்ன? என்பது மீதிப் படம்.

சிறார் மீதான பாலியல் வன்முறை, அது குடும்பங்களிலும் சமூகத்திலும் ஏற்படுத்தும் தாக்கங்கள், அதைக் கையாள்வதற்குத் தேவையான புரிதல் ஆகியவை தொடர்பான சமூக விழிப்புணர்வுப் படத்தைப் பிரச்சார நெடி இல்லாமல் கொடுத்திருக்கிறார் இயக்குநர் அருண்குமார். ஒரு த்ரில்லருக்கேற்ற பரபரப்பான திரைக்கதை, அழுத்தமான வசனங்கள், அபாரமான காட்சிமொழி, தெளிவான சமூக - அரசியல் புரிதல் ஆகியவற்றுடன் மேம்பட்ட படைப்பாகக் கொடுத்திருக்கிறார்.

பாலியல் குற்றத்தால் பாதிக்கப்பட்ட பெண்கள் அதிலிருந்து மீண்டுவந்து நிம்மதியாக வாழ்வதற்கானச் சூழலை ஏற்படுத்திக் கொடுப்பதற்குப் பதிலாகக் குற்றவாளிகளைப் பழிவாங்குவதில் சில ஆண்கள் முனைப்புக் காண்பிப்பதையும், குடும்ப கவுரவம், வீரம், மானப் பிரச்சினை என அதன் பின்னால் இயங்கும் ஆணாதிக்க விழுமியங்களை அழுத்தமாகப் பதிவு செய்திருப்பதும் வரவேற்புக்குரியது. பொன்னியும் சுந்தரியும் தனியாக ஓர் இடத்துக்குப் பயணிக்கும் இடத்தில் தொற்றிக்கொள்ளும் பரபரப்பு, இறுதிவரை தொய்வின்றித் தொடர்கிறது. குறிப்பாகச் சுந்தரி தொலைந்துபோகும் இடைவேளைக் காட்சியும் இரண்டாம் பாதியில் வரும் வாகனப் பரிசோதனைக் காட்சியும் பரபரப்பின் உச்சிக்கே கொண்டு சென்றுவிடுகின்றன.

இத்தகைய திரைக்கதையில் உணர்வுபூர்வமான உச்சங்களைத் தொடும் காட்சிகளுக்கும் பஞ்சமில்லாமல் இருப்பது மேம்பட்ட திரைக்கதைக்குச் சான்று. ஈஸ்வரன் மீது பழி விழுந்திருக்கும் நேரத்தில் அவன் ஏன் சுந்தரியை விட்டுவிட்டுப் பொன்னியைத் தனியாக அழைத்துச் சென்றான் என்னும் கேள்வியை இயல்பாக அவன் காதலி சக்தி (நிமிஷா சஜயன்) கேட்க, அதற்கு ஈஸ்வரனின் எதிர்வினை, பொன்னிக்கு நேர்ந்த கொடுமைக்குப் பிறகு சுந்தரியின் அம்மாவிடம் வெளிப்படும் மாற்றங்கள் எனப் பல நுட்பமானத் தருணங்கள் வியக்க வைக்கின்றன.அதே நேரம், பாலியல் குற்றத்தின் தீவிரத்தை விரிவாக உணர்த்திவிட்ட பிறகு குற்றவாளியின் செயல்பாடுகளை இவ்வளவு விரிவாகக் காண்பித்திருக்க வேண்டுமா? என்னும் கேள்வி எழுகிறது.

சித்தார்த், சிறுநகரத்து இளைஞனாக மாறியிருக்கிறார். அண்ணன் மகளிடம் அன்பு காண்பிப்பது, பெண்களிடம் கண்ணியமாக நடந்துகொள்வது, தன் மீது காண்பிக்கும் கோபத்தைக் கடந்துசெல்வது எனக் கனிவும் முதிர்ச்சியும் மிக்கவராக மனதில் பதிகிறார். தனக்கென்று சமூகப் பார்வை உள்ளவராகவும் நாயகனை நல்வழிப்படுத்துபவராகவும் அமைக்கப்பட்டுள்ள சக்தி கதாபாத்திரத்தின் மூலம் நிமிஷா சஜயனுக்கு தமிழில் சிறப்பான அறிமுகம் அமைந்துள்ளது. குழந்தைகள் சஹஸ்ரா ஸ்ரீ, அபியா தஸ்நீம் இருவரும் சிறப்பாக நடித்துள்ளனர்.

அன்பு வாசகர்களே....

இந்த ஊரடங்கு காலத்தில் வீட்டை விட்டு வெளியே வராமல் நமக்கு நாமே சமூக விலகல் ( Social Distancing) செய்து கொள்வோம். செய்தி ஊடகங்களின் வழியே உலகுடன் தொடர்பில் இருப்போம். பொதுவெளியில் இருந்து தனிமைப்படுத்திக் கொண்டு கரோனா பரவலைத் தடுப்பதில் நம் பங்கை முழுமையாக இந்த சமூகத்துக்கு அளிப்போம்.

CoVid-19 கரோனா தடுப்பு / விழிப்புணர்வு கையேடு - இலவசமாக டவுன்லோடு செய்து பயன்பெறுங்கள்!

- வாசகர்கள் நலனில் அக்கறையுடன் இந்து தமிழ் திசை

தவறவிடாதீர்!

•   ‘தீப்பெட்டிக்கு ரெண்டு பக்கம் உரசுனாதான் தீப்பிடிக்கும். ஆனா...' - மூன்று முகம்
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•   பிருத்விராஜ் - மோகன்லாலின் ‘எம்புரான்’ படப்பிடிப்பு அக்.5-ல் தொடக்கம் - அறிமுக வீடியோ
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சித்தா: சினிமா விமர்சனம்

செல்போனுக்கு பிள்ளைகள் அடிமையாவது, பிள்ளைகள் விஷயத்தில் அஜாக்கிரதையாக இருக்கும் பெற்றோர்களுக்கான படம்.

பழனியில் வசிக்கும் நடுத்தர குடும்பத்தைச் சேர்ந்த சித்தார்த் நகராட்சி தூய்மை பணி அதிகாரியாக வேலை பார்க்கிறார். அவருடைய காதலி நிமிஷா சஜயன் கடைநிலை தூய்மை பணியாளராக வேலை பார்க்கிறார்.

சித்தார்த்தின் அண்ணன் மகளுடன் படிக்கும் சக மாணவி பாலியல் துன்புறுத்தலுக்கு உள்ளாகி மருத்துவமனையில் சேர்க்கப்படுகிறார். பழி சித்தார்த் மீது விழுகிறது. போலீசிலும் பிடித்து கொடுக்கின்றனர். பிறகு அவர் நிரபராதி என்று தெரிய வருகிறது.

இதுபோல் சித்தார்த்தின் அண்ணன் மகளும் கடத்தப்படுகிறார். கடத்தியவர் யார்? குழந்தை மீட்கப்பட்டதா? என்பது மீதி கதை.

ஹீரோ இமேஜ் வீழ்ந்து விடாதபடிக்கு தனக்கு கொடுக்கப்பட்ட கதாபாத்திரத்துக்கு நியாயம் செய்துள்ளார் சித்தார்த். காதலியிடம் காதலை சொல்ல தயங்குவது, பாலியல் குற்ற பழி விழுந்ததும் வெட்கித் தலை குனிவது, அண்ணன் மகளிடம் பாசத்தைக் கொட்டுவது என மொத்த சுமையையும் தோளில் சுமந்து படத்துக்கு பலம் சேர்த்துள்ளார்.

சித்தார்த்தால் அடுத்த வீட்டு இளைஞன் தோற்றத்தில் இந்தளவுக்கு இறங்கி நடிக்க முடியுமா? என ஆச்சர்யப்படுத்தியும் இருக்கிறார்.

நிமிஷா சஜயன் நடிப்பு ராட்சசியாக மிரட்டியிருக்கிறார். நாயகனுக்கு ஆதரவாக தோள்கொடுப்பது, கழிவறையை சுத்தம் செய்யாதவரை மிரட்டுவது என நிமிஷங்களை வீணடிக்காமல் சம்பவம் செய்திருக்கிறார்.

அண்ணியாக வரும் அஞ்சலி நாயர், அண்ணன் மகளாக வரும் சகஸ்ரா ஸ்ரீ, சக மாணவியாக வரும் ஆசியா, இன்ஸ்பெக்டராக வரும் ஜான்சி, சப் இன்ஸ்பெக்டராக வரும் பாலாஜி என அனைவரும் சிறப்பாக நடித்து கதாபாத்திரத்துக்கு பெருமை சேர்த்துள்ளார்கள்.

திபு நிணன் தாமஸ் இசையில் பாடல்கள் அற்புதம். கதையை தொந்தரவு செய்யாத விஷால் சந்திரசேகரின் பின்னணி இசையும் அடடா ரகம்.

ஒளிப்பதிவாளர் பாலாஜி சுப்ரமணியம், பழனியின் மொத்த அழகையும் தன்னுடைய கேமராவில் கொண்டுவந்த விதம் சிறப்பு.

செல்போனுக்கு பிள்ளைகள் அடிமையாவது, பிள்ளைகள் விஷயத்தில் அஜாக்கிரதையாக இருப்பது என குழந்தை வளர்ப்பில் பெற்றோர் கவனிக்க வேண்டிய முக்கியமான விஷயங்களை இயக்குனர் அருண்குமார் மெல்லிய கனம் சேர்த்து சொல்லியுள்ளார்.

படத்தின் ஆரம்பத்தில் இருக்கும் பதட்டம் முடியும் வரை தொடர்வது படத்தின் வெற்றி.

குழந்தையை வில்லன் தவறாக பயன்படுத்தும் நேரடி காட்சிகளை தவிர்த்து இருக்கலாம்.

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Chithha trailer: Siddharth promises an intense family drama

Siddharth has teamed up with su arun kumar of sethupathi fame for an intense family drama..

The trailer of actor Siddharth’s upcoming film Chithha was released on Sunday, and it promises an intense family drama about an uncle who is on a mission to find his lost niece.

The trailer starts on a light note showing a glimpse of the bond between the uncle and the niece. The promo also shows the romance between the characters played by Siddharth and Nimisha Sajayan.

As the trailer progresses, things get bleak as we learn that the niece is missing, leaving Siddharth’s character devastated. It also shows the protagonist getting into revenge mode. Though the reason behind it is not revealed, one can predict that it has to do with something gut-wrenching that had happened to the niece.

Other than Siddharth and Nimisha, the film features some relatively new faces making it look fresh. Siddharth is also playing a role that he hasn’t attempted in his career so far. It is contrary to the uber-cool roles he is known for. On top of that, the actor most often is seen in movies which are set in cities. Chithha is set in a small town, and the actor seems to have put in a lot of effort to look the part.

SU Arun Kumar, who is known for movies like Pannayarum Padminiyum and Sethupathi, was missing in action after his last film Sindhubaadh, which turned out to be a flop. Looks like with Chithha he will bounce back.

Chithha, releasing on September 28, is produced by Siddharth himself under his banner Etaki Entertainment, which has bankrolled movies like Jil Jung Jak and Kadhalil Sodhappuvathu Yeppadi.

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Chithha OTT release: When, where to watch Siddharth-starrer online

The ott release date of tamil drama thriller chithha, starring siddharth, has been revealed know when, and where to watch the film online..

Siddharth has starred in two films in 2023, but only one of them has been critically acclaimed. His first of the year, named Takkar, hit the screens on June 9 but received a mixed response from the audiences. Consequently, the film did not do well at the box office. Meanwhile, his other film called Chithha, released in theaters on September 28 alongside two other films, Iraivan and Chandramukhi 2, and has surprisingly become a hit among audiences. After spending a considerable amount of time on the big screens, the OTT release date of Chithha has been revealed!

So, if you wish to watch the Siddharth-starring Chithha from the comfort of your home, know when, and where to watch it online.

Chithha OTT release: Plot, Cast, and more

Cithha is a Tamil-language drama thriller that follows the bond between Eeswaran (played by Siddharth) and his eight-year-old niece. When she gets kidnapped, Eeswaran goes on a crusade to save her. The film promises to leave viewers engaged on the edge of their seats. The film stars Siddharth, Sahasra Sree, Nimisha Sajayan and Anjali Nair in pivotal roles. Chithha is directed by S. U. Arun Kumar and produced by the lead actor Siddharth himself under the banner Etaki Entertainment. Alongside Siddharth, Nimisha Sajayan will be playing a lead role in the film which also marks her Tamil debut.

The film was released in theaters on September 28. Made on a budget of Rs. 4 Cr., the film has grossed Rs. 16 Cr. during its box office run, making it a commercial success.

Chithha OTT release: When, where to watch online

The OTT release date of Chithha has been revealed, and it will premiere on Disney+ Hotstar on November 17. On completing 25 days at the box office, Siddharth wrote on Instagram, “Thank you to the universe for helping us make this film. To all those who had access to the film and chose to see it in Cinemas... You have my heart and gratitude. To those without access to our Film in cinemas....CHITHHA will be on Disney Hotstar in a few weeks. Please do watch it and show us your love. Thank you for your patience.”

Now, the OTT release date is out. Therefore, if you wish to watch Chithha online, you can watch it on Disney+ Hotstar on November 17, as long as you have a subscription to the streaming service.

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Chris Pine 's first film as a director, "Poolman," is a character comedy about oddball Los Angelenos that doubles as a spoof of 1940s detective movies. Pine also cowrote (with Ian Gotler ), co-produced, and plays the title character, Darren Barrenman. Darren is a big-bearded, long-haired, talkative, thoroughly goofy pool cleaner who lives in a tiny trailer right next to the pool that he tends, which is in the courtyard of an old Tiki-style motel that's been converted into apartments. I think it's set in the present, but maybe not. Nobody uses a cell phone, and there's a heavy pre-1950s influence in the production design and costuming. One of the presumed bad guys drives a huge roadster like you'd see in the 1930s. The score is retro-hipster jazz with a violin and a zither. A mysterious woman named June Del Rey ( DeWanda Wise ) who appears out of nowhere and draws the hero into a mystery has a silhouette like a film noir dame and the wardrobe to match.

The mystery involves real estate and the corruption of a local city councilman named Stephen Toronkowsky, whom Darren sees each week at community meetings where he rants about historic preservation and the improvement of bus schedules. (The councilman is played by  Stephen Tobolowsky , whose name is so similar to the character's that you have to wonder if the part was written specifically for him.) Other films about corruption in Los Angeles are mentioned within the plot, including " Chinatown ," which gets multiple references plus actual clips, and "Who Framed Roger Rabbit," which Darren yells about at one of the council meetings. 

There's not a whole lot of plot to describe or even allude to, and I don't think "Poolman" is all that interested in what little there is. This is a vibes movie. Darren is a handsome, lovable, hairy man-child. His girlfriend Susan ( Jennifer Jason Leigh ), who manages the complex where Darren works, wants him to commit to her, but he's so lost in his own racing thoughts that he doesn't realize how much she adores him until it seems as if she's about to give up. Darren goes to therapy twice a week with a New Age-y lady named Diane ( Annette Bening ) and is apparently the star of a documentary by Diane's partner Jack (Danny DeVito), who's betting his entire career on the project even though it's hard to tell what it's actually going to be about. 

"Poolman" is a deeply weird movie. Not deeply weird in the sense of "alienating" or "hard to take." On the contrary, it's so gentle that it could probably be considered an example of  Nicecore , a type of film described by critic David Ehrlich that mostly avoids conflict and resolution and instead showcases people being nice to others. There are arguments and some treachery and one murder, but the killing so formal, in an old-movie way, that it barely registers as being violent. Most of the movie is laid-back or mildly farcical. 

No, the film is weird in the sense of "Can anyone but Chris Pine truly appreciate this?" I'm not asking that question because I disliked "Poolman." I thought it was sweet and fun, and once I settled into it and latched into its wavelength, I laughed a lot, even though it does start to wear out its welcome towards the end because so much of it is dependent upon exploring the emotional interior of the kind of guy you'd be happy to chat with at a bus stop but wouldn't want to sit next to. You don't throw yourself into a project like "Poolman" unless you have a burning urge to do it, but that urge doesn't always communicate itself.   

The movie has been repeatedly compared to " The Big Lebowski " and other films in that spoof-of-LA-noir vein; I suppose there are superficial similarities. But it reminded me more of an unpolished answer to something like Jim Jarmusch's Nicecore classic " Paterson ," which is about a New Jersey bus driver who writes poetry and loves his girlfriend. In its choice of hero and its hermetically sealed Something Old/Something New style, it is also (bizarrely at times) a kind-hearted mirror of " Taxi Driver " (instead of writing in a journal, Darren writes old fashioned letters on a typewriter to Erin Brockovich--the real crusading legal investigator, not Julia Roberts , who played Brockovich in the Oscar-winning movie). 

This is the kind of film where the hero makes origami figurines and gives them to others to convey messages or feelings, and where one of the baddies tells the hero, "Never be afraid to trust an unknown future to a known god." It's the kind of movie where, during a confrontation, one antagonist suddenly slumps with his head down and says, "I've had a hard week" and the other replies "Me, too" and they end up hugging. It's the kind of movie where a stakeout consists of five people hiding in plain sight from the people that they are surveilling, who make direct eye contact with them, and one of the stakeout participants is reading Karl Ove Knausgård's "My Struggle" and suddenly begins to recite a passage from it and looks right into the camera as she does it. There's also a dream sequence with a lizard whose voice is provided by Pine's dad Robert Pine , who became a star on the American TV cop show "CHiPs." 

That's all just another way of saying that this is the kind of film I think cinema could use more of, even though it's far from perfect. Robert Altman and Hal Ashby and Alan Rudolph all used to make movies like this, especially when they were working small, as in projects like " Brewster McCloud " and " Harold and Maude " and " Trouble in Mind ," which, like "Poolman," were all so wispily assembled that you could imagining them coming apart in a soft gust of wind, like a dandelion. There were also times when the movie reminded me of melancholy comedies starring Bening's husband Warren Beatty, who often played hunky man-children who were so lost in their heads that they were their own worst enemies.

"Poolman" was unveiled last year at the Toronto Film Festival and got slaughtered by reviewers. That seems puzzling to me in retrospect because the film is so upfront about its own kookiness and near-weightlessness and relentlessly sunny-side-up attitude that it's as hard to hate as a muffin basket or a big old fluffy dog. Some people won't be able to tolerate five minutes of it, but I think others will love it, and they won't be wrong to. I hope Pine makes more movies and refines whatever he was trying to do in this one. There are moments where it wanders into the sublime.

Matt Zoller Seitz

Matt Zoller Seitz is the Editor at Large of RogerEbert.com, TV critic for New York Magazine and Vulture.com, and a finalist for the Pulitzer Prize in criticism.

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Poolman (2024)

100 minutes

Chris Pine as Darren Barrenman

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'New Life' Review: A Tense Horror-Thriller With a Twist You Won't See Coming

John Rosman’s feature debut twists one of horror's most overused tropes to create a deeper emotional character journey.

The Big Picture

• New Life is a bold movie that offers a fresh take on overused tropes.
• The film explores themes of solidarity, adversity, and the power of hope in the face of chaos.
• New Life skillfully uses contemporary concerns, such as corporate greed and cyber surveillance, to enhance its background story and add depth to its thriller narrative.

This review was originally part of our coverage for the 2023 Fantasia International Film Festival.

New Life is a genre-bending movie that defies simple definitions. At first, writer-director John Rosman 's feature debut presents itself as an engaging cat and mouse game played by Sonya Walger and Hayley Erin that doesn't seem like it will add something new to spy thriller conventions. As it turns out, though, that's part of New Life 's charm, with big second-act revelations pushing Rosman's feature straight into horror territory and changing the story’s stakes. While getting into the major twist would completely spoil the film, it's worth noting how the filmmaker takes one of the most overused tropes in horror and approaches it from a new angle. That alone would make the movie a standout, but New Life has much more to offer .

The film opens with an image of a young woman covered in blood , sneaking through the streets of suburbia while constantly looking over her shoulder. The woman, Jessica (Erin), is being chased by people with guns, all dressed in suits. Her only chance to escape is to go North and do whatever she can to remain hidden until crossing the Canadian border and starting a new life for herself. While Jessica is on the run, Elsa (Walger) is ordered to take over the hunt for her. Once a prominent field agent, Elsa has been recently diagnosed with ALS, and her body is slowly refusing to respond to her will. She hides her condition from her colleagues and hopes that bringing Jessica in might help prove she can still do her job.

New Life (2023)

In a dramatic series, a recently widowed woman struggles to rebuild her life in a small coastal town where she finds new beginnings and complex relationships. As she connects with the local community, she discovers that healing comes in many forms and sometimes unexpected places.

In Jessica’s segment of the story, New Life tells a tale of solidarity, as she is lucky to cross paths with people who offer help without expecting any explanations about her past. She’s then free to build something new after evading whoever's chasing her. Elsa’s story echoes that of Jessica, as the agent is forced to upend her life due to the limitations of ALS. So, on one level, Rosman’s movie is about the chaotic elements of life where everyone must choose how to deal with adversity either by embracing hope or giving in to despair. That theme is echoed throughout both main characters' storylines, as Jessica and Elsa fight to reclaim the life that has been taken from them , either by other people or by unfair diseases.

'New Life' Boasts a Pair of Excellent Performances

As a character-driven story, New Life can only work thanks to Eron's and Walger's commitment to their respective roles . Even as Jessica and Elsa are on opposite sides, they both have to deal with secrets and mistrust, which gets reflected in how they keep their pain concealed and hold everybody at arm's length. Eron and Walger help give both women emotional layers by using body language to convey the complex feelings they cannot talk about openly as we observe their reactions to curveballs that are thrown their way as the plot unfolds. Walger, in particular, helps give the ALS storyline more weight by masterfully capturing the frustration and fear that comes with the diagnosis while maintaining the facade of gritty antagonist that her hunter position demands. This offers audiences an intriguing drama, which improves when New Life plays with genre conventions to subvert expectations.

At first, New Life doesn’t explain why Jessica is running away , nor does it reveal who Elsa’s contractors are. All we know is that two women who never crossed paths before have their lives uprooted by the chase. This narrative framing allows audiences to explore each character’s internal struggle. In addition, the movie also makes a statement about the dangers of technology.

As Jessica travels the country, she must do so while avoiding electronics. Meanwhile, Elsa’s army of technicians scour the web for clues of her prey’s whereabouts. With dynamic editing that adds a welcome and fast-paced energy to Rosman's compelling direction, New Life uses images of surveillance cameras, official government transcripts, and social media to showcase the alarming web of cyber surveillance we are all trapped in. As much as Jessica wants to vanish, there are just too many digital footprints people can follow to learn more about her . There’s a never-ending flow of information surrounding human lives, making it almost impossible to believe privacy still exists when street cameras can track people’s every move without alerting them.

'New Life' Takes a Turn That Brings Everything Together

That scary thought elevates the classic woman-on-the-run film, painting a grim picture of the power wealthy companies can have over people’s lives. Once New Life reveals why Jessica is on the run, that message immediately underscores how corporate greed often gets in the way of individual safety and privacy, regardless of the dangers it presents to us. So, even though these themes are not the movie's main focus, Rosman's writing skillfully uses contemporary concerns to polish up New Life 's background story .

It would be a disservice to the film to comment on its genre-bending twist. Still, it’s important to emphasize how the horror elements introduced in the second act add to the tense atmosphere of the thriller, tying Jessica’s and Elsa’s personal journeys closer than either could have anticipated. Rosman’s script is also clever enough to avoid tonal dissonances by smoothly adding these new components without losing track of the main story, at least until the end. The third act of New Life could have been cleaner, as some of the plot points that come with the horror portion of the movie get in the way of the thoughtful exploration of ALS that the film does through Elsa. Even so, despite using genre conventions both for its thriller and the mysterious horror story layers, New Life feels fresh and innovative , presenting a mix that works so well that it’s a wonder no one ever tried to do something similar before.

New Life is a bold, genre-bending feature debut with excellent performances and great writing.

• The film provides a new take on a familiar story, upending our expectations in the best way.
• Sonya Walger and Hayley Erin each give great performances, providing emotional layers through every aspect of their body language.
• The twist brings everything into emotionally resonant focus, showing how our two characters were more similar than they were different.
• The third act could have been cleaner as certain horror developments don't always connect with the more thoughtful elements of the film.

New Life is now available to stream on VOD in the U.S.

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