Iraivi literally means "Goddess", it's a moral ordeal of male chauvinism. Director-Writer Karthik Subbaraj blends explicit as well as subtle metaphors while portraying the collateral damage upon women by inflated male egos. Writing unsympathetic characters and leading them towards denouncement through simple visual inventiveness - for example, the prison uniform falling from the clothespin depicting release of the prisoner. Throughout the film, women characters are juxtaposed with rains (fertile change) and windows (opening and illumination of darkness).
He mounts an unpredictable trajectory of the characters, it's the same unpredictable nature as in his previous ventures - Jigarthanda (2014) and Pizza (2012). This unpredictable trajectory is uplifted by seamless meaningful intercuts between the plight of characters. This is the women empowerment venture which lends sense and sensibility of freedom as the characters are ironically freed due to inflated male egos. There's a resolution which leaves a lump in the throat and there's closure which leaves void, the power of cinema reflects the real ordeal.
And the film gave an insight about SJ Suryah who plays a filmmaker, he literally beholds every frame through his nuanced gestures.
He mounts an unpredictable trajectory of the characters, it's the same unpredictable nature as in his previous ventures - Jigarthanda (2014) and Pizza (2012). This unpredictable trajectory is uplifted by seamless meaningful intercuts between the plight of characters. This is the women empowerment venture which lends sense and sensibility of freedom as the characters are ironically freed due to inflated male egos. There's a resolution which leaves a lump in the throat and there's closure which leaves void, the power of cinema reflects the real ordeal.
And the film gave an insight about SJ Suryah who plays a filmmaker, he literally beholds every frame through his nuanced gestures.