Iravin nizhal
Story one line:
single-shot film creates an illusion of continuity of time and space, like in real life. This ‘illusion’ or rather the technique employed to make the film look seamless is often dismissed as gimmickry — whether it is Hitchcock’s Rope or Sam Mendes’ 1917. In most cases, single-shot is a myth that filmmakers create in order to distract the audience from noticing the cuts, unlike, say, Don Palathara’s Santhoshathinte Onnam Rahayasam which was actually shot like a continuous film. In some cases, you cannot even guess these invisible cuts. For a single-shot film to work, the filmmaker has to sustain this illusion of continuity.
And it is not a coincidence that Parthiban’s Iravin Nizhal opens with a mirage: distorting images with lights and shadows tumble out, as Rahman’s haunting ‘Kaayam’ plays in the background. But, unlike the famously shot one-take films, there is no editing gimmickry involved in Iravin Nizhal. Before the film begins, a 30-minute video is shown to illustrate this point.
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