viduthalai vetrimaran ott

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Vetrimaaran’s viduthalai: ott release date, where to watch, plot and other details.

Vijay Sethupathi and Gautham Vasudev Menon's film Viduthalai Part 1 is all set to release on streaming platforms. Find out the details here.

Witness the uncut, unseen, unbelievable extended version of #ViduthalaiPart1 Director’s cut on zee5tamil premiers on 28th April. #VetriMaaran @ilaiyaraaja @VijaySethuOffl @sooriofficial @rsinfotainment @BhavaniSre @GrassRootFilmCo @VelrajR @dirrajivmenon pic.twitter.com/u9F3QHKm3q — ZEE5 Tamil (@ZEE5Tamil) April 27, 2023

Here are the details of the OTT release date, where to watch, plot, and cast of Viduthalai Part 1.

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Viduthalai on OTT platform: Release date, where to watch, cast and plot

Vijay sethupathi and gautham vasudev menon's 'viduthalai' is all set to release on the ott platform. check out the release date, where to watch, cast and plot..

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A police officer is recruited to capture the leader of a separatist group. A police officer is recruited to capture the leader of a separatist group. A police officer is recruited to capture the leader of a separatist group.

• Vetrimaaran
• Vijay Sethupathi
• Bhavani Sre
• 73 User reviews
• 11 Critic reviews
• 1 win & 10 nominations

Top cast 20

• Constable Kumaresan

• Perumal 'Vaathiyaar'

• Tamilarasi alias Paapa
• Head Constable Chandran

• V. Ragavendar

• Ila. Ilavarasu
• Tamilarasi's Paternal Grandmother

• Sunil Menon

• A. Subramaniyan
• (as Rajeev Menon)
• Photojournalist

• Sub-Inspector 'Chow Chow' Ramasamy

• Sub-Inspector Velmurugan
• Collector of Arumapuri District
• All cast & crew
• Production, box office & more at IMDbPro

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Did you know

• Trivia It is adapted from the short story "Thunaivan" written by B. Jeyamohan.
• Goofs The film is set in the late 1980s. However, when Kumaresan is introduced by Head Constable Chandran to a tea-selling undercover militant, the SBI bank's new board design---introduced after 2017, is shown. Also, near the bank, an Activa (introduced in India in the 2000s) is parked.
• Connections Features Maithili Ennai Kathali (1986)

User reviews 73

• Apr 3, 2023
• How long is Viduthalai: Part 1? Powered by Alexa
• March 31, 2023 (United States)
• Official Zee 5
• Viduthalai Part 1
• Grass Root Film Company
• RS Infotainment
• See more company credits at IMDbPro

Technical specs

• Runtime 2 hours 30 minutes
• Dolby Atmos
• Dolby Digital

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EXCLUSIVE: Vetri Maaran's Viduthalai: Part 1 full version on OTT - Associate Director Jagadeesa Pandiyan opens up!

• 10 Apr 2023
• by Vivek Raj

National Award-winning Tamil filmmaker Vetri Maaran's latest film, Viduthalai: Part 1 , continues to be the talk of the town after it opened in cinemas worldwide on March 31. The period crime drama film produced by Elred Kumar's RS Infotainment banner stars comedy actor Soori in his debut as a hero and 'Makkal Selvan' Vijay Sethupathi in an extended cameo as a revolutionary leading a separatist group, with music composed by 'Isaignani' Ilaiyaraaja. With  Viduthalai  now out in theatres, associate director Jagadeesa Pandiyan , who has worked with Vetri Maaran , has now opened up during an exclusive interview with Galatta on the filmmaker's plans for the first of the two-parter film's OTT release. 

Regarding how Vetri Maaran keeps working on the editing till the last minute of the film's release, Jagadeesa Pandiyan has informed about the hit director's plans to present an extended version of  Viduthalai: Part 1  on OTT. He said, "Vetri sir himself has said that he can make this film better if he had three more days. The film you've watched is the 200th version. I'm not trying to exaggerate, but the film has been edited to that extent. Either we will tell something about the film or a famous personality or his friends will watch it and he will tell them to come in the evening and see it again. What I watched yesterday, will not be there today. And, what I watch today, will not be there tomorrow." 

Speaking about Viduthalai: Part 1 's premiere on streaming, Jagadeesa Pandiyan revealed, "He (Vetri Maaran) has begun work on the OTT release and it will be a different version of the film. When I say it will be a different version, the film will be the same and there will be additions. He creates the film on the editing table. Despite having written the script, shot the film, and done all the work, he will always keep us on our feet and say that the story is yet to click with him. He will say this on the editing table 15 days before the film's release. His judgment at the choice of scenes to be in the film and the manner in which they need to be presented (will be sharp). I've been observing the way he works from his first film. Even if we tell him that a scene is really good, he will not show any excitement. There will be talented actors doing their job climbing hills during the shooting, but he will say those visuals will not be there in the film. But, he will include those reactions in some other scene, and all of this is his calculation. He has that knowledge."

Watch associate director Jagadeesa Pandiyan talk about Vetri Maaran's Viduthalai: Part 1 below: 

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Real estate partner, viduthalai part 1’s telugu version out on this ott.

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Last Updated: May 26, 2023, 15:37 IST

Hyderabad, India

This gripping police drama by Vetrimaaran received an overwhelmingly positive response upon its OTT release

The movie starring Soori and Vijay Sethupathi in lead roles was released on March 31 and received critical acclaim as well as box office success

Tamil filmmaker Vetrimaaran, who is known for award-winning films like Asuran and Visaranai, recently came up with Viduthalai Part 1. The movie starring Soori and Vijay Sethupathi in lead roles was released on March 31 and received critical acclaim as well as box office success, ending its theatrical run with a worldwide collection of Rs 550 crore. After being made available for streaming in the Tamil language last month, the film’s Telugu version is now also streaming on an OTT platform.

Zee5 has acquired the streaming rights to the movie, and on May 26, the Telugu version, titled Vududala Part 1, starts streaming on ZEE5, alongside the Tamil, Kannada, and Malayalam versions. This gripping police drama by Vetrimaaran received an overwhelmingly positive response upon its OTT release, with viewers appreciating the director’s vision and storytelling.

It is a revolution. It is a realisation. The most revered Vetrimaran’s Viduthalai is now yours to watch! #VetriMaaran @ilaiyaraaja @VijaySethuOffl @sooriofficial @menongautham @SonyMusicSouth @ZEE5Global #Viduthalai #ViduthalaiOnZEE5 #ZEE5 #ZEE5Telugu #ZEE5Global pic.twitter.com/H7Y3p4EugP — ZEE5 Telugu (@ZEE5Telugu) May 23, 2023

Set in Muthuvel, the film delves into the life of Kumaresan (played by Soori), a newly recruited member of a police camp situated in a village surrounded by dense forests near the Tamil Nadu-Karnataka border. As Kumaresan acquaints himself with the workings of the police department, he also becomes entwined in the Makkal Padai movement led by Perumal, also known as Vaathiyaar (portrayed by Vijay Sethupathi), who is being pursued by the police. The film’s climax revolves around whether the police successfully apprehend Perumal or if he manages to evade capture. The answers to these intriguing questions unfold in the latter part of the story.

Soori’s portrayal as the main protagonist received a lot of critical appreciation while Vijay Sethupathi, also known as Makkal Selvan, made a powerful extended cameo appearance as Vaathiyaar/Master, leaving the audience in awe with his outstanding acting skills. Bhavani Sre, in the role of the female lead, added depth to this action-packed police drama, while Chetan, Gautham Vasudev Menon, Ilavarasu, Balaji Sakthivel, Tamizh, and other talented actors played pivotal roles. The film’s music was composed by the renowned composer Ilaiyaraaja, adding a captivating element to the overall cinematic experience. The movie was initially supposed to be released as one single film but was later split into two parts.

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Ranking Vetrimaaran Films — From Polladhavan to Viduthalai Part 1

Ranking Vetrimaaran’s films — excluding the short films he made — can feel like picking a winner from a competition of despair. And yet, because of the artistry, his films end up challenging his own filmography; building on his flaws, adopting newer visual languages to express older tropes of a violent world. 

Beginning with Polladhavan (2007), his films increasingly hold you in a brusque, violent, and breathless chokehold. Visaranai (2016), his third and most celebrated film, which was even sent to the Academy Awards as India’s nomination, is best described as a relentless marathon of brutality. Every time you think the film has let go, like steam released from a pressure cooker, the plot tightens into lashings and screams.

That none of this violence feels gratuitous is because of how normal violence feels in the world Vetrimaaran creates on screen. When characters die, they just do. When they are violated, they just are. Is this violence repetitive? Yes. But does it feel repetitive? No, because his films are not hinged on stylized violence. He doesn’t need to find innovative ways to stage it, since his films are about the contexts in which violence begins to feel like an everyday phenomenon — brutal but, like air, everywhere. It is these contexts that keep changing — from Madurai to Vada Chennai (North Chennai), Andhra Pradesh to the forested hills of Tamil Nadu — and the violence remains unsettlingly natural to all of them. 

6) Polladhavan (2007)

The opening credit of “non-linear editor”, the voiceover narration, and the opening shot yanking you into a flashback in Polladhavan — Vetrimaaran’s debut film is preoccupied with time flipping over itself, bending, contorting, staring at a bloody present and then tracing backwards to how we reached this bloodbath. The film follows the fallout after its happy-go-lucky protagonist Prabhu (Dhanush) loses his bike, and comes in contact with first an insecure underworld and then the inefficient blackhole of the police station.  There is a visual recklessness, almost a disenchantment with stillness in the film. When the image does become still, it is usually like a jerk — either a photograph or a forceful pausing of the frame. Here is a director who refuses to be bound by conventional framing and narrative. He will bung in two narrative voiceovers — what Preston Sturgess called “narratage”. He will place the camera between two vessels on the gas, the foreground of coffee being flipped from tumbler to tumbler, with Prabhu entering from behind. 

Polladhavan is dated in the sense that you see a director struggling with his style and the template that he wants to both tap into and wreck open — the grating dream songs of love and amorous celebration in a disco, for example. Vetrimaaran himself said in an interview with Film Companion , “From Polladhavan , I learnt I should never make a film like that.”

5) Aadukalam (2011) 

We begin in the present, but return to it only in the last half hour of this film. Karuppu (Dhanush) is a masterful cockfighter, but the Othello-like machinations of jealousy lead his mentor (played by V.I.S. Jayapalan) to exact violence by slowly chipping away at Karuppu’s reputation through gossip and cross-speak. And yet, as Karuppu’s fortunes balloon, his love for his mentor is never challenged. His mentor’s rejection of him never translates to Karuppu’s resentment. It is the kind of mythological devotion Ekalavya showered on Drona — one incapable of rancour. Blind love, as director Vetrimaaran notes in an interview with Film Companion , can be most dangerous.

The “centrepiece” — where Karuppu has to make his cock fight, not once, but thrice in the dust-flung competition,— is a grunting, unending tapestry of tension. It cemented Vetrimaaran as a director with a vision that drew from the well of Cine Madurai violence while cutting against it, stamping his distinct visual style, his trademark panting exposition in the beginning and his casual irreverence towards heroism. In the first “action scene” Karuppu is given, the camera is static, staring at the fight like a spectator, watching as Dhanush’s lithe frame tries to pummel the goons.

Aadukalam ends with Karuppu escaping the scene with his Anglo-Indian lover (Taapsee Pannu), not wanting to explain himself to those who have misunderstood  him or been manipulated into believing incorrect things about him. It’s a rare, mature narrative closing that shows a protagonist who is okay being thought of as wrong, even though he was wronged. If that means keeping the memory of his mentor — who orchestrated the manipulation — unsullied, so be it. 

4) Visaranai (2015)

Visaranai felt like an aesthetic sharp-turn for Vetrimaaran, showing us that as a director, he is capable of patient storytelling, linear storylines; neat, spare flashbacks, that unfold at the pace of life, without sizzling it up or slurring it down. The only throbbing background score in the film is that of ominous rain and crickets.

Perhaps, because the film is based on events that are true and shocking, Visaranai looks as though it is “captured” and not “shot” as a film (look at these violent words used to describe cinema). It does not even have that “centrepiece” moment of bloodshed that Vetrimaaran usually places carefully somewhere in the middle. It does not need it. The film, based on accounts of police custodial violence — first in Andhra Pradesh to poor Tamil Nadu migrants, then in Tamil Nadu to a white collar auditor — yanked from M. Chandrakumar’s novel Lock Up , is brimming with blood. The centrepiece, if anything, is that moment of quiet, of silence, of hope, that comes in little snatches before it is pulled away. 

The cinematic virtue of this film is its relentless violence which never feels gratuitous. What differentiates one from another? Here is violence treated as life — without drama, without emphasis. A rare restraint that nonetheless produces horror unlike in another film — by Vetrimaaran or anyone else. 

3) Vada Chennai (2018)

With Vada Chennai , Vetrimaaran returns to the titular North Chennai where he shot his debut film. This time, however, there is more blood, more history, and more politics, and a richer, denser world full of human foibles and fumbles. The detailing is more vivid — like prisoners snorting lizard tails to get high. The violence is more structural — it telescopes its attention on a neighbourhood over time, not a group of friends like in Visaranai .  

Like Aadukalam , Vada Chennai starts with bloodshed, which it returns to in the last half-hour. Unlike Aadukalam, this structure feels perfunctory, because the beginning is almost forgotten in the blitzkrieg of rat-a-tat action centred around Anbu (Dhanush), a sincere carrom player, who gets caught in the crossfire of a gang war that he further curdles and erupts. 

This is a hypnotic movie, moving across time, back and forth, sometimes a flashback within a flashback. If you pause the film, turn and ask what year the events are taking place, it takes a moment because of how much is churning in the story. The death of M.G. Ramachandran and Rajiv Gandhi are used as temporal walking sticks to help us wade through the film. The original cut for Vada Chennai was 5.5 hours long, and the reason we feel scenes end abruptly with moments often collapsing as they begin, is because of the unsparing edit to bring it down to 2.5 hours. The action, the relentless throw of context, dialogue, and exposition, keeps you afloat, as though you were being swept away in an furiously rushing river. 

What sets Vada Chennai apart is not just Anbu as an ambivalent hero who is swept into heroism by circumstances, but a hero who is unsure of who is right and who is wrong. He expresses this moral dilemma to his wife in a moving scene. There is a sense that if this film was narrated from another perspective, it might easily flip the moral labels we have slapped on characters. That a film allows its characters this latitude is a triumph of an expanded, exploded imagination — both moral and literary. 

2) Asuran (2019)

Both Vada Chennai and Asuran are, perhaps, the most cinematic of Vetrimaaran’s films — with a slow-motion pay-off that belongs to the masala template, lodged comfortably alongside the various Vetrimaaran-isms. Both insert their intermission after a rousing action sequence that disarms you with its style and emotional punch. However, while Vada Chennai is impatient in its storytelling — by narrative design and editorial desperation — Asuran digs deeper. 

The first shot of the film, of a moon among milky clouds, crumples when feet are placed over it — we realise that we were seeing a reflection of the moon over still water, which is now being trampled over by escaping feet, that of Sivasaami (Dhanush) and his son Chidambaram (Ken Karunas). Chidambaram has just hacked the man who murdered his elder brother — an act of vengeance that dislocates his family, who are now fugitives. 

Asuran perfects a lot of Vetrimaaran’s pursuits — the mass film without the mass conventions. There is no hero entry scene. There is, instead, the intermission block. There is no hip dangling love. There is, instead, trauma and affection. Humour does not exist, distilled in the form of a separate character, like a court jester. It is baked into the exchanges. There is no beauty, no polish. There is a harsh abruptness with which scenes transition. And yet, Asuran has packed in it the most potent scenes of grief and redemptive violence. It is Vetrimaaran allowing his films to char your heart, not just your senses. The second half gives the origin for Sivasaami’s docile nature, one that he has arrived at after a youth of bloodshed that left him orphaned and without love. This mirroring of the two halves is another beautiful Vetrimaaran-ism — from the slippers, to the heroism, to the tragedy that culminates in an escape. It is easy to dismiss this film as templated, but there is a reason templates have survived the onslaught of genre, taste, and time shifts. That it is predictable does not take away from what an artist can do with and within that predictability. Asuran is Vetrimaaran’s most emotionally staining — not draining, but staining — film; its violence lingering as hurt, not horror. 

1) Viduthalai Part 1 (2023)

In one sense, Viduthalai is the culminating artistic collaboration between Vetrimaaran and cinematographer Velraj, who has lensed all of Vetrimaaran’s films except Visaranai . The opening shot of around 10 minutes takes us, in one sweeping, single take, through the debris of a train bombing. The sheer audacity of the scene, the lubricated ease with which the camera slides, both vertically and horizontally, sets the stage for Kumeresan (Soori), a kind-hearted police officer who has been sent to the forested hills as part of a police force that is trying to weed out an extremist group. It invokes awe while depicting horror. The dense prologue, the unfussy heroism of Vetrimaaran are both here. The politics is just as long winded and stiff — like how Vada Chennai questioned development, here, too, the story hinges on how the state uses development as a cover for profiteering; the police, here, too, are brutal beasts. Love comes as a reprieve — both to the character and the narrative. 

But what marks Viduthalai apart is how it makes violence seem so routine, Vetrimaaran isn’t even interested in sharpening it. There is a blunt relentlessness to it. It is not that the director can’t show violence that whips our moral sense of the world. It’s just impossible to fixate and linger on violence the way he did in the previous films. In Visaranai what was happening to a group of friends, in Asuran what was happening to a family, is, in Viduthalai happening to a whole movement of people. Vetrimaaran employs a disenchanted cutting away from these moments before their full impact is even felt, for the impact is not in its festering but in its unrelentingness.

If you notice closely, these rankings are in the order of Vetrimaaran’s filmography, suggesting that, at least artistically, he seems to be streamlining ahead, a swift, sure motion away from where he first began. 

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Vetrimaran: விடுதலை திரைப்படத்தின் 2ம் பாகம் வெளியாவதில் தொடர்ந்து சிக்கல் ஏற்பட்டு வருவதால் இயக்குநர் வெற்றிமாறன் படத்தின் வெளியீடு குறித்து அப்செட்டில் உள்ளதாகத் தெரிகிறது.

வனப்பகுதியில் வசிக்கும் மக்களின் வாழ்க்கை, வாழ்வாதாரம் குறித்து இயக்குநர் வெற்றிமாறன் விடுதலை திரைப்படத்தை இயக்கினார். இத்திரைப்படம் குறித்த அறிவிப்பின் போதே இது 2 பாகங்களாக வெளியாகும் என அறிவிக்கப்பட்டது. இந்நிலையில், விடுதலை 2ம் பாகம் வெளியாவதில் தொடர்ந்து சிக்கல் ஏற்பட்டு வருகிறது.

இயக்குநர் வெற்றிமாறன் காமெடி மற்றும் குணச்சித்திர நடிகராக வலம்வந்த சூரியை கதாநாயகனாக வைத்து திரைப்படம் ஒன்றை இயக்கிவருவதாக அறிவித்தார். மேலும், நடிகர் விஜய் சேதுபதி முக்கிய கதாபாத்திரத்தில் நடிக்க உள்ளதாகவும் அறிவிப்பு வெளியானது. இந்த அறிவிப்பு வந்த உடனே இப்படம் மீதான ஆவல் ரசிகர்களுக்கு அதிகரிக்கத் தொடங்கியது. காரணம் வெற்றிமாறன் இதற்கு முன் இயக்கிய பொல்லாதவன், ஆடுகளம், விசாரணை, வடசென்னை, அசுரன் போன்ற திரைப்படங்களை ரசிகர்கள் மத்தியில் ஏற்படுத்திய தாக்கம். கூடுதலாக சூரியை கதாநாயகனாக அறிவித்ததால் எதிர்பார்ப்பு அதிகரித்தது.

யோசனையில் விடுதலை 2 படக்குழு

விடுதலை முதல் பாகத்தின் படபிடிப்பின் போதே 2ம் பாகத்திற்கான பாதி படப்பிடிப்பு பணிகள் எடுக்கப்பட்டது. இந்த காட்சிகளுக்கு ஏற்றார் போல முதல் பாகம் வடிவமைக்கப்பட்டது. ஆனால், படக்குழு எதிர்பார்த்த அளவில் விடுதலை 1 படத்திற்கு வரவேற்பு கிடைக்கவில்லை. இத்திரைப்படம் கலவையான விமர்சனத்தையே பெற்றது.

இந்நிலையில், விடுதலை முதல் பாகம் எடுக்கும் போதே இரண்டாம் பாகத்திற்காக எடுக்கப்பட்ட பல காட்சிகளில் தற்போது இயக்குநர் வெற்றிமாறனுக்கு உடன்பாடு இல்லையாம். ஆனால் எடுக்கப்பட்ட காட்சிகள் பாதி படம் அளவுக்கு வந்து விட்டதால் என்ன செய்வது என யோசித்து வருகிறார்.

இந்த காட்சிகளை மீண்டும் படமாக்கினால் பல கோடி ரூபாய் செலவாகும் என்பதால், எடிட்டிங்கில் சரி செய்ய முடியுமா என படக்குழு யோசித்து வருகிறது. அத்துடன் விடுதலை 2ம் பாகத்தில் பல காட்சிகளை சிஜி-யில் அமைக்க வேண்டும் என்பதால் இது படக்குழுவிற்கு கூடுதல் தலைவலியாக உள்ளது.

பிஸியாகும் விஜய் சேதுபதி

இது ஒருபுறம் இருக்க தற்போது, விடுதலை 2ம் பாகத்தின் முக்கிய நாயகனான விஜய் சேதுபதி, இயக்குநர் மிஸ்கின் இயக்கும் ட்ரெயின் திரைப்படத்தில் நடித்து வருகிறார். அந்த படபிடிப்பு முடிந்த உடன் விஜய் டிவியின் பிக்பாஸ் நிகழ்ச்சியின் ஹோஸ்ட்-ஆக செல்கிறார்.

இதனால், செய்வதறியாது இக்கட்டான சூழலில் படக்குழு இருக்கிறது. மேலும், வெற்றிமாறன்- சூர்யா கூட்டணியில் வாடிவாசல் திரைப்படம் உருவாகும் என்ற அறிவிப்பு வெளியான நிலையில், இந்தப் படத்தின் படப்பிடிப்பும் தொடர்ந்து தள்ளிப்போய் கொண்டிருக்கிறது.

பிரம்மாண்ட இயக்குநருக்கு வந்த சோதனை

தமிழ் சினிமாவின் பிரம்மாண்ட இயக்குநர் எனப்படும் ஷங்கரின் இந்தியன் 2 திரைப்படம் வெளியாகி தோல்வியை சந்தித்த நிலையில், 3ம் பாகத்தை எடுக்கலாமா? வேண்டாமா? என்ற குழப்பத்தில் உள்ளாராம் சங்கர். 3ம் பாகத்திற்கான லீடுகளும் ஏற்கனவே காட்சிப்படுத்தப்பட்ட நிலையில், என்ன செய்வது எனத் தெரியாமல் புலம்பி வருகிறாராம் இதனால் விடுதலை 2ம் பாகத்தின் நிலை இந்தியன் படம் போல் ஆகிவிடுமோ என வெற்றிமாறன் அச்சத்தில் உள்ளார் என சினிமா வட்டாரங்கள் தெரிவிக்கின்றனர்.

தமிழ் ரசிகர்களால் பெரிதும் கொண்டாடப்பட்ட 2 இயக்குநர்கள் தற்போது தங்களது அடுத்த படத்தின் பணிகளை எங்கு தொடங்கி எங்கு முடிப்பது என அறியாமல் உள்ள நிலை ஏற்பட்டுள்ளது குறிப்பிடத்தக்கது.

Vetrimaaran's Viduthalai Part 2 gets a release date

The success of Soori-Vijay Sethupathi starrer Viduthalai Part 1 , directed by Vetrimaaran, has created a lot of anticipation about the second installment, Viduthalai Part 2 . The films are based on Jeyamohan's short story Thunaivan.

The makers announced on Thursday that the film will be released worldwide in Tamil and Telugu on December 20 this year.

While most of the second part had been shot during the production of the first part itself, the remainder of the filming and an extensive postproduction did not permit an immediate release after Part 1's success.

Viduthalai Part 1 was released last year to commercial and critical acclaim. Viduthalai Part 2 will see Soori, Vijay Sethupathi, Chethan, Bhavani Sre, Gautham Vasudev Menon, Rajiv Menon, Ilavarasu, Balaji Sakthivel, Saravana Subbiah, and Munnar Ramesh reprising their roles from the first film.

On the technical team, the film, which is the final stages of filming, has music composed by Ilaiyaraaja, cinematography handled by R Velraj and editing by R Ramar. It is produced by Elred Kumar under the RS Infotainment banner and Vetrimaaran's Grass Root Film Company. Both Viduthalai Parts 1 and 2 were earlier screened at the Rotterdam Film Festival.

View this post on Instagram A post shared by RS Infotainment (@rsinfotainment)

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Home » News » Confirmed! Vijay Sethupathi-Vetrimaaran's Viduthalai Part 2 set to premiere at Rotterdam »

Confirmed! Vijay Sethupathi-Vetrimaaran's Viduthalai Part 2 set to premiere at Rotterdam

The highlight of this screening is that the audience will have the opportunity to watch both Viduthalai Part 1 and Part 2 consecutively, with a runtime of approximately five hours.

• Team OTTplay

Last Updated: 01.17 PM, Jan 30, 2024

Filmmaker Vetrimaaran is fast becoming a force to reckon with in the international film festival circuit. He's set to solidify his position as a powerful voice of contemporary Indian cinema by showcasing his latest movie Viduthalai Part 2 at the International Film Festival Rotterdam.

The highlight of this screening is that the audience will have the opportunity to watch both Part 1 and Part 2 consecutively, with a runtime of approximately five hours. Both segments of the movie are scheduled to be screened at the festival on January 31 and February 3.

Viduthalai Part 1 was a big critical and commerical hit

Viduthalai Part 1 was released last year garnering a lot of critical acclaim. Filmmaker Anurag Kashyap had heaped praises on the movie , calling it a "very powerful film", and declaring it has "the best opening shot I’ve seen in the longest time."

ALSO READ: Candid Review | Viduthalai Part 1: Vetrimaaran's own 'Come and See'

The movie's opening shot is a lengthy single take capturing the horrors of a devastating train attack. Vetrimaaran pushed the boundaries of visual storytelling by employing the technique of a single take. The scene received much praise but also incurred significant costs for the producers.

Earlier, when discussing the efforts invested in creating the opening scene, Vetrimaaran revealed that a member of the stunt team lost his life in the process.

Vetrimaaran revealed that he initially envisioned Viduthalai as a single movie, with Vijay Sethupathi playing an extended cameo. The entire film was supposed to rely on the shoulders of Soori. However, as he began shooting, the world of Viduthalai continued to expand in scope, scale, and runtime, prompting him to split the movie into two parts.

The first part sheds light on the dehumanizing effects of granting unchecked powers to the state's police forces. It narrates the story through the eyes of a naive low-ranking cop who becomes involved in a manhunt operation.

ALSO READ: Viduthalai Part 2: Vetrimaaran to incorporate VFX in the Vijay Sethupathi starrer

The film ended with Soori's Kumaresan helping the police force to capture Sethupathi's Perumal Vathiyar. The second part will follow the aftermath of Perumal's arrest.

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