Tamil cinema often dabbles in various genres, but it’s a rare treat when it embraces the intellectual complexity of a high-concept thriller. Black, the latest cinematic venture starring Jiiva and Priya Bhavani Shankar, ventures into this elusive territory with aplomb. The film takes audiences on a mind-bending ride that expertly parallels the concept of Coherence, the 2013 Hollywood movie that serves as its inspiration, and delivers an engaging experience marked by skilful performances and technical prowess.
In Black, Jiiva and Priya play the roles of Vasanth and Aranya, a couple plunged into extraordinary circumstances. Their journey begins when they decide to unwind at their newly constructed row-house villa nestled within a serene gated community. However, the narrative sets an intriguing premise with a historical twist: back in 1964, an enigmatic phenomenon unfolded during a supermoon event. As fate would have it, this incomprehensible occurrence repeats itself, trapping Vasanth and Aranya in a realm where the laws of time and physics are challenged.
The majority of Black’s engrossing narrative is confined within the boundaries of this couple’s house. The dramatic tension is intensified by the choice of keeping the focus solely on the two main characters for most of the film’s runtime. Herein lies the film’s strength—it captivates from beginning to end. Director KG Balasubramani, marking his debut, adeptly maneuvers the film with finesse, aided by the expert efforts of cinematographer Gokul Benoy and editor Philomin Raj. The screenplay considerably draws the audience into an intricate web of questions and suspense, though some might argue that the pace of revelation could benefit from more leisurely spacing.
As the personalities of Vasanth and Aranya are fleshed out through a sequence of establishing shots, the initial sequences lay a necessary foundation, albeit sporadically interrupted by a couple of tunes that may feel superfluous to some. However, once the couple takes residence in their new home, Black shifts gears decisively, ramping up the tension with each passing moment. Despite having only two primary characters, unlike the plethora seen in its source material, Black maintains an impressive grip on the viewer’s attention, keeping them intrigued and on edge through much of its duration.
The narrative’s dexterity temporarily wanes as the story enters its second half, exposing some minor narrative shortfalls.
. An instance stands out where Vasanth, ensnared in frustration, leaves his home disheveled, which misleads law enforcement officers into suspecting misconduct relating to his missing wife. Though potentially logical during the script phase, visually, it unfolds in a less coherent manner. Nonetheless, Black’s charm lies in its conceptual audacity—most notably, the depiction of the supermoon anomaly, metaphorically reminiscent of a black hole. This phenomenon envelopes the protagonists in a darkness so dense that even light succumbs, serving as a conduit to differing timelines.
The film’s grandeur peaks with its conceptual depth, yet the climactic explanation arrives perhaps too late, resulting in a surge of exposition. Concepts such as super-positioning, parallel realities, and obscure references to the Bermuda Triangle are unleashed upon the audience. While seasoned fans of time-travel tropes might navigate these waters effortlessly, newcomers could find themselves adrift amidst this deluge of information.
Aiding the audience’s journey through this cerebral maze are the compelling performances of the lead actors. Jiiva’s portrayal breaks away from past missteps with a role seemingly sculpted for him, while Priya Bhavani Shankar shines as a keen-eyed character who deftly guides the audience through the film’s enigmas, avoiding the ubiquitous trope of the helpless partner.
Despite echoing elements reminiscent of previous films and series, Black honors the thriller genre by respecting the audience’s intelligence. It refrains from spoon-feeding, instead encouraging active engagement. This approach, while potentially challenging for some, is what sets Black apart. Alongside works like the Kannada film Blink, it stakes its claim in a niche that celebrates intellectual stimulation over oversimplification. With a robust script, adept performances, and stellar technical support, Black transcends its minor blemishes, leaving viewers hopeful for more frequent cinematic supermoons in Tamil cinema’s future.
Black is currently captivating audiences in theaters with its unique blend of suspense and science fiction.
