vetrimaran films

Every Vetrimaaran Film Ranked

Tamil filmmaker Vetrimaaran belongs to one of those breeds of director whose tight scripts, apt casting, and realistic treatment of storyline has made fundamental changes to the very nature of mainstream filmmaking. His films are made for a multi-cultural audience and backed by the strength of their storytelling and sculpted dialogue, which has reinvigorated the art of popular cinema with a breath of fresh air.

Related Read to Vetrimaaran Films: Every Lijo Jose Pellissery Film Ranked

Each of the films is imbued with a powerful, coherent aesthetic that guides viewers through a dark matrix. At its best, it augments a captivating narrative and sinks viewers into a world of social realism of rural Tamil Nadu. Even urban reality is being depicted showcasing more fallible and life-like characters. The cinema of the carnivalesque with its larger-than-life characters, melodramatic orientation and highly romanticized canvas is something that does not whet his appetite for creativity.

With a filmography of five features and one short film as a director, he has earned his reputation as the most one of the most accessible filmmakers of the last decade. His style involves artistically thriving with a soothing pace lending itself to an atmospheric work filled with oneiric undertones. Some viewers may find his films brutal and gut wrenching as it gets; yet, despite its ruthless depiction, it’s also surprisingly heartwarming.

5. Polladhavan (2007)

Vetrimaaran’s debut feature film opens up with a gruesome and brutal fighting sequence and then using the device of flashback, the filmmaker takes us into the dynamic world of contemporary Chennai, where an educated young man, Prabhu ( Dhanush ) fight injustice and in the process is forced to unleash the animal within him.

Also, Read: Every Sriram Raghavan Film Ranked

The protagonist of the film is an uneducated youth who due to turn of events confronts his father (Murali) and an argument regarding the responsibilities of parents towards their offspring ensues. As a result of this conflict, Prabhu gets a hefty amount from his father and he uses the money to purchase a Bajaj Pulsar bike. This appears to be a wise investment because owning the vehicle enables him to get a job and earn respect in society. But the situation takes a drastic turn when a gang of anti-socials steals his bike. Thereafter the film presents the viewers with the transformation of resilience into power and its hold over the life of an individual’s struggle to maintain his position in the harsh reality of everyday life.

The plot of the film has similarities with Wang Xiaoshuai’s Bejing Bicycle (2001). But the well worked out mise-en-scenes of Polladhavan makes it an entertaining tale of a casual urban carefree person’s conversion into a person of genuine worth and true dignity. Polladhavan was remade in Kannada as Punda, in Telugu as Kurradu starring Varun Sandesh, in Sinhala as Pravegeya, in Bengali as Borbaad (2014) and in Hindi as Guns of Banaras (2020). But none of them could achieve the excellence earned by the original version.

4. Visaranai (2016)

Based on the Tamil novel Lock Up by M. Chandrakumar, Vetrimaaran’s third outing in its first half has such brutal scenes of police torture that one could genuinely feel the bestial act of police torture. The viewers are compelled to cringe as well as empathize with the plight of four helpless souls. The narrative of the film can be divided into two sections-before and after the intermission. Four migrant workers are falsely accused in a burglary case that has taken place at a rich and affluent man’s bungalow. The police beat these four characters in black and blue and want them to confess. Not able to withstand the pain they agree to accept the charges. Once they are produced in the court the narrative of the film takes a twist and the viewers are presented with one shocking surprise after the other.

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The filmmaker displays superb craftsmanship and commitment to an engaging dramatic tale that ends in a tragedy. The film subtly depicts that the characters in the film become a victim because of the system that protected the criminal over the accuser. It is a deeply troubling film that is devoid of cathartic and healing moments. Vetrimaaran does not feel hesitant in constructing the brutal scene with ease and he is neither afraid to carve out its own unique style.

The film had its world premiere at the 72nd Venice International Film Festival, where it won the Amnesty International Italia Award. Back home it had won three National Film Awards- Best Feature Film in Tamil, Best Supporting Actor and Best Editing.

Watch Visaranai (2016) on Netflix

3. asuran (2019).

What becomes the last resort for a farmer who goes on the run with his family as he is compelled to protect his son, who has murdered a wealthy upper-caste landlord in a fit of vengeance? The reply should be to fight with the oppressing forces and reclaim his identity. That is exactly what Sivasaami (Dhanush) does to break away from the uncomfortable social status he has inherited. Based on the novel Vekkai by Poomani, Vetrimaaran’s screen adaptation is so watertight that every occurrence in the screenplay feels alluring.

Related Read to Vetrimaaran Films : Asuran (2019) Review: Rise, Asuran, Rise!

With Asuran Vetrimaaran continues his excellent cinematic flair as a director enhancing his commendable grasp on the tropes of mainstream cinema. The film also benefits from technical polish – the cinematography, background score and editing are all top-notch. Asuran too has gut-wrenching violence and prepares the viewer for the edge-of-seat tension. The narrative follows a rhythm where the plot is revealed without wasting much of the screen time. The film belongs to the genre of revenge saga told from the perspective of a lower caste protagonist.

It’s one of those mainstream films that fulfill a social purpose, for it’s hard to imagine anyone viewing Asuran and not abhorring the evil practice of casteism in our country and how it voluntarily degrade human values and status. At the Norway Tamil Film Festival Awards, 2020, Vetrimaaran won the award for best director. The film had won two National Film Awards- Best Feature Film in Tamil and Best Actor.

Read the Complete Review of Asuran (2019) Here

Watch asuran (2019) on prime video , 2. vada chennai (2018).

A tale of criminal activities narrated in a non-linear pattern over the span of more than a decade is the perfect recipe for a crime sage. Vetrimaaran’s narrative takes the viewers on a journey that lasts for nearly a hundred and sixty-four hours and introduces them to the world of guilt, regret and vital decisions leading to loyalty turned into betrayal. The protagonist of the film Anbu (Dhanush) is an expert carrom player but his life gets entwined into the world of crime. He gets pulled into the vortex so deeply that penitence alludes to him after a point in time.

Related Read to Vetrimaaran Films : Top Tamil Movies of 2018 and Where To Watch Them

With a multiple cast the story of the film is set in the underbellies of North Chennai as the title of the film implies and the theme of the film is more nuanced than the conventional black-and-white morality tales where evil is punished by good at the end. The film blatantly showcases the graphic world of crime and violence, investigates the nature of friendship, the ethics of vigilantism, and the nature of unhappiness. Vetrimaaran delves deeply into the minds of his tortured characters and explores how the men and women he depicts grapple with moral codes and their emotions.

He further engages with many of the most basic questions about our humanity and how we relate to one another in a complex world. The stylistic elements in the film earn comparisons, bearing marked connections to several of Vetrimaaran’s other films. The film won the Best Film (People’s Choice Award) at the Pingyao International Film Festival, 2018. At the Filmfare Awards South, Dhanush won the trophy for the Best Actor.

Read the Complete Review of Vada Chennai (2018) Here

Watch vada chennai (2018) on disney hotstar, 1. aadukalam (2011).

As the roosters combat in the arena with each other, it becomes a fight of the egos of the individuals who own the fowl. So, when Karuppu’s rooster emerges victorious he not only earns a lot of money but also the enmity of his boss Periyasamy (V. I. S. Jayapalan) and Rathnasamy (Naren). And from then onwards the life of our protagonist will be filled with one hurdle after the other as the tale of loyalty, self-esteem, deception, and honor unfolds.

Related Read to Vetrimaaran Films : 10 Great Tamil Movies You Can Stream On Netflix Right Now

In his sophomore, Vetrimaaran presents a varied cultural pattern of rural Tamil Nadu and uses realism, tradition, and contemporaneity, soaked in local flavor within the narrative structure of his tightly structured screenplay. The conflicts introduced within the plot points create tension by employing smart conventions that are able to sustain the viewer’s anticipation. The editing pattern of the film creates a commendable pace and multi-layered visual design that heightens the impact of the film. Though the filmmaker has openly admitted that he was inspired by the dogfighting scene of Amores Perros (2000), Vetrimaaran has infused his own style and poise within the film, which is anything by blatant copy.

Despite having strong content and potential for box-office success, filmmakers from another region could not dare to remake the film until now. The reason being the milieu of the film is so rooted in the soil of Tamil Nadu and that makes it the best film in the oeuvre of Vetrimaaran’s impressive career. At the 58th National Film Awards, the film won five awards-Best Director, Best Screenplay, Best Editing, Best Choreography and Special Jury Award for Acting.

Special Mention: Oor Iravu (2020)

Oor Iravu is a part of the Tamil anthology drama Paava Kadhaigal (2020). Owing to its shorter running time, I have included it in the category of special mention. On the surface level of its narrative, the film depicts the tale of a daughter Sumathi (Sai Pallavi) who had eloped from her village and now she has reunited with her father Janakiraman (Prakash Raj). But as the story of the film moves forward we discover the sensitivity and intricacies of the complex human psyche of individual characters within the film.

Also, Read: Paava Kadhaigal (2020) Netflix: Sinful Filmmaking under the Garb of Hard Hitting Social Drama

Vetrimaaran treated the film with a style that is bold and innovative with the choice of a subject in which the form and content merge into one. The pacing is not fast like his other films rather it is a slow study of how Sumathi’s drastic decision had impacted the lives of various members of his family. Vetrimaaran did not deviate from his usual style of narrative exploration but he has brought an understated rhythm to the unfolding of the events.

There is a kind of freshness in his approach and courage displayed in choosing to build a film around the brutal concept of associating the honor of the family with the sanctity of a woman. The film ends on a depressing note as we realize that such evil things are a reality and will continue to happen unless and until the evils of casteism are not obliterated from our society.

Watch Oor Iravu (2020) on Netflix

Vetrimaaran links : imdb , wikipedia, trending right now.

Dipankar Sarkar is a freelance writer on various topics related to cinema. His articles have appeared in Scroll, The Hindu, Livemint, The Quint, The Tribune, Chandigarh, Upperstall, and vaguevisages.com amongst others.

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Every Vetrimaaran Movie Ranked and Where to Watch Them

Published on.

Shaurya Singh Thapa

Official JustWatch writer

Known for his gritty crime dramas, underdog heroes, and numerous collaborations with actor Dhanush , Vetrimaaran has established himself as one of Tamil film industry’s leading directors.

If you wish to know more about the Asuran and Vidhuthalai director’s filmography, we have got you covered with a complete streaming guide that leads you to all of Vetrimaaran’s movies and information you need on where to stream them online.

Which Vetrimaaran movies should I watch first? 

The best way to watch Vetrimaaran’s movies is in the same order as their release date, as this sequence would show how the director has only improved in his craft with every passing movie. Vetrimaaran made his directorial debut in 2007 with the action thriller Polladhavan . Dhanush played the lead character, a man whose fate changes after he buys a bike and later gets it stolen. Opening to rave reviews for Dhanush’s acting and Vetrimaaran’s directing, the movie spawned numerous remakes in other languages and popularised the Bajaj Pulsar (the bike featured in the movie) among Tamil youths.

The director and actor joined forces again for the drama Aadukalam . The 2011 hit found Dhanush’s protagonist embroiled in an unattainable romance and a rooster-fighting business. The movie earned Vetrimaaran a National Award for Best Director and Best Screenplay.

While Vetrimaaran’s first two movies addressed social themes like an economic class divide, his political themes got more evident in his third film: a police thriller titled Visaranai (also released as Interrogation). The gruelling social drama revolves around the fates of two men who are forced to confess to a crime after they are locked up by the cops. The film won a National Award for Best Tamil Film and also opened much debate and discourse over the ethics of the police force in Tamil Nadu.

Visaranai’s success opened the avenues for more ambitious projects like the period gangster epic Vada Chennai , yet again starring regular collaborator Dhanush. The movie charts an underdog’s journey between rival criminal factions in a fishing community in ‘70s-era South Chennai. Vada Chennai ended on a nail biting cliffhanger, teasing the possibility of a sequel that fans still await.

With Dhanush already starring in several anti-caste dramas, Vetrimaaran cast him again in Asuran. Addressing the oppression faced by marginalised castes, Asuran starred Dhanush as a hot-headed lower-caste youth who kills an oppressive upper-caste landlord. The ensuing chaos made for a violent, powerful, and relevant watch. As is the case with many Vetrimaaran films, Asuran also earned the National Award for Best Tamil Film. 

Why is Vidhuthalai Part 1 Vetrimaaran’s best movie to watch? 

Intending to direct a two-part saga next, Vetrimaaran directed Vidhuthalai Part 1 . Set in the 1980s and inspired by real-life politics of the era, Viduthalai explores the conflict between the police and a separatist group. However, neither side is good or bad as Vetrimaaran’s story explores the morally grey areas of the policemen and their atrocities as well. Boasting impressive performances by Vijay Sethupathi and Soori, Vidhuthalai is a gripping political thriller.

Where can I watch the best Vetrimaaran movies online? 

Below you can find the latest streaming information for every Vetrimaaran movie. This includes every offer for viewers in India today.

Viduthalai: Part I

Kumaresan, a police constable, gets recruited for an operation implanted to capture Perumal Vaathiyar, who leads a separatist group dedicated to fighting against the authorities for committing atrocities against innocent village women in the name of police interrogations.

Vada Chennai

A young carrom player in North Chennai becomes a reluctant participant in a war between two feuding gangsters.

The teenage son of a farmer from an underprivileged caste kills a rich, upper caste landlord. How the pacifist farmer saves his hot-blooded son is the rest of the story.

Pandi and his friends, immigrant workers in Andhra Pradesh, are picked up by cops for a crime they never committed. And thus begins their nightmare, where they become pawns in a vicious game where the voiceless are strangled by those with power.

Pettaikaaran is famous in his town for an impeccable track record of successes in rooster fights. When one of his aides, Karuppu, goes against his word in a fight, it leads to an enmity between them.

Polladhavan

Prabhu is dejected when he learns that his bike has been stolen. He decides to find the people who stole the bike, but lands in trouble when he realises that his bike has been used to transport drugs.

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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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Vetrimaaran

Vetrimaaran stands as a towering figure in the of Indian cinema, celebrated for his multifaceted contributions as a film director, producer, and screenwriter, primarily within the vibrant tapestry of Tamil cinema. As of 2021, his illustrious career has been adorned with accolades, boasting five National Film Awards, eight Ananda Vikatan Cinema Awards, and two Filmfare South Awards.

Born in 1975 in the culturally rich city of Cuddalore, Vetrimaaran inherited a legacy of academia. His father, Dr. V. Chitravel, a distinguished veterinary scientist, and his mother, Megala Chitravel, a respected novelist, provided the backdrop for his early years. The seeds of his cinematic journey were sown during his tenure at Loyola College, where a course on television presentation ignited his passion for the art of filmmaking.

The pivotal juncture in Vetrimaaran’s career came through his association with veteran filmmaker Balu Mahendra. Serving as one of Mahendra’s lead assistants, Vetrimaaran gleaned invaluable insights into the nuances of filmmaking. Faced with the perennial dilemma of choosing between academia and the allure of cinema, Vetrimaaran chose the latter, forsaking his academic pursuits at Loyola to chart a course into the world of films.

His directorial debut, “Polladhavan” in 2007, was a cinematic endeavor inspired by the quest for a lost bike. The film garnered acclaim, with Vetrimaaran’s directorial style drawing favorable comparisons to Balu Mahendra’s illustrious approach. The subsequent venture, “Aadukalam” (2011), delved into the intense world of cockfighting in Madurai and earned Vetrimaaran six National Film Awards, solidifying his status as a formidable directorial force.

In an expansion of his cinematic footprint, Vetrimaaran founded the Grass Root Film Company, a production house that would serve as a vehicle for his creative endeavors. “Visaranai” (2015), a film exploring the brutal hardships faced by Tamil laborers at the hands of the police, emerged as India’s official entry to the Academy Awards, shedding light on societal injustices.

The ensuing years witnessed Vetrimaaran’s continued ascendancy. Collaborations with actor Dhanush in films such as “Vada Chennai” (2018) and “Asuran” (2019) not only garnered critical acclaim but also tasted success at the box office. “Vada Chennai,” in particular, distinguished itself by portraying the narrative of a skilled carrom player ensnared in a gripping gang war. In his role as a producer, Vetrimaaran championed several noteworthy films, including “Poriyaalan” (2014) and the critically acclaimed “Kaaka Muttai” (2015). Both his directorial ventures and productions consistently received accolades, establishing him as a revered figure within the film industry.

Vetrimaaran’s creative prowess extended to the anthology “Paava Kadhaigal” (2020), where his segment, “Oor Iravu,” delved into the sensitive issue of honor killings. The segment, marked by its powerful storytelling and deft direction, earned acclaim from audiences and critics alike.

Throughout his illustrious career, Vetrimaaran’s films have been a canvas for exploring diverse themes, seamlessly blending realism with commercial elements. His ability to capture the essence of societal issues and present them cinematically has bestowed upon him the status of one of the preeminent directors in the panorama of Indian cinema.

More Details

Name	Vetrimaaran
Also Known as	Vetrimaaran
Date of Birth	04/09/1975
Current Residence	Chennai
Religion	Hindhu
Nationality	Indian
Hobbies	reading, writing
Father	Dr. V. Chitravel
Mother	Megala Chitravel
Spouse	Aarthi
Children	Poonthendral, Kathiravan
Educational Qualification	Graduation
College (s)	Loyola College

Debut Movies
Language	Movie Name
Tamil	Polladhavan

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Awards List
Year	Award	Category	Movie Name
2007	Vijay Award for Best Director		Polladhavan
2011	National Film Award for Best Director		Aadukalam
2011	National Film Award for Best Screenplay		Aadukalam
2011	Filmfare Award for Best Tamil Director		Aadukalam
2019	National Film Award for Best Feature Film in Tamil		Asuran
2016	National Film Award for Best Feature Film in Tamil		Visaranai
2015	National Film Award for Best Children's Film		Kaaka Muttai

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Vetrimaaran

Producer, Writer, Director, Actor

Born September 4, 1975 in Cuddalore, Tamilnadu, India

Vetrimaaran is an Indian film director, screenwriter and film producer, who works in the Tamil film industry. Vetrimaaran made his directorial debut with the Polladhavan. His second feature film Aadukalam won six National Film Awards. He produces films under his production company, Grass Root Film Company. His movie Visaranai (2016) was selected as India's official entry to the Academy Awards.His film Asuran (2019) was named as the National Film Award for Best Feature Film in Tamil.

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SIIMA Awards 2024 full list of nominees: Dasara, Jailer, Kaatera, 2018 top the list

The full list of nominees for siima awards 2024 in telugu, tamil, kannada and malayalam have been announced. take a look at the films that made it..

The nominations for the South Indian International Movie Awards (SIIMA) 2024 were announced. The list features names from the four south Indian film industries - Telugu, Tamil, Kannada and Malayalam. The event will be held in Dubai on September 14 and 15 this year. (Also Read: Filmfare Awards South 2024 full list of nominees: Salaar, Ponniyin Selvan, Kaathal bag nominations )

Telugu film Dasara, Tamil film Jailer, Kannada film Kaatera and the Malayalam film 2018 bagged the most nominations. Srikanth Odela’s Dasara, starring Nani and Keerthy Suresh bagged 11 nominations, with Souryuv’s Nani, Mrunal Thakur-starrer Hi Nanna following closely with 10. Nelson Dilipkumar’s Rajinikanth -starrer Jailer bagged 11 nominations and Udhayanidhi Stalin, Keerthy Suresh’s Maamannan bagged 9.

Tharun Sudhir’s Darshan-starrer Kaatera got 8 nominations and Rakshit Shetty , Rukmini Vasanth’s Sapta Saagaradaache Ello - Side A got 7. Jude Anthany Joseph’s 2018 with Tovino Thomas and Asif Ali got 8 nominations while Kaathal - The Core with Mammootty and Jyotika got 7. The winners will be chosen by an online voting system through www.siima.in.

Check out the full list of nominations below:

Bhagavanth Kesari

Best director

Srikanth Odela (Dasara)

Sai Rajesh (Baby)

Bobby (Waltair Veerayya)

Anil Ravipudi (Bhagavanth Kesari)

Karthik Varma Dandu (Virupaksha)

Gopichand Malineni (Veera Simha Reddy)

Best actor in leading role

Chiranjeevi (Waltair Veerayya)

Balakrishna (Bhagavanth Kesari)

Nani (Dasara)

Sai Dharam Tej (Virupaksha)

Dhanush (Sir)

Best actress in leading role

Samyuktha Menon (Virupaksha)

Keerthy Suresh (Dasara)

Mrunal Thakur (Hi Nanna)

Shruti Haasan (Veera Simha Reddy)

Sreeleela (Bhagavanth Kesari)

Payal Rajput (Mangalavaram)

Best actor in a supporting role

Brahmanandam (Ranga Maarthaanda)

Prithviraj Sukumaran (Salaar)

Dekshith Shetty (Dasara)

Viraj Ashwin (Baby)

Angad Bedi (Hi Nanna)

Ravi Krishna (Virupaksha)

Best actress in a supporting role

Varalaxmi Sarathkumar (Veera Simha Reddy)

Sreya Reddy (Salaar)

Rohini (Writer Padmabhushan)

Soniya Singh (Virupaksha)

Baby Kiara Khanna (Hi Nanna)

Shreya Navile (Month Of Madhu)

Best music director

Santhosh Narayanan (Dasara)

Devi Sri Prasad (Waltair Veerayya)

Vijay Bulganin (Baby)

Hesham Abdul Wahab (Kushi, Hi Nanna)

Thaman (Veera Simha Reddy)

Best lyric writer

Kasarla Shyam - Ooru Palleturu (Balagam)

Krishna Kanth- Adigaa (Hi Nanna)

Anantha Sriram - O Rendu Prema Meghaalila ( BABY )

Shreemani - Ori Vaari ( Dasara )

Bhaskara Bhatla - Nuvvu Navvukuntu ( MAD)

Best playback singer (male)

Sid Sriram - Aradhya (Kushi)

Rahul Sipligunj - Ayyayyo Sad Version (Mem Famous)

Adithya RK, Leon James - Almost Padipoyinde Pilla (Das Ka Dhamki)

Anurag Kulkarni - Samayama (Hi Nanna)

Ram Miryala - Ooru Palleturu (Balagam)

Best playback singer (female)

Dhee - Chamkeela Angeelesi (Dasara)

Swetha Mohan - Mastaru Mastaru (Sir)

Sahithi Chaganti, Satya Yamini - Maa Bava Manobhavalu (Veera Simha Reddy )

Harika Narayan - Ravanasura Anthem ( Ravanasura )

Shakthisree Gopalan - Ammaadi ( Hi Nanna )

Best actor in negative role

Prakash Raj (Waltair Veerayya)

Duniya Vijay (Veera Simha Reddy)

Arjun Rampal (Bhagavanth Kesari)

Shine Tom Chacko (Dasara)

Arvind Swamy (Custody)

Ponniyin Selvan 2

Viduthalai-1

SU Arun Kumar (Chiththa)

Vetrimaran (Viduthalai 1)

Nelson (Jailer)

Mani Ratnam (Ponniyin Selvan 2)

Mari Selvaraj (Maamannan)

Lokesh Kanagaraj (Leo)

Vijay (Leo)

Sivakarthikeyan (Maaveeran)

Vikram (Ponniyin Selvan 2)

Udhayanidhi Stalin (Maamannan)

Siddharth (Chiththa)

Rajinikanth (Jailer)

Trisha (Leo)

Nayanthara (Annapoorani)

Aishwarya Rai (Ponniyin Selvan 2)

Keerthy Suresh (Maamannan)

Meetha Raghunath (Good Night)

Aishwarya Rajesh (Farhana)

Best actor in supporting role

Vadivelu (Maamannan)

MS Baskar (Parking)

SJ Suryah (Jigarthanda Double X)

Sarathkumar (Varisu)

Vasanth Ravi (Jailer)

Best actress in supporting role

Mullai Arasi (Are you Ok Baby)

Nadiya Moidu (Let's Get Married)

Abarnathi (Irugapatru)

Saritha (Maaveeran)

Raichal Rabecca (Good Night)

Santhosh Narayanan - Jigarthanda Double X, Chiththa

Nivas K Prasanna - Takkar

Anirudh Ravichander - Jailer, Leo

Ilayaraja - Viduthalai-1

AR Rahman - Ponniyin Selvan-2

Ilayaraja - Kaatumalli - Viduthalai-1

Yugabharathi - Nenjame Nenjame - Maamannan

Vignesh Shivan - Rathamaarey-Jailer

Vivek Unakku - Thaan-Chiththa

Ku Karthik - Nira - Takkar

Sean Roldan - Naan Gaali - Good Night

Anirudh Ravichander - Badass - Leo

Vishal Mishra - Rathamaarey- Jailer

Haricharan Chinnanjiru - Nilave-Ponniyin Selvan-2

Vijay Yesudas - Nenjame Nenjame - Maamannan

Shwetha Mohan - Vaa Vaathi- Vaathi

Dhee - Maamadurai- Jigarthanda DoubleX

Karthiga Vaidyanathan- Kangal Yeno-Chiththa

Ananya Bhat - Kattu Malli- Viduthalai-1

Sakthisree Gopalan - Aga Naga- Ponniyin Selvan-2

Fahadh Faasil (Maamannan)

Vinayakan (Jailer)

Mysskin (Maaveeran)

Arjun (Leo)

Sunil Sukhada (Por Thozhil)

Sapta Saagaradaache Ello – Side A

Kousalya Supraja Rama

Aachar & Co

Akash Srivatsa (Shivaji Surathkal 2)

V Harikrishna (Kranti)

Hemanth M Rao (Sapta Saagaradaache Ello – Side A)

Shashank (Kousalya Supraja Rama)

Tharun Sudhir (Kaatera)

Darshan (Kaatera)

Rakshit Shetty (Sapta Saagaradaache Ello – Side A)

Daali Dhananjaya (Gurudev Hoysala)

Raj B Shetty (Toby)

Dr. Shivarajkumar (Ghost)

Ramesh Aravind (Shivaji Surathkal 2)

Chaithra J Achar (Toby)

Rachita Ram (Kranti)

Rukmini Vasanth (Sapta Saagaradaache Ello – Side A)

Sindhu Sreenivasa Murthy (Aachar & Co)

Meghana Raj (Tatsama Tadbhava)

Megha Shetty (Kaiva)

Aravinnd Iyer (Tatsama Tadbhava)

Gopalkrishna Desphande (Sapta Saagaradaache Ello – Side B)

Rangayana Raghu (Tagaru Palya)

Harshil Koushik (Aachar & Co)

Naveen Shankar (Hondisi Bareyiri)

Archana Kottige (Hostel Hudugaru Bekagiddare)

Chaithra J Achar (Sapta Saagaradaache Ello - Side B)

Samyukta Hornad (Toby)

Kavya Sha (David)

Saathvika (Baang)

Bindhumalini - Aachar & Co

Vasuki Vaibhav - Tagarupalya

Charan Raj - Sapta Saagaradaache Ello - Side A

V Harikrishna - Kaatera

Ravi Basrur - Kabzaa

Daali Dhananjaya - Tagarupalya Title Track

Chethan Kumar - Pasandagavne (Kaatera)

Dhananjay Ranjan -Sapta Saagaradaache Ello - Side A Title Track

Kinnal Raj - Namaami Namaami (Kabzaa)

Pruthvi - Mellage (Swathi Mutthina Male Haniye)

Hemanth Kumar - Yava Janumada Gelathi (Kaatera)

B Ajaneesh Loknath- Hostel Hudugaru Protest Song (Hostel Hudugaru Bekagiddare)

Haricharan - Arre Idu Yentha Bhavane (Gurudev Hoysala)

Kapil Kapilan - Sapta Saagaradaache Ello - Side A Title Track

Adithya R K - Oh Kavana (Hondisi Bareyari)

Vijayalaxmi Mettinahole - Radha Radha (Kabzaa)

Mangli - Pasandaagavne (Kaatera)

Aishwarya Rangarajan - Pushpavati (Kranti)

Sunidhi Ganesh - Doori Laali (Tatsama Tadbhava)

Srilakshmi Belmannu - Kadalanu Kano Horatiro (Sapta Saagaradaache

Ello Side B)

Ramesh Indira (Sapta Saagaradaache Ello Side B)

Naveen Shankar (Gurudev Hoysala)

Ugram Manju (Kaiva)

Deepak Raj Shetty (Toby)

Kaliprasad K P (Hondisi Bareyari)

Nanpakal Nerathu Mayakkam

Kaathal - The Core

Lijo Jose Pellissery (Nanpakal Nerathu Mayakkam)

Jude Anthany Joseph (2018)

Jeethu Joseph (Neru)

Priyadarshan (Corona Papers)

Jeo Baby (Kaathal the Core)

Mammootty (Nanpakal Nerathu Mayakkam, Kaathal - the Core, Kannur Squad)

Suresh Gopi (Garudan)

Tovino Thomas (2018)

Joju George (Iratta)

Basil Joseph (Falimy, Kadina Kadoramee Andakadaham)

Mohanlal (Neru)

Jyotika (Kaathal - the Core)

Manju Warrier (Ayisha)

Kalyani Priyadarshan (Sesham Mike - Il Fathima)

Anaswara Rajan (Neru)

Darshana Rajendran (Purusha Pretham)

Vincy Aloshious (Rekha)

Jagadeesh (Falimy)

Alexander Prasanth (Purusha Pretham)

Siddique (Neru)

Hakkim Shah (Pranaya Vilasam)

Poornima Indrajith (Thuramukham)

Aima Rosmy (Sebastian Rdx)

Tanvi Ram (2018)

Manju Pillai (Falimy)

Remya Nambeesan (B 32 Muthal 44 Vare)

Vishnu Vijay - Sulaikha Manzil

Sushin Shyam - Romancham

Sam C S - Rdx

Nobin Paul - 2018

Justin Prabhakaran - Pachuvum Athbuthavilakkum

Anvar Ali Ennum en Kaaval - Kaathal - the Core

Vaisakh Sugunan Thathamma Chelolu -Madanolsavam

Muhsin Parari Premakkathu Paattu -Kadina Kadoramee Andakadaham

Vinayak Sasikumar Roohe - Neru

Manu Manjith Neela Nilave - Rdx

Kapil Kapilan Neela Nilave... Rdx

K S Harisankar Venmegham... 2018

Vidyadharan Master Love You Muthe... Padmini

G Venugopal Ennum en Kaaval... Kaathal - the Core

Mithun Jayaraj Naruchiriyude... Pranaya Vilasam

Shreya Ghoshal - Kalaapakkara -King of Kotha

Shikha Prabhakaran - Tharattayi -Iratta

Mridula Warrier - Nerukayil Nin -Neeraja

Pushpavathy Poyppadathu - Haalaake Marunne -Sulaikha Manzil

Anne Amie - Thinkal - Pachuvum Athbhuthavilakkum

Biju Menon (Garudan)

Vinay Rai (Christopher)

Shabeer Kallarackal (King of Kotha)

Arjun Radhakrishnan (Kannur Squad)

Vishnu Agasthya (Rdx)

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SIIMA 2024: Date, Venue, Time & Full Nomination List

The South Indian International Movie Awards (SIIMA 2024) celebrate the exceptional talent and hard work of the South Indian film industry. This year marks the 12th edition of the prestigious award show, covering contributions from Tamil, Telugu, Kannada, and Malayalam cinema. Anticipation for the nominations has been building, and the final list is now out.

The current nomination list features numerous blockbuster hits such as Dasara, Jailer , Kaatera , and many others. For Best Director, the nominees include Srikant Odela, Sai Rajesh, Karthik Varma Dandu, and Gopichand Malineni, among others. Meanwhile, the Best Actor in a Leading Role category boasts nominees such as Chiranjeevi, Balakrishna, Nani, and Dhanush.

Additionally, awards will be given for Best Actor/Actress in a Supporting Role, Best Music Director, Best Lyric Writer, and many more. This highlights the broad scope of the SIIMA awards in recognizing and praising the artistic contributions to the South Indian film industry.

When & where will SIIMA 2024 be held?

The SIIMA award ceremony was first held in June 2012 at the Dubai World Trade Centre and spans over two days. The first day celebrates upcoming South Indian film artists, while the second day is dedicated to the main SIIMA Awards. This year, the 12th South Indian International Movie Awards (SIIMA) is set to take place in WTC, Dubai, on September 14 and 15, 2024.

Brinda Prasad Adusumili, the chairperson of SIIMA, recently shared his views on the SIIMA 2023 nominations, saying that “South Indian filmmakers have broken the language barrier and produced national hits, making regional the new national.” Summing up his thoughts, he then stated, “SIIMA 2024 is going to have a strong contenders list.”

However, the rise of OTT platforms and the practice of dubbing have propelled the South Indian film industry to new heights. Many South Indian movies have become hits due to filmmakers producing films in multiple languages, reaching a wider audience and gaining immense popularity.

SIIMA 2024 Nominations: Jailer, Kaatera, Hi Nanna & more

Fans can vote for their favorite stars and films via SIIMA’s official website or on SIIMA's official Facebook page. The following nomination list includes some of the nominees.

List of nominees from the Telugu film industry:

Best Actor in a Leading Role:

• Nani (Dasara)
• Chiranjeevi (Waltair Veerayya)
• Dhanush (Sir)
• Balakrishna (Bhagavanth Kesari)
• Sai Dharam Tej (Virupaksha)

Best Actress in a Leading Role:

• Mrunal Thakur (Hi Nanna)
• Sreeleela (Bhagavanth Kesari)
• Samyuktha Menon (Virupaksha)
• Keerthy Suresh (Dasara)
• Shruti Haasan (Veera Simha Reddy)
• Payal Rajput (Mangalavaram)

Best Actor in a Negative Role:

• Shine Tom Chacko (Dasara)
• Prakash Raj (Waltair Veerayya)
• Arvind Swamy (Custody)
• Arjun Rampal (Bhagavanth Kesari)
• Duniya Vijay (Veera Simha Reddy)

Best Actor in a Supporting Role:

• Viraj Ashwin (Baby)
• Brahmanandam (Ranga Maarthaanda)
• Ravi Krishna (Virupaksha)
• Dekshith Shetty (Dasara)
• Angad Bedi (Hi Nanna)
• Prithviraj Sukumaran (Salaar)

Best Actress in a Supporting Role:

• Soniya Singh (Virupaksha)
• Varalaxmi Sarathkumar (Veera Simha Reddy)
• Shreya Navile (Month Of Madhu)
• Rohini (Writer Padmabhushan)
• Baby Kiara Khanna (Hi Nanna)
• Sreya Reddy (Salaar)
• Bhagavanth Kesari

Best Director:

• Bobby (Waltair Veerayya)
• Srikanth Odela (Dasara)
• Karthik Varma Dandu (Virupaksha)
• Sai Rajesh (Baby)
• Gopichand Malineni (Veera Simha Reddy)
• Anil Ravipudi (Bhagavanth Kesari)

Best Music Director:

• Vijay Bulganin (Baby)
• Santhosh Narayanan (Dasara)
• Hesham Abdul Wahab (Kushi, Hi Nanna)
• Devi Sri Prasad (Waltair Veerayya)
• Thaman (Veera Simha Reddy)

Best Lyric Writer:

• Anantha Sriram – “O Rendu Prema Meghaalila” (BABY )
• Kasarla Shyam – “Ooru Palleturu” (Balagam)
• Bhaskara Bhatla – “Nuvvu Navvukuntu” (MAD)
• Krishna Kanth – “Adigaa” (Hi Nanna)
• Shreemani – “Ori Vaari” (Dasara)

List of nominees from the Tamil film industry:

• Udhayanidhi Stalin (Maamannan)
• Vijay (Leo)
• Rajinikanth (Jailer)
• Vikram (Ponniyin Selvan 2)
• Sivakarthikeyan (Maaveeran)
• Siddharth (Chiththa)
• Meetha Raghunath (Good Night)
• Aishwarya Rai (Ponniyin Selvan 2)
• Trisha (Leo)
• Keerthy Suresh (Maamannan)
• Nayanthara (Annapoorani)
• Aishwarya Rajesh (Farhana)
• Sarathkumar (Varisu)
• MS Baskar (Parking)
• SJ Suryah (Jigarthanda Double X)
• Vadivelu (Maamannan)
• Vasanth Ravi (Jailer)
• Saritha (Maaveeran)
• Nadiya Moidu (Let’s Get Married)
• Raichal Rabecca (Good Night)
• Mullai Arasi (Are you Ok Baby)
• Abarnathi (Irugapatru)
• Fahadh Faasil (Maamannan)
• Arjun (Leo)
• Vinayakan (Jailer)
• Sunil Sukhada (Por Thozhil)
• Mysskin (Maaveeran)
• Viduthalai-1
• Ponniyin Selvan 2
• Mani Ratnam (Ponniyin Selvan 2)
• SU Arun Kumar (Chiththa)
• Lokesh Kanagaraj (Leo)
• Vetrimaran (Viduthalai 1)
• Mari Selvaraj (Maamannan)
• Nelson (Jailer)
• Anirudh Ravichander – Jailer, Leo
• Santhosh Narayanan – Jigarthanda Double X, Chiththa
• AR Rahman – Ponniyin Selvan-2
• Nivas K Prasanna – Takkar
• Ilayaraja – Viduthalai-1
• Yugabharathi – “Nenjame Nenjame” (Maamannan)
• Vivek Unakku – “Thaan” (Chiththa)
• Ilayaraja – “Kaatumalli” (Viduthalai-1)
• Vignesh Shivan – “Rathamaarey” (Jailer)
• Ku Karthik – “Nira” (Takkar)

List of Nominees from the Kannada Film Industry:

• Daali Dhananjaya (Gurudev Hoysala)
• Darshan (Kaatera)
• Dr. Shivarajkumar (Ghost)
• Rakshit Shetty (Sapta Saagaradaache Ello – Side A)
• Ramesh Aravind (Shivaji Surathkal 2)
• Raj B Shetty (Toby)
• Rukmini Vasanth (Sapta Saagaradaache Ello – Side A)
• Chaithra J Achar (Toby)
• Meghana Raj (Tatsama Tadbhava)
• Rachita Ram (Kranti)
• Sindhu Sreenivasa Murthy (Aachar & Co)
• Megha Shetty (Kaiva)
• Harshil Koushik (Aachar & Co)
• Gopalkrishna Desphande (Sapta Saagaradaache Ello – Side B)
• Rangayana Raghu (Tagaru Palya)
• Aravinnd Iyer (Tatsama Tadbhava)
• Naveen Shankar (Hondisi Bareyiri)
• Saathvika (Baang)
• Chaithra J Achar (Sapta Saagaradaache Ello – Side B)
• Kavya Sha (David)
• Archana Kottige (Hostel Hudugaru Bekagiddare)
• Samyukta Hornad (Toby)
• Sapta Saagaradaache Ello – Side A
• Aachar & Co
• Kousalya Supraja Rama
• Ugram Manju (Kaiva)
• Ramesh Indira (Sapta Saagaradaache Ello Side B)
• Kaliprasad K P (Hondisi Bareyari)
• Naveen Shankar (Gurudev Hoysala)
• Deepak Raj Shetty (Toby)
• Hemanth M Rao (Sapta Saagaradaache Ello – Side A)
• Tharun Sudhir (Kaatera)
• V Harikrishna (Kranti)
• Shashank (Kousalya Supraja Rama)
• Akash Srivatsa (Shivaji Surathkal 2)
• Charan Raj – Sapta Saagaradaache Ello – Side A
• Bindhumalini – Aachar & Co
• Ravi Basrur – Kabzaa
• Vasuki Vaibhav – Tagarupalya
• V Harikrishna – Kaatera
• Dhananjay Ranjan – “Sapta Saagaradaache Ello – Side A Title Track” (Sapta Saagaradaache Ello – Side A)
• Daali Dhananjaya – “Tagarupalya Title Track” (Tagarupalya)
• Pruthvi – “Mellage” (Swathi Mutthina Male Haniye)
• Chethan Kumar – “Pasandagavne” (Kaatera)
• Kinnal Raj – “Namaami Namaami” (Kabzaa)

List of Nominees from the Malayalam Film Industry

• Tovino Thomas (2018)
• Basil Joseph (Falimy, Kadina Kadoramee Andakadaham)
• Mammootty (Nanpakal Nerathu Mayakkam, Kaathal – The Core, Kannur Squad)
• Suresh Gopi (Garudan)
• Joju George (Iratta)
• Mohanlal (Neru)
• Kalyani Priyadarshan (Sesham Mike – Il Fathima)
• Darshana Rajendran (Purusha Pretham)
• Manju Warrier (Ayisha)
• Anaswara Rajan (Neru)
• Vincy Aloshious (Rekha)
• Jyotika (Kaathal – The Core)
• Jeethu Joseph (Neru)
• Lijo Jose Pellissery (Nanpakal Nerathu Mayakkam)
• Jeo Baby (Kaathal – The Core)
• Jude Anthany Joseph (2018)
• Priyadarshan (Corona Papers)
• Sam C S – Rdx
• Vishnu Vijay – Sulaikha Manzil
• Justin Prabhakaran – Pachuvum Athbuthavilakkum
• Sushin Shyam – Romancham
• Nobin Paul – 2018
• Nanpakal Nerathu Mayakkam
• Kaathal – The Core
• Alexander Prasanth (Purusha Pretham)
• Hakkim Shah (Pranaya Vilasam)
• Jagadeesh (Falimy)
• Siddique (Neru)
• Tanvi Ram (2018)
• Poornima Indrajith (Thuramukham)
• Remya Nambeesan (B 32 Muthal 44 Vare)
• Aima Rosmy (Sebastian Rdx)
• Manju Pillai (Falimy)
• Shabeer Kallarackal (King of Kotha)
• Biju Menon (Garudan)
• Vishnu Agasthya (Rdx)
• Vinay Rai (Christopher)
• Arjun Radhakrishnan (Kannur Squad)
• Muhsin Parari – “Premakkathu Paattu” (Kadina Kadoramee Andakadaham)
• Anvar Ali – “Ennum en Kaaval” (Kaathal – The Core)
• Vinayak Sasikumar – “Roohe” (Neru)
• Vaisakh Sugunan – “Thathamma Chelolu” (Madanolsavam)
• Manu Manjith – “Neela Nilave” (Rdx)

Stay tuned for more updates on the SIIMA 2024 Awards!

The post SIIMA 2024: Date, Venue, Time & Full Nomination List appeared first on ComingSoon.net - Movie Trailers, TV & Streaming News, and More .

Vetrimaaran

• Born September 4 , 1975 · Cuddalore, Tamilnadu, India
• Vetrimaaran is an Indian film director, screenwriter and film producer, who works in the Tamil film industry. Vetrimaaran made his directorial debut with the Polladhavan. His second feature film Aadukalam won six National Film Awards. He produces films under his production company, Grass Root Film Company. His movie Visaranai (2016) was selected as India's official entry to the Academy Awards.His film Asuran (2019) was named as the National Film Award for Best Feature Film in Tamil. - IMDb Mini Biography By: Raju
• Children Poonthendral
• Parents V Chitravel Megala Chitravel

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