R. Sudharsan

R. Sudharsan, not exactly a household name yet, but if you’ve been keeping an eye on Tamil cinema, you’ve probably seen his work pop up in some pretty intriguing films. Thatrom Thookrom from 2020? Wild ride. The movie takes you on this unpredictable journey, sort of weaving politics and youth angst together in a way that’s loud and unapologetic. It’s not one of those run-of-the-mill dramas—there’s grit, there’s chaos, and Sudharsan’s editing style is all over it, cutting sharp and fast, never letting you get bored. Then there’s Iravin Nizhal, which dropped in 2022. Talk about ambitious. The film really goes for it—a single-shot narrative that never stops moving, and Sudharsan’s fingerprints are everywhere. Every transition feels precise, almost surgical, but not in a cold way. There’s this energy to it. The story itself? It’s a bit of a fever dream, jumping through time, messy lives, and wild twists, and somehow Sudharsan keeps the whole thing stitched together without losing the pulse. Oh, and don’t forget Mirugaa from 2021. It’s got that whole thriller vibe, with wild animal attacks and some edge-of-your-seat sequences. There’s a sense of urgency in the way scenes are pieced together—like you’re constantly about to trip over the next big reveal. Sudharsan doesn’t just cut for speed; he cuts for tension. You feel it in your gut. Altogether, his work’s got this rawness, and if you’re bored of formula, you might just want to keep an eye on his next move.