'Aaryan’ Explores the Dark Side of Morality in a Crime-Driven Thriller

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UPDATED :
Kolkata, India | Oct 30, 2025, 15:58 IST
5 Min read
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Chennai, Friday 31 October 2025 — Tamil cinema’s latest bilingual thriller, “Aaryan”, directed by Prashanth Raj and released simultaneously in Tamil and Telugu, brings together a familiar yet intriguing blend of psychological crime and moral questioning. The film, led by Vishnu Vishal, Selvaraghavan, Shraddha Srinath, and Maanasa Choudhary, unfolds as a tense cat-and-mouse chase where the lines between justice, recognition, and vengeance blur into disturbing ambiguity.

A Failed Writer, a Killer’s Script

At the heart of Aaryan lies an unusually structured story: a failed writer, Azhagar (played with eerie precision by Selvaraghavan), hijacks a live television broadcast to announce a chilling five-day “serial killing story.” His public monologue sets off a series of premeditated murders, each planned with literary precision and broadcast theatrically through pre-recorded tapes.

As DCP Nambi (Vishnu Vishal) begins his investigation, the narrative moves away from the traditional “whodunit” to a more complex “how and why” framework — questioning not just the method but the moral fabric behind the killings. Nambi’s professional obsession is juxtaposed with his collapsing personal life, seen through brief but pointed scenes with his estranged wife, played by Maanasa Choudhary.

A Thriller Rooted in Ideas, Not Just Action

The most gripping aspect of Aaryan is its meta-textual approach to storytelling. The film treats its villain’s confession not as an ending but as a beginning, inviting viewers into a story already written, one that unfolds as a staged performance of ego and ideology.

Azhagar’s victims — a nurse, a soldier, an activist — are symbolic of society’s forgotten heroes. His warped justification, that murder immortalizes the ignored, turns Aaryan into an unsettling exploration of recognition, neglect, and moral insanity. While this premise leans toward philosophical ambition, it occasionally falters under its own weight, particularly when the film attempts to tie in a broader social message in its final act.

Performances and Direction

Director Prashanth Raj balances stylized storytelling with procedural pacing. Though the first half moves sluggishly, the second half compensates with momentum, tighter cuts, and rising urgency. Vishnu Vishal, portraying a methodical cop driven to emotional exhaustion, anchors the narrative with restraint and conviction.

Selvaraghavan, stepping into one of his most layered performances yet, commands attention in every frame — from the manic energy of his live broadcast to the unsettling calm in his video confessions. His performance evokes shades of cinematic predecessors from Se7en and Memories of Murder, yet retains a distinctive local realism.

Shraddha Srinath shines as a TV anchor unintentionally drawn into the unfolding chaos, serving as both catalyst and conscience within the story’s media critique.

Cinematography, Music, and Tone

Visually, Aaryan benefits from Sujith Sarang’s cinematography, which oscillates between the claustrophobic intensity of crime scenes and the sterile brightness of TV studios. The contrast amplifies the film’s commentary on truth and performance — crime as spectacle, morality as broadcast.

The background score by Sam C.S. subtly underlines this tension. Instead of overwhelming the story, the music builds dread through minimalist motifs, aligning with the killer’s methodical rhythm.

A Study in Crime and Conscience

While Aaryan doesn’t break new ground in its genre, it successfully reinterprets familiar themes for a regional audience. The story’s moral dilemma — whether good intentions can ever justify violence — lingers even after the credits roll.

Critics have described the film as a “steady thriller with a forced final chapter,” noting that the ending’s attempt at social commentary feels slightly imposed. Yet, the film’s controlled tone, performances, and narrative restraint make it a commendable addition to Tamil cinema’s growing list of cerebral thrillers.

Audience Reception and Industry Response

Early reactions from both Tamil and Telugu audiences have been measured but appreciative. Viewers praised the film’s conceptual risk-taking and Selvaraghavan’s commanding presence, even as some found the pacing uneven.

Industry watchers note that Aaryan reflects a renewed phase in South Indian cinema, where psychological realism and societal critique are merging with commercial storytelling — a trend seen recently in titles like Por Thozhil and Viduthalai.

Closing Reflection

In the end, Aaryan is less about solving crimes and more about confronting complicity — how society views recognition, guilt, and heroism. The film’s understated conclusion leaves viewers with lingering discomfort rather than closure, which may well be its greatest strength.

Aaryan reaffirms that in contemporary Tamil cinema, thrillers have evolved beyond entertainment — they now serve as mirrors reflecting collective conscience and cultural decay.

 

Disclaimer:

This entertainment and arts report is based on verified information, official press releases, and credible critical reviews available at the time of publication. It does not intend to sensationalize, promote, or misrepresent any creative work or individual.

 

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