Simon Lefebvre
14 July 2013 | indoor

There are two films Ini Avan , one fighting the other, at least, trying to avert. The first tells the story of a long return, that is to say, a return that is not our base. The ex-soldier back in town after thirty years of war without ever trying to find it. The story which was reported missing husband and gave several body. The first is recognized, but so blurred. It is that of his wife with the red dot on the forehead - a symbol of love, marriage - has disappeared. The other body is abroad he is a child he is not the father whose face is never clearly visible, constantly turned against the shoulder of his mother, a symptom of the lack of recognition. History will tell - the woman said, she is no longer with body, but the body of the lost time as time filled - the father of the child just died after giving him life. This revelation is not one, not completely. It does not, by saying, to make the last visible body, recognizable, palpable, worse, it fails to recognize the faces again. They remain distant from one another. The child’s face is turned, the woman will not survive in the past as an image, an image that redraw the red dot disappeared. Also, this film is trying to do, trying to take shape, to volume, but can not rely on the friction of ceaseless shifts. This is the time stories like this is the time of non-fiction, non-interacting sets of beings. Ghosts are both those that we do not see that those made ​​of flesh and bone. The same thing. The ex-soldier returns from the dead well (they say it is the only survivor) but returns among them. The villagers, traumatized, seem to haunt their own present and are constantly cursing the ghost. Against ghosts ghosts tell us. How to start a new life so when we are in the middle range of the spectrum? At another level: how fiction when it escapes constantly in the bottomless pit of the past? This is the second film begins.

This film also comes back from the dead, and because it comes straight from the first - sorry this movie, still haunted by specters, these spectra digging the earth as if to return - in gushing like a tomb . It is struck by the great and simple desire, naive pleasure of fiction. This desire is an appetite for the undead. It devours the dead flesh of the first film to generate new sentence soon, not really trivial, delivered by the main character: ” I’m not afraid of ghosts “ . Admission to the film and the other a declaration of war. The spectra of the first film become well-known contemporary fiction body: the jeweler becomes mafia’s ex-boyfriend becomes henchman. The hole dug tirelessly in the first part of the film suddenly gives a machine gun. These elements begin to form a coherent matter which team accessories like costumes. InIni Avan , sunglasses and mask marks the reversal of the same movement, fiction show that a new kind of team. This regeneration is also a way to give, perhaps, a second life to the main character by imposing such a new companion. The woman, who was once - remember the other movie - one of the largest spectrum of the city, and still more certainly the most cursed (she is beaten by her husband, follows like a shadow that it has stole his work) is delighted by the neo-character drug dealer who embarks on his car as to inject his body in the new film. This vehicle has a central place in this film it. This is the new body responsible for fiction as characters. It also makes a significant movement away from the wastelands of the first film to meet the sea (vast horizon to accommodate and provide possible). But then, if the second movie is coming to the office, eager to a story that could take shape, the first survives and always comes back, it is spectral. Nagging and painful way to say that the desire to forget, the desire to bury the past covers nothing. See the wife of the first film, this old love become simple image, empty the gun of the second film of the charger with rage as to unload the fiction that wanted to take it.

___ Ini Avan Whoever comes Asoka Handagama (Sri Lanka 2012; 1:44) Ave c : Dharshan Dharmaraj, Subashini Balasubramaniyam, Niranjani nmugaraja …Release Date : July 10, 2013

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