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For a debut filmmaker, he has done a great job. However, Arunraja Kamaraj achieves a fine sense of balance in narrating parallel stories without one overshadowing the other. Kanaa touches upon the plight of farmers, the difficulty to repay loans, the rising tide of suicides among them, and how they are forced to bear the increasing burden of uncertainty. The romance angle could have been stronger, but hey, I get it - women-centric film and all that. Murali Krishna (Darshan) pursues Kausalya, but she calls him ‘anna’, and you know where this goes. The first half takes its time to build-up, predictably. In particular, I quite liked the scene where Sathyaraj metamorphoses from a farmer into an advocate of women’s rights.
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A big thumbs-up to Aishwarya Rajesh, who has convincingly pulled off Kausalya. There is humour and there are also several poignant father-daughter emotions all through. Kanaa explores various themes including gender inequality, the ethnic and regional prejudice besides sexism that revolves around women’s cricket. Naturally, you root for Kausalya and want her to achieve her dreams. She comes from a place that considers ambition as a dirty word for women. Instead he says, “Indha pass fail ellaam sambadhikkaravangalukku dhaan… saadhikkaravangalukku illa.” When Kausalya says she failed in her final exams, he doesn’t yell at her. He defends his daughter in her absence, and does everything possible to make her happy. He is, in fact, the ideal father that any girl would love to have.