bald aishwarya rai

fuck amitabh bachchan and his son

gay

FREE 🇵🇸

[bald aishwarya rai @silamsiva]

Mani Ratnam's forever muse

[Charli @charli_xcx]

vmas in saint laurent <3

[bald aishwarya rai @silamsiva]

AISHWARYA RAI AND CELINE DION THIS IS A MOTHERQUAKE

[bald aishwarya rai @silamsiva]

Mr DeMille I'm ready for my close-up

[bald aishwarya rai @silamsiva]

AISHWARYA RAI QUEEN OF THE WORLD

[bald aishwarya rai @silamsiva]

pariswaryaaaa

[bald aishwarya rai @silamsiva]

@PrayRona_ @srizzler i want to know your thoughts, watch it asap

[bald aishwarya rai @silamsiva]

not reading any of this shit. instant block

[karthik gopinath @karthikgnath]

I didn’t wanna watch Dorothy.

There. I said it.

I went in with a presupposition that it was going to be woke horseshit wrapped up as “art” to appease some international jury.

Then a few friends from the cine industry insisted I watch it—sans prejudice.

So I did.

And honestly?

I’m glad I did.

Here’s my take. No filters.

Dorothy does have its logical flaws. But Karthik Subbaraj deserves credit for staying daringly true to the core of his story. He doesn’t shy away from uncomfortable characters or uncomfortable questions.

The character sketches are unapologetically honest, and the casting is spot on.

The film touches upon misogyny, social stigma and the complexities surrounding transgender identity without constantly screaming at you about what you’re supposed to think.

And that, for me, worked.

The most affecting part was Sananth’s portrayal of gender dysphoria. There’s something incredibly quiet and painful about the way he goes through it. No unnecessary melodrama. No over-explanation. @sananth_

I thought both Sananth and Karthik Subbaraj found the sweet spot here and so did keerthy. @KeerthyOfficial

Rishikanth, on the other hand, represents the perplexity of an evolving society trying to make sense of a question that doesn’t fit neatly into its conventional understanding of gender. @iam_rishikanth

Karthik has done this before—puncturing the male-centric assumptions that society takes for granted. Remember S. J. Suryah’s Ambala Maama?

But what makes Dorothy interesting is that he takes this conversation out of the urban, elitist space and places it in rural 90s Madurai.

And that changes everything.

Ramachandran Durairaj’s final statements drive that point home beautifully: these aren’t “elite” problems invented for sophisticated audiences. These are human questions that have existed in society, in one form or another, from time immemorial.

And thankfully, the film doesn’t sacrifice entertainment for its message.

The gripping screenplay, non-linear storytelling, the 90s Madurai setting, the dialect and, of course, Tirru’s cinematography—all of it comes together to create a genuinely immersive cinematic experience.

And Tirru deserves a special mention.

He shows us Madurai without falling into the usual visual clichés.

He isn’t afraid of long single-shot sequences. He allows the landscape to breathe. The colour progression actually works as part of the storytelling. There’s a fascinating shift from boxed-in compositions towards a greater sense of openness and freedom.

The camera isn’t merely recording the story.

It is participating in it.

And none of this would’ve worked if the casting wasn’t bang on.

Everyone plays their part impressively.

But…

Here’s where I disagree with the film.

The climax.

More specifically, the build-up to it.

A friend remains a friend—even if their gender suddenly changes in your perception.

I personally cannot fathom romanticising that relationship simply because I happen to see her cross-dressing.

For me, that almost feels like a disservice to the friendship itself.

If someone has been your dear friend all along, I’d rather continue loving and accepting that person with the same affection, warmth and proximity as before.

So, personally?

I would’ve ended it with a warm hug.

Not a liplock.

But hey… that’s just my two cents.

Despite that discordance, I walked out appreciating what Karthik Subbaraj attempted. @karthiksubbaraj

Bold art. Honest performances. Impressive craftsmanship.

And most importantly, a filmmaker willing to take risks and make Tamil cinema uncomfortable in the right places.

Let Tamil cinema keep pushing boundaries, setting new highs and discovering its true potential.

Adios. ✌🏼🫶🏻

[⍲ @love_light_glow]

yes eva we are loving it just as much. the colour is everything

[bald aishwarya rai @silamsiva]

my nightingale queen deserves all this love and more!!!

[bald aishwarya rai @silamsiva]

@sowlspace No straight hair thank god

[bald aishwarya rai @silamsiva]

not everyone can present men the way that luca does

[Film Updates @FilmUpdates]

Christoper Abbott and Mike Faist for The Men’s Style Issue of New York Magazine

📸: Ryan McGinley

[bald aishwarya rai @silamsiva]

@PrabhaOwner 😂😭

[brooke 🐝 @textbookvillain]

wait lmao…I never even considered this was a possibility…

[culture @notgwendalupe]

Madonna sweeping the VMAs 4 decades into her career

[bald aishwarya rai @silamsiva]

@homobhabha Phew!

[bald aishwarya rai @silamsiva]

@homobhabha girl what

[sandi 🦭 @sandrita_luv]

happy two years of meiyazhagan! shoutout to potato cut editor @KrisLovesMovies 💕🥔

[bald aishwarya rai @silamsiva]

a PERFECT song!
https://t.co/Fd9Sl1zcxg

[a girl has a name @humandisaster13]

A man's worst fear is the average female experience