Paapanasam’s director Jeethu Joseph likes a few things. He likes the fade. He likes the Jimmy Jib. He likes filming his female actors in decreasing order of height. He likes the chimerical simple life. He likes the family. And boy, does he like the family? His film leisurely introduces us to the life of Suyambulingam (Kamal Haasan), a fifty-ish cable TV operator who spends nights at his office watching movies, away from his wife and two daughters – an effective enough shorthand for a middle-aged everyman whose love life is as unyielding as his wallet and who channels his libido onto cinema in ways more than one. So that’s what Paapanasam is – an elaborate odyssey for Suyambu to reassert masculinity, exacerbated it is as much by his perceived lack of education as by his age, and take the reins of his family. (It is one of those therapeutic films which entertain the trivial possibility that the whole narrative takes place inside the protagonist’s head to serve as an antidote to a fear or a lack – a direct parallel to the filmmaking endeavour itself.) And there lies the biggest strength of this rare thriller that is unapologetic and conscious of which value system is at the wheel. The family is paramount in Paapanasam, the engine that runs the world, the institute meriting the highest priority, more than friendship, religion, law and even the individual itself. Sure, it’s a reactionary text, asserting patriarchy’s enterprise, rigour and sense of order prevailing over matriarchy’s apparent laxity, but there’s a sense of something well thought through unfolding before us instead of the unintentionally muddled politics of many a modern movie. It is a film that at least knows which god it is prostrating itself before – the phallus in this case – and I think this clarity deserves something other than outright condemnation.