Name: Parasakthi
Genre: Political, Period, Drama
Released: 2026-01-10
Rating: 6.5
Cast: Sivakarthikeyan, Sreeleela, Jayam Ravi, Atharvaa Murali, Dev Ramnath

Social realities and personal struggle intersect against a backdrop of inequality and belief. Individuals confront injustice, tradition, and moral responsibility through lived experience. Conviction and consequence shape the path ahead.

Parasakthi

Times of India

India Today

 In Parasakthi, Sudha Kongara gives a cinematic spin to history. The film is rooted in the agitations against the Hindi imposition, led predominantly by students, which took place across Tamil Nadu in the late 1950s and ’60s. Parasakthi travels across Tamil Nadu during that phase.
It's not easy to convey years of resistance in under three hours of runtime while also making an interesting film with characters to root for. But, despite Parasakthi’s flaws, Sudha Kongara is successful in doing just that. The film does a good job of educating while also entertaining. There are times when it goes overboard but it always manages to come back on track.
Sivakarthikeyan plays Chezhiyan, who heads the Puranaanooru squad that spearheads the resistance. The actor is confident, restrained and brings a sense of masculinity without being overbearing. But this isn’t a mainstream film where the male lead has to do all the heavy lifting alone. Offering SK able support is Atharvaa, appearing as Chezhiyan’s strong-spirited younger brother, Chinnadurai. With his screen presence, Atharvaa commands the attention in every scene.
Sudha treats the story with conviction and ensures that the intensity of the protests and the reasons behind them are properly articulated, even for those unfamiliar with it. With that said, Parasakthi could have definitely benefited from a tighter runtime.
This is not at all a subtle film. It's cinematic, deliberately dramatised, emotionally charged and stylised. But Parasakthi proudly embraces its heightened tone. Every dialogue feels like a punchline, and it's a welcome choice in a film where there are so many conversations and speeches involved.
Ravi Mohan’s antagonist, Thirunaadan, works more as an idea rather than a fully fleshed character. But the detailing that is given about his background and roots is a very nice touch. Ravi also brings in a gravitas through his presence.
The makers have made sure to not turn Parasakthi into an anti-Hindi film. The fight for freedom remains the driving force throughout the film. Though, there is no denying that there are a few scenes in there that feel too curated.
GV Prakash Kumar’s background score provides the goosebumps and amplifies the highs. However, the songs feel stretched. The placing of a romantic song (though the song itself is good) at the very beginning of the second half, when we are all set to deep dive into the film's world, is a bit frustrating.
Ravi K Chandran’s cinematography elevates the film and captures the period flick with richness. Meanwhile, the censor cuts act as minor distractions. We hear the actors lip-syncing but don't hear the words they are speaking. It's noticeable but doesn't derail the overall experience.
Parasakthi is flooded with characters. It also incorporates prominent real-life figures into the mix. However, credit goes to the makers that they have tried to give an arc to each and every character, including the cameo roles. With that said, some of these arcs are more effective than the others.
The cameos are 'pan-Indian', quite literally. Both in terms of the guest stars and the roles they play. The surprise appearances help in creating the wow factor. The acting is solid across the board. Kulappulli Leela, as the film's motherly figure, Muthamma, is a standout.
Sreeleela as Ratnamala is not just Sivakarthikeyan’s love interest; she is also Tamil Nadu chief minister’s daughter, Atharvaa’s collegemate, a National Radio employee and the All India Anti-Hindi Council’s secretary. It's debatable whether another filmmaker would have fleshed Ratnamala out to this length like Sudha has done, without relegating her to a mere love interest.
The relationship between Chezhiyan and Ratnamala feels like one between equals. Just like it was the case with Bommi and Maaran in Soorarai Pottru. While the love angle might not be as effective as it was in Soorarai Pottru, it's still beautifully portrayed. The film gives Sreeleela, who makes her Tamil debut, enough space to explore her emotional and comic side.
The quieter human interactions lend sensitivity to an otherwise hard-hitting subject but do sometimes take you out of the central conflict. The bond between the brothers (Chezhiyan and Chinnadurai), Sreeleela and SK’s relationship, and especially the interactions between Muthamma and a group of elderly women add sensitivity to the otherwise heavy subject.
Parasakthi is nowhere near flawless. But it's a powerful and ambitious attempt to capture a defining chapter in history. In every sense, the film wears its politics on its sleeve and brings in an emotional heft.

Parasakthi – the 1952 film title holds significance for multiple reasons in Tamil cinema. The original was crucial for catapulting Sivaji Ganesan's stardom and popularising DMK's (Dravida Munnetra Kazhagam) ideology in Tamil Nadu, championing Dravidian politics. Decades later, Sivakarthikeyan's Parasakthi, which tackles Hindi imposition, hits theatres ahead of Pongal. Does it ignite fire among viewers? Let us find out!

Chezhiyan (Sivakarthikeyan), the leader of student group Puranaanoorru Padai, mobilises a gang of 20 people and attacks a train carrying politicians and chief officer Thirunadan (Ravi Mohan). The opening stretch showcases a face-off between Chezhiyan and Thirunadan, where the protagonist grievously injures the latter's finger (used for trigger) and his right arm. But the train attack claims the life of one of the members of Puranaanooru Padai, which leaves Chezhiyan to drop his fight.
Director Sudha Kongara Prasad's Parasakthi begins in 1959 and then jumps to 1965 when the youth uprising against Hindi imposition shakes the country. The film's politics are established in the initial train sequence, where the youngsters are not against Hindi but the imposition of the language. As Chezhiyan gets shortlisted for a job in the Railways, he gets rejected despite learning Hindi. His character says that the officials expect people to learn the basics of Hindi, and then go one step ahead to reject them, saying they're not speaking like the natives.
The film's strongest point is its hard-hitting dialogues. In another crucial moment, Sivakarthikeyan's character says unity and uniformity are two different things and people in power need to understand the difference. Those who know Tamil Nadu politics will be able to place legendary politicians CN Annadurai and Karunanidhi in the characters belonging to the film.

A character named Karuna, who runs a printing press, says 'Sooriyan udhikkum podhu kandipa murasolikkum' (When the sun rises, it will definitely make a resounding call). The cultural and political context behind the dialogue is evident in the film.

Parasakthi gives a brilliant arc to its protagonist Chezhiyan, which keeps the story progressing. When Chezhiyan stops his brother from protesting, you understand the care. But his stance changes when he witnesses an IAS aspirant self-immolating after being affected by the language war, and he pushes his brother to fight with him.

Sreeleela's character Rathnamala acts as a catalyst in Parasakthi, helping Chezhiyan and Chinnadorai. Despite being a Telugu girl in the film, she understands the intent behind the fight against the Centre to preserve one's identity, which works in the film's favour. Her character sums up the repercussions of language imposition on people, how it stifles people's abilities and oppresses them.
Sivakarthikeyan delivers an emotionally strong performance as Chezhiyan with the right doses of aggression, wisdom and rage. Atharvaa sells Chinnadorai, an impulsive youngster fighting for the language, perfectly. Though he charms us with his performance, it would be better to know more about his character and where his love for the language began.

Sreeleela plays a Telugu girl who aids the people in mobilising the crowds. Her character begins as a bubbly girl and fights for a cause. Ravi Mohan, as the antagonist, seems like a weak link in the film. While his physical actions are menacing, he holds a similar expression throughout.
Parasakthi's core is interesting, and it hits even today because Hindi imposition still exists even after decades. The film showcases how it's not just Tamils who are fighting against it, but also people from other states with their own native languages fighting to preserve what's rightfully theirs. While the film takes the commercial route in ending with Tamil Vaazhga (Long Live Tamil), it also speaks for people from other states who suffer from imposition.

GV Prakash's music, especially Senai Kootam and the background score, elevates the protest scenes. The film also takes us back to the 60s with brilliant cinematography by Ravi K Chandran and Sathish Suriya's editing.

Parasakthi is an emotionally and politically strong film that captures the fight of our ancestors and reminds us of the fight that we need to carry for the next generation. Director Sudha Kongara delivers a relevant period drama that resonates with contemporary India, even if the execution falters in places.

PARASAKTHI -Title Teaser (Telugu) Sivakarthikeyan | Sudha Kongara | Ravi Mohan| GV Prakash| Atharvaa

PARASAKTHI -Title Teaser (Tamil) Sivakarthikeyan | Sudha Kongara | Ravi Mohan | GV Prakash| Atharvaa

Sivakarthikeyan

Sreeleela is an Indian film Actress, who has worked predominantly in Kannada Film Industry (Sandalwood). She was born on July 14, 2001, in Detroit, Michigan, United States.

Parasakthi(2026)