Is individualactually free in this presentcivilization? Tara Anuradha, a widely heldplaywright and aself-governingfemale is in anunaccompaniedtrip to discover the denotation of liberty. The author, who comes upon fundamentalists and wavers to take police security after issuing her provocativevolume Music of Freedom, by chance reads news about a creepy house in the high ground. Courageous and daring, Tara (Nithya Menon) elects to live in that house. She commences her stay by fitting three cameras in the drawing area to record the activities in the house and also to discover if ghosts truly exist. The idea of a motion picture with one character instantaneouslygeneratesinterest as it is constantlyexciting to figure out how one individual can efficientlyaccomplish to grip the attention of the spectators for the period of the movie.
Her appealremarkablyinterconnects with the world using diversepossessions such as toys, telephone, television, thoughts, words, books and occasionally even lights. It is the act of Nithya Menon, as the single human character in the movie that uplifts the picture's standard. On the other hand, Praana can be a decentpattern on how a motion picture that has the finest technical team can dissatisfy with a feeblescreenplay. The conversations and screenplay are so frail that the wholework of the crew goes in futile. Moreover, Tara, an Indian-English author is being enforced to speak exact Malayalam, which marks it difficult for both the character and the spectators. It is clear that a flick like Praana is not stress-free to accomplish.
The movie, though primarily, clarifies the notion of the character living unaccompanied, intensifies the facets of pressure, drama and segregationultimately but then miscarries to uphold the wantedthrust.As the filmfinishes, we would be enforced to reflect whether it is accurate to understandliberty the way Tara did.