Part of what makes the first film shot in the former war zones of northern Sri Lanka so relatable may be that it is not a war movie in the first place. Sinamkol, a film directed by Ranjith Joseph and released in 2020, is a story of rebuilding and broken lives, and does not attempt to glorify the struggles that so many people faced over 25 years of conflict. The film is a social commentary on how war destroys communities, breaks bonds of trust, and most significantly, has lasting negative impacts on future generations.
The film follows Amudhan, a former LTTE member released after 8 years in detention. He has not seen his wife or daughter since his imprisonment, and spends the opening minutes of the film searching for them while trying to settle back in his former home in Mullaitivu. He encounters old friends who have lost their livelihoods and limbs. After locating his wife and child, he finds work as a cab driver, until one of his passengers is kidnapped and he has to resort to his old connections and way of life to find her.
The first enduring theme that appears in the film is the suffering of the conflict’s survivors. Amudhan’s lost connection to his wife and child is prominent early in the film, and he grieves the 8 years he has lost with his child. He encounters an old friend who has suffered injuries and has become erratic. Another good friend, Yazhini, who helps him resettle and find his wife dies of cancer, with treatment and money out of reach. The lasting effects of conflict are evident, and the movie makes no attempt to romanticise the struggles that are faced.
Social commentary is another powerful theme in the movie. Amudhan laments what he feels is a lack of respect and honour among the younger generations. He criticises what he sees as young Tamils engaging in drug use, drinking, gang activity and kidnapping instead of honest work, with the lack of opportunities for young people to create that better life as an ever present counterweight. A similar commentary is made about the supposed detachment of those Tamils who left Sri Lanka and found success abroad. The film does this through Sornalingam, a former LTTE member and Amudhan’s friend, who has done well for himself abroad and scorns Amudhan’s request for help with paying for Yazhini’s treatment. When Sornalingam’s daughter is kidnapped from Amudhan’s cab, he is quick to suspect Amudhan, something Amudhan takes great offence to and chastises Sornalingam for thinking he would stoop to such dishonourable behaviour.
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The climactic rescue at the end of the film does not have the bravado and grandeur of a typical action movie. A significant portion of the film’s dialogue both leading up to and during the climax discusses the importance of respect, honour, protection of the innocent and the value of every individual life. Amudhan advises one of the young kidnappers of the sacrifices that were made to give the next generation of Tamils a chance at life, the responsibility they have to their people and communities, and reminds everyone of the consequences that would be faced by anyone who dares to harm the innocent.
Sinamkol is first and foremost a commentary about war’s destruction of families, communities, generational relations and trust. The movie does not necessarily keep you on the edge of your seat; it tries to draw you in at a personal level, exploring Amudhan’s anger and disappointment at how much his surroundings have been brought to ruin. The title of the movie itself translates roughly (in my patchy Tamil) to stating that there should be anger; that anger is justified. The movie’s title stands with Amudhan’s despair and frustration at the state of things in what was once a thriving community.
For those who have actually lived through the conflict, Amudhan’s story may likely be very relatable, whether it be the social elements or the loss of loved ones. Sinamkol’s message is a positive one regardless of your political leanings, precisely because its message is not about politics at all.
