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Pengalila (lit. 'Sister leaf') is an 2019 Malayalam–language Indian drama film written and directed by T. V. Chandran. The film portrays the emotional bond between Radha (Baby Akshara Kishor), an 8-year-old girl and Azhagan , a 65-year-old daily wage worker who comes to clean up the backyard of Radha's house.
Mar 8, 2019 · Pengalila: Directed by T.V. Chandran. With Lal, Akshara Kishor, Iniya, Narain. An unusual bond between a sixty year old Dalit worker Azhagan and an eight year old middle class girl Radha. Within no time their bond grows stronger. However, his proximity to Radha and her mother doesn't go down well with Radha's father.
- (680)
- Drama
- T.V. Chandran
- 2019-03-08
Details. Pengalila (Sister leaf), film portrays the emotional bond between Radha (Baby Akshara Kishore), an 8-year-old girl and Azhagan (Lal), a 65-year-old daily wage worker, who comes to clean the backyard of her house develops a bond with Radha as she reminds him of her own sister.
Summaries. An unusual bond between a sixty year old Dalit worker Azhagan and an eight year old middle class girl Radha. Within no time their bond grows stronger. However, his proximity to Radha and her mother doesn't go down well with Radha's father.
Benzy Productions - Pengalila Official Trailer. Benzy Productions. 128 subscribers. 26K views 5 years ago #ineya #lal #indrans. #cinema #film #pengalila #lal #aksharakhishor #ineya #indrans ...
- 1 min
- 26.3K
- Benzy Productions
Mar 8, 2019 · 1 hr 51 mins. Drama. 3.0/5. Critic's Rating. 0/5. Rate Movie. Synopsis. The film captures the adorable relationship between a young girl named Radha and Azhakan, who is a tribal man. Cast & Crew. T. V. Chandran Director. Lal Actor. Narain Actor. Iniya Actor. Akshara Kishor Actor. Renji Panicker Actor. Indrans Actor. Pengalila Movie Review.
Mar 11, 2019 · Pengalila movie review: A child protagonist's guilelessness lends poignance to an uneven tale of caste and patriarchy. Anna MM Vetticad March 11, 2019, 17:07:43 IST. Pengalila does not have the depth, detailing and plot-line intricacies of Kammatipaadam or Jayaraj’s almost spiritual cinematography in Ottaal.
