Tamil/2h30m/2026

Dorothy is a phenomenal piece of craft. But the most important part of it is the question it asks. Why embrace something that stops people from loving, and being themselves? Dorothy also says love has many forms. In a world obsessed with rules and norms, that feels like a radical statement. 

Synopsis: Two little friends, Karthi and Subbu, come from a place that normalises mindless rage, and treats empathy like a crime. The village men never spare anyone who violates their idea of honour. As the duo grows up in this patriarchal environment, they end up conflicted when one stops hiding who he is. Can they both accept the new normal? 

Review: 

Our reactions to Karthick Subburaj’s (KS) recent films have stayed consistent: they aren’t as good as Pizza or Jigarthanda. But now is the time to break this pattern, because Dorothy sets a new benchmark not just for him, but for Tamil cinema as a whole. Whether it’s the theme or storytelling, Dorothy is in no way lesser than KS’s earlier films. 

Karthi and Subbu’s World

The movie revolves around two little friends, Karthi and Subbu, who grow up in the rural parts of Madurai. It is set several decades ago, when there were no smartphones and when Bruce Lee was every little boy’s idol. 

Karthi and Subbu make a perfect combo like Madurai parotta and salna; their childhood is also as spicy as the town’s famous mutton chukka. They are charming, mischievous, and pick up quarrels wherever they go. They sneak into theatres to watch adult movies—and innocently admire the French kiss. 

It’s all fun until phrases like ‘men shouldn’t cry’ or ‘be a man’ haunt them when they become adults. We can foresee what their adulthood would be like when Subbu takes Karthi to his house for the very first time. In fact, this particular scene sets the overall tone of the film. 

Men, Caste, and Toxic Masculinity

Subbu’s brothers recklessly fight over a simple disagreement; his father (Whistle Veeraiya, played by Muthukumar) is a caste fanatic, and his house is always surrounded by a bunch of gangsters…A lot happens there, but the director makes us understand all of it through just a few shots.

KS consistently chooses subtle storytelling over lengthy lectures. For example, he uses rooster or goat fights (known in Tamil as Seval sandai and Kidai muttu) to describe the lives of men. Much like these animals, men are groomed to fight without purpose, flaunting their ‘masculine’ energy. In this ritual, a simple act of love can be fatal. 

This becomes clear when we see the fate of a rooster that receives Subbu’s gentle touch. Patriarch Whistle Veeraiya considers the rooster useless because it has defied its aggressive role and kills it by twisting its neck. What’s supposed to be bravery becomes barbarism. 

Men in Dorothy are on a killing spree! They show no mercy to those who disrupt the norm, especially when it is women. Women are often mocked, beaten up, and killed for having a voice, or for simply loving someone of their choice. As the film progresses, we see how this toxic masculinity, combined with caste honour, threatens Karthi and Subbu—it’s no longer a bed of roses; rather, it’s a bed of knives.

Writing with Purpose: Love over war

The movie shows the violent nature of men on repeat so that we become exhausted instead of endorsing it. It shows that their rage serves no meaningful purpose. But in contrast, we never feel exhausted by the love expressed by Dorothy (Keerthi Suresh), Subbu’s fictional sisters, or Karthi’s mother—we just wish to receive more. This difference is crucial. Thanks to KS’s exceptional writing. Co-writer Saravanan Chandran also deserves credit for making the screenplay engaging. 

Elements that complete Dorothy

Dorothy is incomplete without the commanding performances of its artists. Social media showed immense love for Rishikanth for his performance in Modha Rathiri. I think you might love him more after watching Dorothy—he plays as Karthi. You may also be equally mesmerised by watching Sananth’s performance as Subbu. In fact, the entire troop delivers a power-packed performance.

Another reason the movie has come out so well is because of Ilaiyaraaja. Man has aged like a fine wine! His background score complements all visual elements, making them more powerful. It takes Tirru’s grand cinematography one step further during intense moments. It adds more depth to the characters’ emotions. Also, the vivid close-ups become even more captivating with exceptional sound design. 

The Final Verdict?

Dorothy is a phenomenal work. But the most important part of it is the question it asks. Why embrace something that stops people from loving, and being themselves? Dorothy also says love has many forms. In a world obsessed with rules and norms, that feels like a radical statement.