May 19, 2021 8:27:18 am
Streaming platforms continue to entertain people who are forced to stay at home due to the outbreak of coronavirus. Every day they are releasing exciting titles to choose from. Today, it is the Malayalam drama Aarkkariyam, starring Biju Menon and Parvathy Thiruvothu, and the second season of Spanish thriller Who Killed Sara? that have been added to the online content library. Make your pick!
|Who Killed Sara? Season 2||Netflix||Spanish|
|Aarkkariyam||Neestream, Roots Video and Cave||Malayalam|
Who Killed Sara? Season 2: Netflix
The first season of the Spanish murder thriller Who Killed Sara? left the viewers with several questions. Now the show has returned with a new season, and it begins from where the first season concluded. The series centres around the death of Sara while she was on vacation with her friends. Her brother Alex gets framed in Sara’s murder case and is sent to prison. After completing his jail sentence, Alex decides to take revenge on those responsible for framing him. While he does so, several details of Sara’s mysterious past comes to the fore. The official synopsis of the show reads, “To exact his revenge, Álex will have to bring to light his sister’s darker side – and come to terms with the fact that he never knew the real Sara.”
Aarkkariyam: Neestream, Roots Video and Cave
Starring Biju Menon, Parvathy Thiruvothu, Sharafudheen, Saiju Kurup andArya Salim among others, Aarkkariyam, which means ‘Who knows?’, is set in the backdrop of Covid-19-induced lockdown. The film marks the directorial debut of cinematographer Sanu John Varghese. He has co-written the film with Rajesh Ravi and Arun Janardhanan. The film is jointly bankrolled by Santhosh T Kuruvila and Aashiq Abu.
The Indian Express film critic Shubhra Gupta gave Aarkkariyam three stars and wrote in her review, “This is a film which presents lives in disarray, looking for moorings, and some kind of closure, in the most natural way in a most unnatural year where we all were forced to live in isolation. It’s the kind of film where less is more: you see Sherly resting her head on a C-shaped airplane pillow which hangs by the car window, and you know that the people in the car are aware of the tiredness that comes with long drives. It’s a tiny detail, but it’s telling. Parvathy, her face devoid of make-up (this is what real people look like; not the no-make-up make up look that takes hours to get right) delivers a heartfelt performance, and both the men are fine, too. And the film leaves you thinking, can we ever know anyone completely? What lies underneath the most placid surface? Who, really, knows?”
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