Parasakthi (2026), a cinema review

Parasakthi (2026) positions itself as an action-driven face-off between a righteous protagonist and a ruthless police officer. Director Sudha Kongara takes a thin slice of history and stretches it just enough to build an engaging fictional narrative. Mangoidiots rates the film as Ripe for the intent and effort, though the screenplay does not always land with the punch it aims for.

I went in without watching the trailer and with no expectations. That helped. The film stars Sivakarthikeyan as Chezhiyan, first a student leader and later a train engine operator. He becomes the face of a movement from Tamil Nadu opposing Hindi imposition from Delhi during the late 1950s and early 1960s. Atharvaa plays Chinna, a later-generation student leader and Chezhiyan’s brother. Sreeleela appears as Rathnamala, a Telugu-speaking young woman, a protestor, and Chezhiyan’s love interest. Ravi Mohan plays Thiru, an Intelligence Officer determined to stop the brothers at any cost.

Both Sivakarthikeyan and Atharvaa perform confidently and stay true to their characters. Sreeleela brings charm and sincerity to her role. It is Ravi Mohan who stands out the most. His portrayal of a cold and relentless officer is convincing and effective. G V Prakash Kumar’s songs and background score add the required lift and mood.

The screenplay stays tightly focused on these four characters. Everyone else, including the Chief Minister of the time, the Prime Ministers, and the broader government machinery, remains in the background. The first half largely revolves around the three protagonists and is enjoyable. The second half suddenly shifts gears and moves closer to the deeper end of the national politics of that era. The climax is the highlight and feels largely satisfying.

If you go in expecting loud political fireworks and strong portrayals of mass leaders from any side, you may be disappointed. None of them gets any real importance in the screenplay. Seen purely as historical fiction, the film mostly delivers what it sets out to do.

Will this film be remembered decades from now, the way Mani Rathnam’s Iruvar (1997) or Hey Ram (2000) is remembered, I have my doubts. Overall, Parasakthi (2026) is entertaining and nothing more. It will appeal to a large section of the audience, but it may not work for the more discerning viewer.

Note. This review is strictly about the film as cinema. It is not meant as a political reading or a commentary on history. I am not an expert on either.