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The film opens with quick-cut scenes of Arun in his current scenario. His friends, a group that's involved in theatre, too, pop in and out of the frame, setting the story in the present. When the group comes across a dud of a guy trying to express his love to a girl, juxtaposed cleverly with a similar movie scene running on a telly in a cafe, Arun gets this idea to make what they all are passionate about - theatre and drama - their profession. So, they all start setting up elaborate scenes to bring together 'romantically challenged' people in love. So far, so good; you wait to see director Vijay live up to the promise he showed in Madrassapattinam and Saivam. And so, even if the odd, elusive feeling that you've seen something similar (read Ilayathalapathy Vijay in Shahjahan) flashes by, you want to push it aside and enjoy the scenic visuals, and those cleverly spaced close-ups; you want to see what happens next. The pacing is good, and a semi-serious, often broody Arun and friends manage to elicit a few laughs. And then, the movie goes into flashback mode at a point that forces Arun to contemplate his college days, and the love he lost, and that is when the plot starts to disintegrate. What one thought might be parallel stories at the start (the present, the past, and the varied play scenes the cast sets up), converges into a cliched excuse of misunderstood love. To top it, though debutant Keerthy looks like a collegian, one does find it tough to accept Vikram as one. That apart, the cliches just pile on, and the plot starts dragging its feet as the pace slows down considerably. In fact, when the movie cuts back to the present again, and Vikram starts to deliberately mess up the staged scenes, for a moment, our sympathy actually veers towards the other guy, who is for sure going to lose his money, and his love. And by the time the 'twist' comes, you're wishing Vikram just get over with it. For, from the moment the film bangs you back into the present (well, there's a war scene of sorts playing on the TV in the background), till the end, there is no progress in the story - it's just an extended series of ploys the hero adopts to make sure his love doesn't fall in love again. Mind you, Vikram does look good in parts - the hockey scene is one of the best in the movie, his dance steps are fluid, and he actually does the broody part better, but the problem with Idhu Enna Maayam is, instead of letting the plot rule screen and take the conclusion to another level, Vijay has tried to fit every scene, including the climax, into a pre-conceived, tried and tested template that leaves the actors no choice but to fall in line with the banality.
The mother of a severely traumatized daughter enlists the aid of a unique horse trainer to help the girl's equally injured horse.
September of 1944, a few days before Finland went out of the Second World War. A chained to a rock Finnish sniper-kamikadze Veikko managed to set himself free. Ivan, a captain of the Soviet Army, arrested by the Front Secret Police 'Smersh', has a narrow escape. They are soldiers of the two enemy armies. A Lapp woman Anni gives a shelter to both of them at her farm. For Anni they are not enemies, but just men.
A married farmer falls under the spell of a slatternly woman from the city, who tries to convince him to drown his wife.
A philistine in the art film business, Jeremy Prokosch is a producer unhappy with the work of his director. Prokosch has hired Fritz Lang to direct an adaptation of "The Odyssey," but when it seems that the legendary filmmaker is making a picture destined to bomb at the box office, he brings in a screenwriter to energize the script. The professional intersects with the personal when a rift develops between the writer and his wife.
Veteran catcher Crash Davis is brought to the minor league Durham Bulls to help their up and coming pitching prospect, "Nuke" Laloosh. Their relationship gets off to a rocky start and is further complicated when baseball groupie Annie Savoy sets her sights on the two men.
In Casablanca, Morocco in December 1941, a cynical American expatriate meets a former lover, with unforeseen complications.
A semi-documentary experimental 1930 German silent film created by amateurs with a small budget. With authentic scenes of the metropolis city of Berlin, it's the first film from the later famous screenwriters/directors Billy Wilder and Fred Zinnemann.
Faced with unfortunate complications beyond her control, go-getter events manager Andi Medina has no other person to turn to. She is then forced to reconnect with her ex-boyfriend, cosmetic surgeon Max Labarador. Much to Andi’s shock, Max is already in a three-year live-in relationship with pediatric oncologist Christian Pilar. With nowhere else to go and left with no other options, she agrees to live with the couple – both parties agreeing into a deal that will change the course of their lives and hearts.
A love triangle forms between post-Enlightenment writer Friedrich Schiller and two sisters - one who became his wife, and the other, his biographer.
New Year's Eve 1999 finds college-bound Clark and Trevor concerned about the future of their friendship, and a request for Clark to be Trevor's wingman ensures things will never be the same again.
Sreekrishnan unknowingly falls in love with the woman his best friend, Manikyan, loves. Though Sreekrishnan tries his best to woo her, she resists, leading to a battle that ensues between the friends.
