A Romantic Thriller That Flickers but Fails to Ignite
Tamil cinema often thrives on passion—be it love, action, or drama—and Nesippaya (Will You Love Me?), released on January 14, 2025, attempts to weave all three into a single tapestry. Directed by Vishnuvardhan, known for stylish hits like Aarambam and Billa, this romantic action thriller marks his return to Tamil cinema after a decade. Featuring debutant Akash Murali and the promising Aditi Shankar, alongside veterans like R. Sarathkumar, Prabhu, and Kalki Koechlin, the film boasts a hefty cast and Yuvan Shankar Raja’s soulful score. Produced by XB Film Creators, it hit theaters during Pongal, riding high expectations. But does it live up to the hype, or does it stumble in its ambitious pursuit? Let’s unpack this rollercoaster of a ride.
The story begins with a jolt: Arjun (Akash Murali), a seemingly unhinged man, crashes his car into a school bus and holds it hostage, gun in hand. Cut to Portugal, where Diya (Aditi Shankar) languishes in prison, accused of murdering a wealthy Indian heir. These jarring opening moments promise a tale of high stakes and tangled fates, soon revealed to be a love story gone awry. Flashbacks show Arjun and Diya’s romance in Bengaluru—him, a clingy romantic smitten at first sight; her, a level-headed woman craving space. When Diya moves to Portugal for work, their breakup follows, only for fate to reunite them through tragedy. Arjun’s quest to prove her innocence drives the narrative, pulling in a Tamil lawyer, Indira (Kalki Koechlin), and a web of shady characters.
The first half of Nesippaya is its strongest suit. Vishnuvardhan sets the stage with flair, blending romance and suspense into a heady mix. Arjun and Diya’s early courtship—complete with meet-cutes and playful banter—feels earnest, even if it leans on Tamil cinema’s age-old “no means yes” trope. Akash Murali brings a raw energy to Arjun, his puppy-dog persistence endearing despite its flaws. Aditi Shankar shines as Diya, her vivacity and quiet strength grounding their dynamic. Yuvan Shankar Raja’s music is the heartbeat here—his romantic tracks weave seamlessly into the narrative, while the background score adds a layer of intrigue. Cameron Eric Bryson’s cinematography paints Bengaluru and Lisbon in contrasting hues—warm nostalgia versus cold uncertainty—making every frame pop.
The Portugal subplot kicks the stakes up a notch. Diya’s arrest and Arjun’s impulsive dash to her rescue hint at a thriller with global stakes. The interval block—a tense standoff involving Arjun’s hostage crisis—keeps you guessing, blending action with emotional heft. Supporting players like Kalki Koechlin, as the sharp-tongued Indira, and R. Sarathkumar, as a menacing businessman, add gravitas. Prabhu and Khushbu, as Diya’s parents, bring a touch of warmth to the chaos. Up to this point, Nesippaya feels like Vishnuvardhan’s Roja redux—a man braving odds to save his love—albeit with a modern twist.
But the second half is where the cracks widen. What starts as a taut narrative unravels into a mess of contrivances and clichés. Arjun’s mission to free Diya turns implausible—how does a man with no resources or local knowledge outsmart everyone in a foreign land? He stumbles into Tamil gangsters in Portugal (conveniently thrice) and uncovers clues faster than seasoned lawyers, stretching believability thin. The screenplay, penned by Vishnuvardhan, sacrifices depth for pace, rushing through key reveals without letting them breathe. The murder mystery, meant to be the crux, feels undercooked—twists are sparse, and the resolution lands flat, more predictable than poetic.
The romance, too, loses steam. Diya’s need for space and Arjun’s suffocating love could’ve been a mature exploration of boundaries, but it’s sidelined for heroics. Aditi gets less to do post-interval, her character reduced to a damsel in distress. Akash tries hard, and his debut shows promise, but the script doesn’t give him room to evolve beyond a one-note savior. Kalki’s Indira is a breath of fresh air—her Tamil-Portuguese vibe is spot-on—but she’s underused, a casualty of the crowded cast. Technically, the film dazzles: Yuvan’s score remains a highlight, and A. Sreekar Prasad’s editing keeps the crisscrossing timelines smooth. Yet, the visuals can’t mask the narrative’s rough edges.
Critics have been lukewarm, with ratings averaging 2.5 to 3 out of 5. The Times of India called it a “promising premise undone by a standard template,” while The Hindu lamented its “dull terrain” despite warm moments. Box-office-wise, Nesippaya had a decent Pongal run but didn’t match the festive heavyweights. Its OTT release on Netflix will likely broaden its reach, though it’s more a casual watch than a must-see.
At 150 minutes, Nesippaya feels indulgent—trimming the fluff could’ve sharpened its edge. Vishnuvardhan’s signature style is evident in the slick action and romantic flourishes, but this isn’t the triumphant return fans hoped for post-Shershaah. It’s not a trainwreck—there’s enough heart and craft to keep you engaged—but it’s far from the epic it aspires to be. The film wants to be poetic, triumphant, and thrilling, yet it lingers in limbo, neither soaring nor crashing.
In the end, Nesippaya is a flicker of potential dimmed by execution. It’s a decent entertainer if you’re in for romance and Yuvan’s magic, but don’t expect it to linger like a classic love story or a gripping thriller. For Akash Murali’s debut and Aditi Shankar’s charm, it’s worth a shot—just don’t ask it to love you back too fiercely.