'Oththa Seruppu Size 7' has Radhakrishnan Parthiban and Resul Pookutty in the lead roles. You read that right. Along with the outstanding performance and sharp visuals, the film is amplified by the amazing sound design which gives life to the uncanny, yet detailed confession of Masilamani (Parthiban). The aural atmosphere doubles up as a character in the film. The film is written, directed and produced by R. Parthiban under the banner Bioscope Film Framers.

Yes, there is only one character's face shown on-screen, but the multiple characters who are given life through perfect voice-overs are the roots of the film. Usha (Masi's wife) is given an easily imaginable characterization, physique and body-language with Gayathrie's voice, as the visual of her presence pops up knowingly or unknowingly. 

The emotions that are usually squeezed-out through setting up lengthy premises, groups of actors and intense music, is pulled off easily with just Parthiban's expressive eyes and the background music. The quick change of emotions on Parthiban resonates within oneself. The emotional bond he displays is very universal and elicits a quick and organic reaction from the audience.

Despite having a single character on-screen and a fixed location throughout the film, it does not feel confined or restricted anyway, as the script does not demand more. C. Sathya's background music underplays (rightly) during the subtle emotes of Parthiban and shine in the succulent parts of the story.

The pleasure of letting us imagine our perceptions with limited, yet vital details is something that has been lacking in Tamil cinema. However, this film respects the audience and lends you space for imagination. Parthiban's dialogues and delivery alone set up the location, props, time, characters and actions throughout the film.

The script has been designed with perfection, and that is seen in the multiple sub-text that blossoms as the story develops. In the film, a cop character keeps insisting others that Masi does not speak a word or do an action that does not hold a deeper or hidden meaning. That dialogue can be reflected in the narrative. Every minor detail in the film later blooms to something deeper organically.

The visuals are not the standard mid-close up or wide-angle shots, in fact, there are no common and crucial shots like the 'over-the-shoulder' or 'establishment shot' in the film. The shots are dynamic and it is presented from various unique and surprising POV's (There is one shot where only a blurred and zoomed-in part of Parthiban's face is shown, through his retro reading specs) and angles, but it is not taken over-board in such a way that it makes you feel unusual or strange (cinematography is by Ramji).

The lighting is probably the only element used in a dramatic way in this film which is grounded to reality. Dramatic, yet brilliant. The sunshine from the windows falling on Parthiban's face when he talks about his wife and child (Mahesh) whom he adores and loves is countered by the darkness that surrounds when his rambling turns intense and flows into something serious. The semi-vibrant colors in the background are desaturated in the intense scenes. Even this dramatic setting is justified with 'power-cut' mentions by side-characters.

There are many films which reflect the evils in society or makes you question them. But this film is about a man, calmly facing those injustices with a plan. The film elucidates upon the problems a common man of the lower-income group faces. Overall, Oththa Seruppu is an enormously inventive film with compelling storytelling.