The director, Manikandan, starts Aandavan Kattalai in an unusual way: instead of delivering a moral at the film’s conclusion, he presents a card upfront stating its purpose is to raise awareness. He essentially gives viewers the central idea from the very beginning—relying on intermediaries is like using someone else to scratch your own nose. The narrative centers around Gandhi (Vijay Sethupathi, who delivers a well-considered performance that highlights the character’s inherent goodness), a straightforward young man traveling from Madurai to Chennai with his friend Pandi (Yogi Babu, who shines in the first half and elicits laughs with his jokes). They hope to go to London, find employment, and pay off debts. An agent (SS Stanley) suggests he falsify his passport application by claiming he’s married to improve his chances of getting a visa. Although Gandhi's application is denied (Pandi, surprisingly, receives his!), Gandhi finds work as an accountant for a theater group. When the chance to travel to London with the group arises, Gandhi must have his ‘wife’s’ name removed from his passport to maintain favor with the group leader (Nasser). To do this, he needs to locate a woman sharing that name—Karmeghakuzhali. He does find one—a journalist (Ritika Singh, energetic)—but can he persuade her to participate in this fabricated divorce? Similar to Manikandan's previous films, Kaaka Muttai and Kutrame Thandanai, Aandavan Kattalai avoids moralizing or lecturing, despite tackling a subject ripe with opportunities for criticism. As both writer and director, he acts as an observer of the characters and their actions, refraining from overt judgment (even those acting deceptively seem like people simply seizing an opportunity), allowing viewers to absorb the message themselves. This approach is highly effective, creating a sense that almost every character feels realistic. The film boasts excellent casting, extending even to minor roles such as Cheenu Mohan’s passport office worker. Humorous moments are woven throughout, for example during Gandhi and Pandi's search for housing or the proceedings in family court. There's also an underlying sadness to the story that emerges when Gandhi's lies begin to come apart. The film unfolds at a somewhat relaxed pace, which isn’t particularly problematic because the scenes remain captivating. One minor disappointment is that Manikandan doesn't depict Gandhi’s confession of guilt to the theater group leader; this feels especially significant since his initial deception stemmed from a desire to maintain the man’s trust.

Source on TMDB