Duraipandi and Arunachalam have a shared past, but Duraipandi’s sister, Dhanam, wants her son Nalan to marry Arunachalam's daughter, Nandhini. However, the conflict between the two men escalates. Despite developing feelings for each other, Nalan and Nandhini get married. Their families refuse to accept their union, so the newlyweds move to Chennai. The question is whether they will find success in the city and if they can reconcile their families. A debut film often brings a sense of novelty, either in its concept or how it’s presented. However, for his first movie, Venkatesan chose familiar territory for Tamil audiences. The story unfolds in two distinct parts, with the interval marking the midpoint. During the initial portion, we are introduced to the characters within Duraipandi and Arunachalam's households, and through a title song, the director establishes their personalities and relationships. Instead of quickly moving into the main plot, Venkatesan includes nearly an hour of unnecessary comedic scenes featuring Soori and Rinson. There’s also a romantic element, but it’s a very subdued take on modern rural romance. Eventually, something does happen when Duraipandi and Arunachalam have a public disagreement, and the director increases the tension by having Nalan and Nandhini get married. Only then does Venkatesan reveal his focus—the film isn't really about the older men but about Nalanum Nandhiniyum! The second half, which takes place in Chennai, becomes a fairytale-like story of a couple who experience some difficulties before achieving prosperity. The movie relies on feel-good moments and melodrama that sometimes stretches believability. Nalan is portrayed as someone without much responsibility, while Nandhini shoulders the burden of supporting the family by working as a teacher. He spends his time idly until she becomes pregnant, at which point he suddenly realizes the importance of responsibility! And what better place to make problems disappear than in the film industry? Consequently, there's a subplot about Nalan attempting (and predictably succeeding) to become a director, allowing the director to pay tribute to Venkat Prabhu. Nalanum Nandhiniyum isn’t necessarily a bad movie, but it is unremarkable. If the first half feels like an episode of a television series, the second half could be described as a lighter version of Vikraman's style (Nalan even tells a story about four friends—a common theme in Vikraman's films—to a director). At times, the film seems somewhat personal, and given that first-time directors often incorporate experiences from their lives into their work, this possibility can’t be dismissed. What holds the movie back, besides the simplistic writing (Nandhini, for example, doesn’t seem to mind that Nalan is financially dependent on her), is the lack of real challenges; even when there's a hint of potential hardship—like when both Nalan and Nandhini are unemployed after her pregnancy—it’s resolved too easily.

Source on TMDB