The second full-length feature from Vimukthy Jayasundara was warmly received by critics, who have hailed him as a new film talent. It would be difficult to argue otherwise in light of this prodigious piece of work. A compellingly enigmatic photography, bold use of symbolism and a truly unearthly apocalyptic atmosphere elude complete comprehension but work on a completely different level. This is vital and authentic Sri Lankan cinema, set against the backdrop of the island nation's seemingly endless state of internal conflict and Asia's fluid, never-ending storytelling tradition. Yet this work also takes its rightful place among films created by other great symbolic thinkers in world cinema. The director's wide film cinematic palette works in his favour. In collaboration with Channa Deshapriya (photography) he has created a magical, occasionally dark and profoundly textured film lightened by truly farcical surprises. The main character is a young man who has fallen from the heavens. We are told that his origins lie in an area of infinite possibilities between two worlds. The beings that move between these worlds appear to be messengers. But it is up to each viewer to decide to whom they bear the message and what the message is. Kaarel Kuramaa