Ranjith’s handling of spatial boundaries is nothing short of remarkable, as his film hovers over the liminal space between the two worlds. The first ugly incident between Rene and Iniyan happens in Iniyan’s room, outside the theatrical space, in contrast to the swelling romantic feelings in the theatre, where they play star-crossed lovers. This dialectic is extended to the other lovers as well, be it when Arjun moves outside the group to talk to his betrothed, or when Sekar, one of the actors, is rejected by a French woman, Madeleine. In one extraordinary song sequence, Ranjith films a flurry of bodies crossing each other, shifting from one lovers’ squabble to the next, as he navigates the muck of their knotty relationships, all taking place near the gate of the theatre, finally culminating in the storming off of a man livid with his transgender wife. Incursions from the outside world, be it literally through the mother of a gay man or metaphorically through societal norms that trouble the more privileged members of the crew, threaten to destabilize this utopian space, emphasizing the need for constant learning and overcoming, a sentiment which would be echoed in a later scene.