Ambi, who lives in Delhi with his Christian wife Sweetie, arrives at Kumbakonam to meet his father Vembu Iyer who recently suffered a stroke and was paralysed after getting a message that Ambi separated from his wife. Ambi, feeling guilty, comes to see his father. A few weeks earlier, Ambi, who married Sweetie, came with her to meet his orthodox Brahmin parents Vembu and Janaki. Vembu insulted Sweetie and, unable to accept it, she decided to return immediately to Delhi and forced Ambi to leave with her. At Delhi, they continued quarrelling over it and finally separated. When Vembu got the news, he was upset and suffered a stroke. In the present, the doctor recognises that there is another side to Vembu's life. His son's separation from his wife reminded him of his separation from his beloved first wife Avayam. Slowly, Ambi understands that his father is longing to see has erstwhile wife, because though paralysed, Vembu keeps tapping his fingers as steps for a dance. Vembu now recollects his past.
Marupakkam was theatrically released on 6 March 1992.[6] N. Krishnaswamy of The Indian Express wrote the following week, "Sethumadhavan's narration is designed to be impressive. Based on Indira Parthasarathy's novella, the script of Marupakkam tries to be offbeat by withholding information and by cutting back and forth time."[15] The Tamil magazine Ananda Vikatan, in a review dated 15 March 1992, applauded Marupakkam as a sharply focused film on the subject without any diversion with good editing, superb acting, re-recording at the right places and nice presentation. The reviewer said only Sethumadhavan could translate a simple but meaningful story by Indira Parthasarathy into an amazing film like this, and felt more such films like this must come in Tamil cinema.[16] Another Tamil magazine, Kumudam, called it a "masterpiece" from Sivakumar, and said his career could be divided into two eras: "pre-Marupakkan and post-Marupakkam".[9]
Sundar C. returns to his original profession with "Nagaram Marupakkam" (the other side of the city). The filmmaker, who has turned a hero, has ventured into direction after almost five years. His comeback is decent as the film has come out as a neat entertainer.
The aim of this residential course is to allow participants to immerse themselves totally in the practice of documentary filmmaking. Each student writes, shoots and edits their very own short documentary film. There is an emphasis on hands-on training and respect for the creative process. The course is intensive, practical and most of all, a lot of fun! Over the two-week course six overseas participants will work in collaboration with six emerging Moroccan documentary filmmakers, exchanging and developing ideas together and everyone will make a short documentary.