Directed by Abishan Jeevinth, the film Tourist Family presents a troubling portrayal of illegal immigration. The budget limitations are apparent from the outset, particularly in the opening scene where a family of four makes an illegal journey from Sri Lanka to Tamil Nadu.

Rather than depicting this journey, the film opts for audio narration, likely due to financial constraints that prevent actual ocean filming.

However, the lack of financial resources is just one of the film's shortcomings. The casual normalization and even glorification of illegal migration is not only inappropriate but also deeply concerning.

While the Dharamdas family from Sri Lanka is portrayed as sympathetic and deserving of safety, this logic could justify the entry of any illegal immigrant with a compelling story.

How can this premise serve as a foundation for a light-hearted comedy? The patriarch, played by M. Sasikumar, along with his wife Simran and their two sons, navigate their way into Tamil Nadu by manipulating the emotions of a well-meaning police officer, Bhairavan (Ramesh Thilak).

The film adopts a tone of ironic humor, treating unauthorized entry as a source of amusement. Once the family arrives in Tamil Nadu, the screenplay ensures they ingratiate themselves with neighbors, including an elderly couple, to normalize their illegal status, effectively villainizing the authorities pursuing them.

The writing is lackluster, merely applauding the film's so-called 'liberal' stance on illegal entrants. To enhance the thin plot, the film introduces soap opera-style episodes to give the stowaway family a semblance of agency.

This portrayal is particularly troubling when the elder son, Nithu (Mithun Jai Sankar), has typical father-son conflicts, which feel out of place in this context.

Interestingly, the female characters are largely silent. The mother, Vasanthi (Simran), only speaks after nearly fifteen minutes into their new life in Tamil Nadu.

Another female character, the neighbor's daughter, remains mute, merely existing alongside Das and his family as a token of coexistence between refugees and locals.

The film presents the lives of illegal immigrants as surprisingly easy and comfortable, framing their homelessness as an opportunity to forge new relationships in a welcoming community.

While this perspective may appear progressive, the storytelling approach is fundamentally flawed. The performances, music, and overall drama feel contrived and artificial. This film should reconsider its approach to sensitive topics that have no place in discussions about immigration.