Putham Pudhu Kaalai is a heartfelt anthology consisting of five distinct short films that explore the themes of hope, love, and new beginnings against the backdrop of the COVID-19 pandemic. Each story captures a different facet of human emotion and the unexpected connections formed during a time of global isolation.
The first story, Ilamai Idho Idho, focuses on the blossoming romance between two senior citizens. Rajiv Padmanabhan, a widower living alone in a spacious apartment, finds his life suddenly energized when his girlfriend, Lakshmi Krishnan, arrives at his home just before the Indian government announces a nationwide lockdown. As the world shuts down, the two are forced into close quarters, allowing them to catch up and deepen their bond. While their respective children remain completely unaware of the romance and worry about their parents' safety, Rajiv and Lakshmi experience a rekindled youth, mirrored by the appearances of their younger selves, played by Kalidas Jayaram and Kalyani Priyadarshan. However, the peace is interrupted when a petty argument breaks out, and Rajiv's daughter and son-in-law, Arun Krishnan, arrive unannounced. In a tense moment, Lakshmi is forced to hide in a closet, where she witnesses a tender, warm moment between Rajiv and his daughter. After the children leave, the couple reflects on their behavior, realizing that their argument was trivial. Their bond grows even stronger, and despite their fears regarding their children's reactions, they courageously decide to introduce one another via a video call. The narrative is tied together by a narrator played by R. Madhavan, with additional appearances by Ananya Ramaprasad as Chitra and Preethi Nedumaran as the maid.
The second segment, Avarum Naanum – Avalum Naanum, depicts the emotional healing between an elderly man and his estranged granddaughter. The grandfather, played by M. S. Bhaskar, is a retired scientist living a solitary life. His granddaughter, Kanna, an IT professional, is sent by her father to care for him. Initially, Kanna harbors deep resentment toward her grandfather because he had previously rejected her mother. However, as they spend more time together, she discovers the heartbreaking reason behind his anger: he viewed her mother's singing voice as divine and wanted her to pursue it professionally, but her mother gave up music to marry due to her husband's insistence. This revelation bridges the gap between the two, and Kanna, assisted by a caretaker played by Krithika Bala, decides to visit her grandfather regularly.
In the story Coffee, Anyone?, the focus shifts to family reconciliation. Two sisters, Valli and Saras, visit their mother, Soundara Mahendran, who is in a coma. The sisters are frustrated with their father, Mahendran, for choosing to treat her at home rather than in a hospital. They are also upset that their younger sister, Ramya, refuses to visit due to long-standing family disputes. Despite these tensions, the sisters put aside their differences to emotionally connect with their mother. Their efforts are rewarded when they notice signs of improvement, and they eagerly anticipate sharing the updates of their lives with her. The segment concludes on a joyful note as their mother finally wakes up from her coma.
The fourth story, Reunion, follows Sadhana and Vikram, old school friends who share a deep love for music. While Vikram has become a doctor, Sadhana has turned her passion into a career by running an event management company. Due to lockdown restrictions, Sadhana stays at Vikram's home, where she develops a special bond with his mother, Bhairavi. During this time, it is revealed that Sadhana is struggling with a secret drug addiction, which she mistakenly believes is necessary for her creative process. With the unwavering support of Vikram and Bhairavi, she acknowledges her struggle and decides to seek professional help. In a touching finale, Vikram reveals a long-held secret: the poetry he wrote during their college days was actually intended for Sadhana, not his girlfriend at the time.
Finally, the segment Miracle provides a more satirical take on the pandemic. Michael, an aspiring young filmmaker, spends his time watching a televised Guruji. Meanwhile, two opportunistic thugs, Devan and Rocky, become obsessed with the "miracles" the Baba promises, hoping to make quick money. The story leads to a comedic climax involving the Guruji's Assistant, where the thugs end up remaining poor, the Guruji loses millions, and Michael unexpectedly finds the funding necessary to finally make his movie.
