A look at Aaryan’s chilling ending
Aaryan is a 2025 Indian psychological crime-thriller starring Vishnu Vishal and Selvaraghavan. The film revolves around a twisted plan by a failed writer-turned-killer named Azhagar (real name Narayanan), who shocks audiences by announcing a series of murders — then killing himself live on television. But the horror doesn’t end there. Even after his death, the murders continue, triggering a tense investigation.
What happens — even after death
At the start of the film, Azhagar storms into a live talk show and shoots the guest, later declaring that five people will die in the next five days — and that he will name each victim just an hour before killing them. Then he turns the gun on himself, becoming his own first victim. On the surface, it seems like a suicide, and the police believe the case is closed.
But then things take a horrifying turn: murders continue — each victim die exactly as per Azhagar’s pre-announced plan. He seems to “kill” from beyond the grave. Video messages, TV screens and even hoardings show Azhagar’s face, each time announcing the next victim’s name. The police — and the public — are left baffled: how can a dead man keep killing?
Fast facts:
- Azhagar committed suicide on live television after announcing the list of planned murders and naming his first victim as himself.
- The subsequent victims were killed according to a meticulous plan — arranged in advance by Azhagar before his death.
- The police officer handling the case is DCP Nambi (Vishnu Vishal), a former serial-killer case investigator. He tries to decode the entire crime using clues from Azhagar’s history and the case details.
- The murders target people from marginalized or forgotten social roles: activists, artists, workers — shining a spotlight on societal neglect.
- The final act traps Nambi in a glass tank filling with water, a deadly trap — part of Azhagar’s master plan even from beyond the grave.
Meaning behind the madness
The premise of the movie positions Azhagar as someone who believes society has failed to recognize real talent — his own as a writer. He uses the murders as a twisted statement: by orchestrating deaths of those whom society ignores, he aims to force people to remember them. That’s why the victims come from forgotten or marginalized backgrounds — activists, traditional artists, workers, even a transgender person.
In that sense, the film presents a dark morality play: the killer’s motive is not personal hatred, but a warped sense of justice and a desire for recognition. However, the film itself does not endorse his actions — the law, through Nambi, confronts the insanity of Azhagar’s vigilante approach. In the end, the story forces viewers to question whose stories matter in society — and what extreme violence might result from societal neglect.
Conclusion
Aaryan uses the shocking plot device of murders continuing after the killer’s death to challenge viewers' assumptions about justice, neglect and recognition. Its ending is designed to shock — but also to provoke thought about whose lives we value, and why. For those drawn to crime thrillers with psychological depth and moral ambiguity, it’s a movie that lingers long after the credits roll.