Besides a long glittering river, some men raise a pole. A tent balloons up. Where there was wide sand and the sound of water lapping, there is now a truck, chairs, hoops, stools, ropes, goats, a lioness, a pair of fat girls, some bicycles, and an old man with a philosopher's dignity, putting on white paste. Across a dirt road, the circus truck comes to a village. The tent goes up. Schoolboys run to the tent. Village women come and watch an acrobat roll a hoop across a tightrope. A lion leaps from the edge of one stool - across darkness - onto another stool. A gap-toothed old woman gazes at a goat on a tight rope; her eyes are wide with curiosity. For three days the circus makes small ripples in the life of this village. Municipal permits are required. At a toddy shop, a soldier befriends the circus strongman; a pump attendant sits on a rock each day watching a village girl bathe and dry her hair. The dwarf brings back to the circus a watermelon larger than his head.

Aravindan Govindan's Thamp is a poetic, allegorical film, that gently explores the transience of human relationships and the rootlessness of the marginalized through the ripples created in the bucolic existence of a village on the banks of a river by the arrival of a roving circus troupe. In cinema-verite style, G. Aravindan rounded up a troupe of actual circus artistes and travelled with them to the village of Thirunavaya on the banks of the Bharathapuzha river. On the first day, the circus was set up and all the villagers were invited to watch the show. Aravindan said in an interview, "We did not have a script and we shot the incidents as they happened. . . There were a lot of people who had not seen a circus before. We shot their responses as they were watching. After the initial hesitation, they forgot the lights and the shooting and got completely involved in the circus." For three days, the circus is the centre of attention of village life, but soon the villagers lose interest and move on to the preparation for a local festival and the circus troupe packs up and trundles away leaving no trace. The theme of alienation is further explored through the irony of an upper middle class young man who on returning to his village from overseas finds himself isolated in his own milieu and hopes to escape his discontent by joining the circus troupe in their drifting existence. The beauty of the film lies in the reflective silences, the deeply observational, but delicate gaze of the camera, juxtaposing the pathos of the circus performers as they go about their everyday tasks and more starkly in impassive close-ups as they speak directly to the camera, against the innocent wonderment of the captivated village audience, in black and white imagery that stays with you long after the big tent has folded up.