The use of the name Karnan is antithetical concerning the protagonist's background and socioeconomic status. Director Mari draws inspiration from crucial players in the defeat of the Kauravas in the Mahabharat. Every single object and being, play a role in telling the story of Podiyankulam. From the hawk snatching away an old woman's baby chicks, to the donkey with its front legs tied. There are heavy religious symbolisms of the local deity Kattupechi evident in the lifestyle and traditions of the village. The setting is apparent; the villagers are living in an oppressed system. It is a matter of time before they reach a breaking point against the atrocities committed against them. Karnan speaks of the individual level that oppression impacts affected individuals. The downtrodden elders who have surrendered their dignity and self-worth at the hands of those in power. The raging youngsters willing to lay their lives or sacrifice others' to snatch their honour and respect back. Wide-eyed children, looking up to the angry youth. The women as, always, exist on the fringes of this narrative. Fearing for the lives of their husbands, children and men, is not something novel to womankind after all. Karnan ultimately aims to open our eyes; oppression exists. It has existed long before we think it has. People are still suffering in the throes of injustice meted out by people and society's apathy.
The fight in Karnan is about the right to work and live a life of dignity. After all, Dhanush challenges his oppressor, " If the son of Kandaiah can be named Kannapiran, why can't the son of Madaiah not be named Karnan?"
