Rajini, a Sri Lankan Tamil girl, narrates the horrific tale of why she had to leave her homeland and become a refugee in India.

[10] The film was shot by Sivan himself in various locations including Kerala, Thirunelveli, Rameswaram and Maharashtra[16] with a Red Epic digital camera.

[17] The first look resembling a blood splattered fingerprint forming the map of Sri Lanka, which was designed by Jairam Posterwala, was revealed in June 2013.

Sivan stated that "the background score is heart thumping" since it was a thriller film, but that a Baila, and "a few romantic numbers, treaded in a different way" were also included.

Following protests from Thanthai Periyar Dravidar Kazhagam (TDMK) activists, who had attacked the Balaji Theatre in Puducherry, stating the film projects the Sri Lankan Civil War in bad light, four scenes and one dialogue were removed the following day.

Santosh has made a film on a very sensitive subject, but has handled it beautifully without any propaganda, preaching or twisting of facts" and called it "very good".

[31] The Times of India gave the film 3.5 stars out of 5 and wrote, "Inam is very much topical and mostly presents a neutral perspective on the last phase of the brutal civil war.

It wants to show how war can tear apart the moral fibre of humans, and how it affects even those who aren't involved in the fighting...Yet, somehow, Inam stops short of being a hard-hitting film.

It is very reluctant to spell things out, which...makes everything a little hazy, as the context isn't firmly established...there are times when we can see Sivan leaning a little too much on his visuals to create the desired impact".

[32] Hindustan Times wrote, "Although the plot is wafer thin, Sivan’s script includes an array of anecdotes to keep the movie moving.

[35] The Hollywood Reporter in its review wrote, "Romancing in slow-motion; musical numbers ill-fitting the narrative flow; high-octane shootouts laced with the odd comic touch; a highly-strung, tragic final half hour intended to stir emotions – Santosh Sivan’s latest offering boasts of all the hallmarks of commercial Indian cinema, which should allow the Kerala-born director to continue the fine run he has had in the past few years...but more focus and context would have helped the film live up to its seemingly more historical-epic title of Ceylon".

[36] Gulf News wrote, "Director Santosh Sivan has crafted his characters with great care and their unique traits set each one apart.