[2] The anthology features an ensemble cast including Kalidas Jayaram, Sai Pallavi, Prakash Raj, Simran, Anjali and Gautham Vasudev Menon.

[4] Set in the early 1980s in a small town in Kovai district, Sathar (Kalidas Jayaram), a Muslim trans woman is in love with their Hindu childhood friend Saravanan (Shanthanu Bhagyaraj), whom she affectionately calls 'thangam (gold)' and believes that once her sex reassignment surgery is done, they can get married and live together as a normal couple.

Out of desperation, she goes back to her parents for help, but her mother refuses to open the door and instead begs her to die at the hands of the thugs, since that would make it easier for her to marry off the rest of her sisters and restore the family's honor.

Veerasimman seemingly endorses inter-caste marriages for his political agenda, but deep down in his heart, he has a strong hatred towards lower-caste villagers.

It is at this point that Aadhilakshmi naively believes in the change in her father's attitude and reveals that she is in love with their family driver (K. Manikandan), who is from a different caste.

When Vaidehi attains puberty, she is advised by a strictly old-fashioned Mathi on how to stop behaving like a child and start acting like a woman, protect herself, and lead a dignified and honorable life.

Surprised at her father's sudden change of heart, Sumathi agrees and goes to her village, where she is met with indirect hostility from everyone for eloping, but eventually they warm up to her.

Despite Sumathi and her mother's pleas for help, Janakiraman turns a deaf ear, locks her up, and chastises her for marrying out of their caste, and says that only her death would restore his family's pride and honor.

Finally, it is shown that Hari learns about the tragedy that struck his family and presses murder charges against Janakiraman, who awaits his trial.

[6] On 28 August 2019, it was announced that Sudha Kongara, Gautham Vasudev Menon, Vignesh Shivan, and Vetrimaaran will direct four short films for the anthology.

[4] M. Suganth of The Times of India gave 3.5 out of 5 and stated "The four films explore what constitutes honour, how a woman's body is placed on a pedestal even as she herself isn't given her freedom as an individual, and how the elders in the family are also pressured into making abominable decisions.

"[14] Ranjani Krishnakumar of Firstpost gave 3.5 out of 5 stars to the film and quoted "It is the exploration of this idea — why does the regular feel right and the different become a sin — that makes Paava Kadhaigal interesting, even gut-wrenching at times.

"[16] Saibal Chatterjee of NDTV gave 4 out of 5 and stated "The actors are in prime form and the abridged narrative format gives them, and the directors, the scope to create sharply chiselled, dire, disconcerting portraits of putrid patriarchy.

"[17] Srivatsan S of The Hindu reviewed "The Netflix anthology, whose violence is meticulously designed to leave the audience with a heavy-heart, offers a glimpse into a woman's world.

"[18] Janani K of India Today gave 3 out of 5 and stated "Paava Kadhaigal gives us an overview of caste-based, gender-based violence and honour killings.

"[20] Nandini Ramanath of Scroll.in reviewed "The often violent defence of honour, especially in the name of caste, and the burden borne by women during this exercise unites the four mini-narratives in Paava Kadhaigal (Stories of Sin).

"[22] Behindwoods gave 3 out of 5 stating "Netflix's first Tamil anthology content hits the right spots and hopefully, should hold a mirror onto the viewers with respect to their sins.

"[23] Indiaglitz gave 3.25 out of 5 and added "'Paava Kadhaigal' is not without its flaws but all the four filmmakers have succeeded in touching the audiences in their unique styles carrying messages that are relevant today.

"[25] Sowmya Rajendran of The News Minute gave 3.5 out of 5 and stated "Paava Kadhaigal presents a gloomy look at a violent casteist society that is seldom represented on screen.