In 1990, Dhanasekar was a rich farmer in the same village along with his brothers and Ranjith, sisters Kavitha and Thamarai (also Shamitha), and mother.

One day, Vinu and his sons sport a tractor (rare for that time) and a new Royal enfield in front of the villagers, who get to know that they have leased off a portion of land to a Tanning factory.

Despite the village council's warning to cancel the lease as it would pollute entire water source, Vinu and his sons refuse.

The village's farmers, led by Dhanasekar and his brothers waylay the tanning factory officials and explain their issue, following which the project is shifted to another place.

Vinu and his sons refuse to return the advance payments, and their new vehicles are eventually ceased off by the factory management.

Things cool off a bit, but then to everyone's shock, the family learns that Thamarai is in love with Akash, Vinu Chakravarthy's younger son.

While Dhanasekar and his brothers perform their mother's funeral and take her body to the graveyard in a procession, Thamarai comes along with Akash following their wedding.

Since Ranjith will be released 2 years earlier due to good behaviour, the family is building the new house for the to be couple.

After a few days, Dhanasekar comes along with his brothers Chandrasekhar and Ranjith, after being released from jail to meet Tamizh and his father Vijayakumar inviting them for the house-warming ceremony as well as for Jeeva's wedding.

Ranjith also believes that Thamarai has been reborn in the form of Jeeva and feels happy that he got back his lovable sister whom he killed out of anger.

To prepare for the role of a civil engineer, Arun Vijay was handed the entire script by Cheran, who told him to visit various construction sites.

[3] The film's art director P. Krishnamoorthy created a set of a village from Mysore within ₹55 lakh (equivalent to ₹2.2 crore or US$250,000 in 2023).

[5][6] Malathi Rangarajan from The Hindu praised as "Inundated with talent from every quarter" and said: "has to be welcomed, with open arms because decent, meaningful cinema deserves encouragement".

[9] Visual Dasan of Kalki wrote that Pandavar Bhoomi, which has broken the gap between cinema and life, is a holy land that must be visited without fail.

[10] Chennai Online wrote "Like Cheran's earlier films this too is rural based, message oriented, without losing sight of the entertainment factor.