This paper will attempt to analyse Nirangal Moondru through the conceptual framework of power, discipline, and social control proposed by the French social theorist Michel Foucault. The film, which explores the moral difficulties and institutional interventions in its characters‘ lives, uses the metaphor of ―three colours‖ to convey the struggle for truth and justice. According to Foucault, ―power produces knowledge‖ and operates through social institutions, rather than repressive power relations (Foucault 27). This study will contend that, in the context of Nirangal Moondru, the concept of conscience has been constructed and manufactured by society‘s disciplinary mechanisms. The film portrays how institutional forces, such as law and public opinion, shape and define the concepts of crime and deviance in society. Nirangal Moondru, in its investigation of social hierarchy and inequality, reveals how inequality operates on a subtle level to shape the construction of truth. The film, in its portrayal of the internalisation of surveillance and moral discipline, illustrates the ―automatic functioning of power‖ in society, in which individuals regulate and discipline themselves even in the absence of external power relations, as Foucault has proposed (201). Ultimately, the paper argues that the film operates as a site of social pedagogy, stimulating viewers to interrogate dominant narratives of justice and morality. By bringing to light the invisible circulation of power, Nirangal Moondru transforms cinema into a critical space that cultivates awareness of structural inequality and the politics of conscience.