Kottukkaali

It is great to see such a film being released in mainstream Tamil cinema. For the first time, I can say that I have witnessed something of international art film standards being released in mainstream cinema with good expectations among the audience. I wonder if the audience for whom this movie was made would actually be able to relish it, or rather, I ask whether they are ready to engage with the questions and thoughts this movie raises.

This movie reminds me of a Turkish film called Once Upon a Time in Anatolia. That movie isn't about the journey the characters embark on at the start, but rather about the lives of the characters that led to this journey and the lives of all the people of Anatolia. Similarly, Kottukkaali isn't about the journey these characters embark on; rather, it's about their life in their village and their customs.

Having lived in the suburbs of Madurai/Dindigul for about a year, I have closely observed the behavior of the people around here and could easily connect to so many things shown in the movie. They are portrayed accurately and beautifully.

This movie would surely be a good watch on any OTT platform while watching alone, but I am unsure if the B and C center theater audiences would actually enjoy this, in contrast to the commercial content they are accustomed to consuming.

Cinema educates you, cinema enhances your mind, cinema liberates you. Kottukkaali is good cinema. Interestingly, the English title of this movie, The Adamant Girl, adds more context to the understanding.

Kottukkaali (2024): A Poignant Look at Patriarchy with a Powerful Performance from Soori

"Kottukkaali" is a Tamil film that tackles complex themes of patriarchy and gender inequality within the framework of a simple family drama. While the storyline may not be filled with twists and turns, the film's impact resonates deeply due to its nuanced storytelling and a powerful performance from Soori.

Soori delivers a career-defining performance as Paandi, a man deeply entrenched in patriarchal beliefs. His portrayal is both nuanced and captivating, showcasing the internal conflicts of a character grappling with societal pressures and his own rigid mindset.

The film's cinematography is beautiful, capturing the rural landscapes of Tamil Nadu with stunning visuals. The pacing is deliberate, allowing for a gradual unfolding of the characters' emotional journeys and the underlying tensions within the family.

While "Kottukkaali" may not offer easy answers or a conventional resolution, it leaves a lasting impact with its unflinching portrayal of social realities and its celebration of the human spirit's resilience in the face of adversity. This is a film that will stay with you long after the credits roll, prompting reflection and sparking conversations about the deep-rooted issues it addresses.

However, the film's deliberate pace and lack of dramatic twists may not appeal to all viewers. Some may find the narrative slow and lacking in excitement. While the film's message is powerful, its impact may be diluted for those seeking a more conventional cinematic experience.

Let's start with Soori's whirlwind of a performance, then transition to Anna Ben's big breakout. Wonderful right? Sure, why not? Let's give them the solace of performance. Now, I'll take a dramatic pause before beginning (the director certainly took a few). What on earth did I watch? Whether or not Meena was possessed, Vinothraj certainly was. With shades of Sathyajit Ray, Vinothraj promises a Pather Panchali-esque viewing experience minus the Pather Panchali.

You read that right. A lack of sympathy, heartfelt emotion, dialogue, and god forbid Vinothraj adds a soundtrack. While the themes and symbolism hit the spot from an artistic view, such a film would be best kept in an exhibition, or better yet, a museum. Promising nothing apart from a subtle twist, a few gripping scenes, and some impeccable cinematography, the film lacks substance. Of course, it'll be raved on by pseudo-cinephiles in the hopes of putting on a cultured facade, but personally, I can see through the shallow attempt at garnering praise.

Too many overhead shots of Soori simply walking, or other characters doing absolutely nothing. One must ask themselves, have the principles of Chekov's gun vanished from modern era filmmaking?

The symbols are fine, the film, however, is not.

I would categorise this as just a PURE CINEMA. We should have an additional sense to understand how the script was sensibly written (planned) and sensitively shot (executed).

I wish our audience gains the knowledge and ability to understand this kinda arts as soon as they learn about a pure art. The way Soori unlearned the acting skills he has experienced thus far and lived as Pandi shows how he has been used very less in Tamil Cinemas. All the characters in the movie has done their umpteen level best to the content. And last but not least, Anna Ben as Meena has been the key performance indicator of this gem. May her get great reach in Kollywood.

Very sooner, PSV is going to do wonders in this era! 💯

Kottukali many of you say is an art film, nah it's not. If you literally creating art, u mean nothing, it's more like an experimental movie. Journey of an characters, you should have release the movie in a Ott or as a short film, not a theatrical material. Coz if you creating an slow burn story buildup for around 1.15 hrs, you should give a impact climax for audience not a open ending, seriously bruh what the heck was that?, The only good factor was "soori" guy literally walk away from his comedian shade and entering and breathing hell of a fire as an main actor, just kudos to "soori". Anna ben? Yeah she's okay more of an shuttle performance, side characters or all of them are raw natural.

You all know movie was just that, but at the end u need to think i need more of that, movie should be an unique and masterpiece but they missed the main factor.