Kottukkaali

Kottukkaali

A hot debatable topic that is still practiced in this 21st century is put to screen by P S Vinothraj.

The movie throws light on the ancient superstitious customs and traditions that are still being followed in remote rural households of Tamil Nadu.

P S Vinothraj has portrayed his ideas in a realistic way through the characters in the movie.

The idea he visualized through the screenplay is perfectly curated on screen through subtle and realistic moments in the movie. Bold performance by Soori and Anna Ben in the movie.

This movie is a definite green signal for niche audience who loves festival films and movies on ancient culture. The movie may be a point of discussion among critics but not among mass audience.

The director concludes the movie with a small request to the audience to be the harbinger of change.

Rating - 3.25/5.

First of all, i need to address who said kottukali is a below average film, u just didnt understand this masterpiece. Cinema is not always linear and easy to understand, tats wat all cinema is all about(commercialised) more ljneant and easy to understand , tats not actually cinema. It should make you think Nd understand whats hidden in the inner beauty. That way Kottukalli is such a gem. You may wonder the whole lot of travel too much lag , tats not at all a lag, the director is telling a story every frame, u just didnt get it and not in a ready mood to take it. I loved the way he portrayed the movie and going. I wont say good story because the story is a strong message with sounding screenplay. P.s. Vinoth is truely a master. If you r still wondering whats in this film, u just watch it again and try to collect all the things again. Because if i say every twists then the film wont be intresting, the main thing about art films is that let people think and understand thi gs making many perceptions. In that way kottukali is a true master piece. Its all about soori and anna ben has killed with performances. Soori deserves a national award, more than soori the director is highly recommended. He is mind blowing. When i come to know abt the twists and turns it was seriosuly i was blown. A must watch movie never miss it out. This is real cinema . Pls do watch it available in prime.

If you've read my review of PS Vinoth Raj's debut feature, Koozhangal (Pebbles), you know how highly I respect his work. I was eagerly anticipating his sophomore film, drawn in by the poster and looking forward to it. I must also thank the Kurosawa die-hard (lol) Mysskin for his ammo like promotions. And most importantly, thanks to Siva Kartikeyan for backing this as a producer; it's a daring experiment, and I hope we see many more masterpieces from his production house.

The trailer offered a glimpse into the film's thematic depth, with Anna Ben's character, Meena, gazing at a tethered rooster. This visual metaphor clearly conveyed Meena's emotional and social entrapment, mirroring the rooster's physical confinement. In the intro, we see a glimpse of her face, a bindi on her forehead, and she looks helpless, like a dead corpse. People in the house claim she is possessed by a spirit after wandering alone somewhere.

Soori, who has a great stint departing from his comedic roles, delivered a powerful performance. His character's misogynistic internal turmoil was subtly but effectively conveyed. He rages when Meena hums lines from a popular Tamil romantic song. It seems Meena is not the one who is possessed, but rather the other way around.

I was captivated by the young boy in the auto who was compassionately feeding rice to a rooster. He seemed the only rational adult in the film, and his warm smile towards Meena after the road rage incident was heartwarming. The film also introduced a young girl who appeared to be a younger version of Meena. A particularly striking scene involved a close-up of Pandi's eye, with dirt caught in it. His sister's ingenious use of her tongue which is shown in a close up to remove it was a brilliantly staged moment. Even the young girl with the bull, who for me personally symbolized Meena and freedom, was striking. In fact, there's a shot of Meena in an open field with her hair flowing freely that speaks volumes and totally contrasting to her present state. The auto rickshaw itself is filled with religious imagery, adding to the overarching theme of the film.

Anna Ben's portrayal of Meena was a masterclass in silent suffering, her eyes conveying a depth of emotional torment with few striking surreal shots. The film's cinematography was visually poetic, capturing the stark beauty of the rural landscape while highlighting the character's isolation and despair. The absence of a traditional soundtrack enhanced the film's contemplative atmosphere, allowing the audience to fully immerse themselves in the characters' experiences.

One of the film's best scenes is the ritual performed by the shaman in the temple. This sequence is both humorous and unsettling, highlighting the absurdity of superstition and the fear it can instill. Additionally, the film's use of symbolism is particularly effective. The rooster, for instance, represents Meena's entrapment, while the temple bells evoke a sense of mysticism and emotional turmoil. These symbolic elements enrich the narrative and contribute to the film's overall thematic depth.

Overall, Kottukalli is a powerful and essential voice in contemporary cinema, offering a profound exploration of themes without resorting to watered-down portrayals or excessive feminist rhetoric. The open-ended climax leaves the audience to decide Meena's fate and the journey, making it a truly unforgettable and moving experience for the patient viewer.

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.