Kottukkaali

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.

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! 💯

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.

True story telling of a very existing social issue in southern and in many parts of India.

Another gutsy attempt by the director.

Lots of symbolism.

Girl trying to change her mind and the guy did too.

Fored marriages are still common and the entitlement and control shown by men is very existent.

This movie shows this sensitive topic in a simple way with great sense of reality and southern based realistic satirical humor.

All the actors - at times hard to tell they are acting rather in a real trip to get the girl sanitized of her demon- Love.

Thank you Team.

Tamil movies are touching great heights.

This movie is one example.

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.