Kottukkaali

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.

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! 💯

This movie really caught me off guard! The plot is pretty simple: it's a road trip film that kicks off with two families heading to see a fortune teller in another region to lift the spell of forbidden love affecting one of the girls, who's not interested in marrying her cousin. But in just 90 minutes, we don't just get to know the family members and their dynamics-we also uncover layers of meaning, symbolism, and cultural depth, which is a huge achievement. The ensemble cast is fantastic, especially Anna Ben, who barely speaks throughout the movie-something that carries its own significance. The cinematography isn't flashy, but it works perfectly for this film. The production design and landscapes are stunning. There's something really unique about this movie compared to other road trip films. Halfway through this seemingly simple trip, the stakes keep getting higher with every moment. And the ending? It's just mind-blowingly fascinating!

The themes are familiar-similar to what we saw in All We Imagine As Light in 2024-but it's the execution that makes this film stand out. There's a rawness and precision in the storytelling that sticks with you. At the beginning of the movie, we see a girl with a rooster tied by its leg to a heavy stone. This rooster represents Meena's lover but also parallels her own situation, suggesting she's being treated as an object to be controlled or fixed rather than as an individual with her own desires. The symbolism is clear from the start, but how the filmmaker uses it throughout makes it even more captivating. By the end, that rooster isn't just a symbol; it becomes almost like a character in its own right. I won't go on about the usual themes like caste and social hierarchy, patriarchy and gender roles, tradition, superstition, personal freedom, and the many forms of female oppression by society, family, class, gender, and religion-those are all there-but the magic lies in how they're executed.

Although the movie is primarily a drama, there's comedy mixed in, along with some horror elements. The comedy feels like it comes straight from the culture itself, reflecting how the characters speak and behave. As I mentioned earlier, something scary happens midway through, and from then on, the stakes keep rising, making me feel really uncomfortable-but it's necessary for the ending. At first glance, the ending seems surprising, but it didn't take me long to figure it out for myself. It feels open-ended, but I'd argue it's not really. I won't say more about it-just watch the movie! It's great on so many levels. The acting is phenomenal; it feels almost like a documentary for most of it. There's no music at all, which isn't needed here. Not a single extra scene drags on; it never gets boring for a second! This should have been the real awards contender instead of All We Imagine As Light, which I didn't care for at all. This movie deserves way more attention-don't miss it!

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.

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.