User reviews

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.

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.

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

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.

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.

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.

Too slow and you must watch this film by skipping and in 1.5x speed. I almost skipped scenes like thirty seconds and thought of stop watching this film..I really don't know understand how some people like meme pages get money and promote. I wanted to see this movie for soori and now I understand all those reviews from insta are fake and paid. We can watch this movie for soori that too for one scene where he performed well🔥I expected a lot from this director who directed a film like manjapai ...the movie which was close to my heart during that time but now I really feel disappointed. Too slow,no concept no acting nothing just see people walking,running eating that's it.

A rooted cinematic experience and a metaphorical masterpiece with profound storytelling.. Kottukaali explores various social issues such as caste, superstition, tradition and focuses on a journey rather than a traditional narrative arc.

It follows the characters Meena and Pandi, played by Anna Ben and Soori, respectively, as their families travel to a shrine, confronting various interpersonal and societal challenges along the way.

Kottukaali does a commendable job in its ability to convey deep emotions with minimal dialogue, capturing the characters' internal struggles through nuanced expressions and interactions.