In a moment that stands out as the most emotionally potent in “Kottukkaali,” Meena, played with remarkable depth by Anna Ben, enters an auto-rickshaw, her quiet demeanor clashing sharply with the turmoil in her eyes. Her tears poised at the brink, like a dam barely holding back a flood, represent both her internal strength and struggle. This scene exemplifies the emotional gravity director PS Vinothraj brings to his sophomore feature, which exceeds the high standards set by his debut film “Koozhangal” — India’s entry for the Best International Feature Film at the 94th Academy Awards.
“Kottukkaali” parallels Vinothraj’s previous work in its narrative structure and thematic focus. Both films function as travelogues, chronicling the journeys and adversities of a family amidst a backdrop of oppressive social mores. The story kicks off amid the hustle and bustle, immersing the viewer immediately. The narrative unfolds through a series of evocative montages, depicting Meena’s family preparing for a minor trip—filling water bottles, renting a scooter, and checking an auto-rickshaw for readiness. As the journey begins, it becomes evident that Meena’s family believes she’s under the sway of a lover from an oppressed caste, never introduced to the audience. This lover’s mere existence ignites Pandi’s fury, Meena’s betrothed, portrayed with explosive intensity by Soori. Their solution? A visit to a shaman to ‘cleanse’ her.
Just as in “Koozhangal,” “Kottukkaali” unflinchingly critiques generational sexism and caste-based chauvinism, though this time with a more direct approach. Vinothraj displays an astute mastery of cinematic language, weaving a narrative rich in symbolism and subtext. Whether it’s the red rooster drawing a parallel to Meena’s red dress, both longing for freedom yet restrained, or the nuanced interactions that allow the audience to connect the underlying messages, Vinothraj’s storytelling is potent and thought-provoking. He refrains from offering easy solutions or resorting to cinematic contrivances, maintaining the film’s rootedness in reality.
Nature plays a silent yet powerful character in “Kottukkaali,” much more than a mere backdrop. It serves as a metaphorical lens through which Vinothraj explores critical themes. In one notably poignant and amusing scene, a ferocious bull obstructs the road. The men’s futile attempts to move it are eventually succeeded by a young girl who gently coaxes the bull aside with words of affirmation. This moment encapsulates how nature—which Meena embodies—is depicted as both resilient and unyielding, standing firm against human attempts to control it.
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The men and women of “Kottukkaali” grapple with personal issues while confronting what they deem a larger problem: Meena’s defiance. From pestering insect bites to dealing with absentee fathers, their individualized struggles converge on a collective need for control, driving them to extreme measures. Vinothraj illustrates this vividly, particularly in a scene where the men attempt to lift an auto-rickshaw. Their actions reveal an inherent disruptiveness and resorting to brute force even in trivial tasks, symbolized by their preference to shake the entire structure to ring the temple bell instead of simply pulling the rope.
This recurring spectacle of masculine arrogance starkly contrasts with the pragmatic approaches of the family’s women. Despite being marginalized and silenced under patriarchal dictates—such as menstruating women being barred from temple premises—the women emerge as carriers of regressive beliefs and practical solutions alike. Vinothraj cleverly critiques the fragile egos of these men through humorous commentary, portraying nature constantly thwarting their plans, highlighting a character’s attributing success to comically absurd circumstances.
The technical aspects of “Kottukkaali” amplify its narrative impact. The film’s deliberate choice to forego a background score intensifies the rawness of the storytelling. Cinematography oscillates between tight, immersive shots and static, observational frames, effectively placing the audience alongside the characters or as detached onlookers. A notable inclusion is the poignant use of the “Othaiyadi Pathayila” track from “Kanaa,” adding an emotive layer to a crucial scene.
“Kottukkaali” boasts a strong supporting cast, but it is Anna Ben and Soori who truly elevate the film. Their portrayals embody the rage and frustration brewing beneath the surface. Anna delivers an outstanding performance, her character Meena defined by resilience and quiet resolve, encapsulated even in small gestures like adjusting a loose ring with a threaded loop. Soori’s portrayal of Pandi, donned in black and seething with anger, underlines the volatile nature of repressed emotions.
In sum, “Kottukkaali” excels without being didactic, offering a glimpse into a day in the life of a dysfunctional family steeped in patriarchal values. The open-ended climax invites the viewers to ponder over multiple possible outcomes, underscoring Vinothraj’s masterful storytelling that firmly establishes him as a cinematic force with enduring potential.
“Kottukkaali” is currently screening in theaters.
