After making a significant impact with his debut film Koozhangal, which garnered attention at international film festivals, director Vinoth Raj returns with his second film, “Kottukkaali.” Like his first venture, “Kottukkaali” has also been screened at various international film festivals, offering viewers a cinematic experience that diverges from the usual fare and presents a story with a global perspective.
Set in a village near Theni, the film revolves around Anna Ben, the niece of Soori’s character, who is believed to be possessed by a spirit. The family embarks on a journey in an auto-rickshaw to take her to a shaman who can exorcise the spirit. The narrative unfolds during this auto ride, with the director subtly conveying deeper messages through the journey.
Typically, films follow a conventional template, introducing characters, presenting a conflict, and then resolving it. However, Vinoth Raj seems to disregard this traditional approach. The journey begins early in the second scene, and the story progresses through the subtle nuances of body language, eye movements, and symbolic elements like a rooster, the auto-rickshaw, a bike, a policeman, a young boy, and a bull. The film requires viewers to step out of their regular cinematic perspective to truly connect with its narrative.
One of the standout moments is when the director skillfully addresses the issue of rural women being unaware of fake shamans while being educated enough to use sanitary napkins—all in a single scene.
Soori delivers a convincing performance, completely immersing himself in the role of Pandian. Anna Ben, without uttering many dialogues, speaks volumes through her expressive eyes. The supporting cast also delivers commendable performances without overshadowing the main narrative.
Interestingly, the film does not have a music director, yet the absence of a traditional score is not felt. The live sound recording, handled expertly by the sound engineer, complements the narrative perfectly. The cinematography is another highlight, capturing the essence of the film beautifully.
The editing deserves special mention for its precision, and kudos to Sivakarthikeyan for producing such a unique film. However, whether such an art-house film will be appreciated by the local audience remains a question.
“Kottukkaali” is not your typical mainstream movie; it’s a film that requires viewers to engage with it on a different level. With its unconventional storytelling, powerful performances, and technical brilliance, it is a testament to the evolving landscape of Tamil cinema. Whether it will find commercial success remains to be seen, but it is undoubtedly a film that will be remembered for its artistic merit.
