Kottukkaali Review: Anna Ben, Soori are extraordinary in this cinematic intersection of feminism and faith
Kottukkaali (The Adamant Girl)
Kottukkaali, directed by PS Vinothraj, is a profound exploration of rural life that intertwines themes of feminism, faith, and personal struggle.
Filmmaker PS Vinothraj's latest film, Kottukkaali (aka The Adamant Girl), once again shines a spotlight on life in the countryside, but in a fresh and original way that unveils the hidden layers of reality experienced by the people who inhabit this world.
The film opens with an image of a woman, drenched and distressed, praying to a deity before dawn. This scene sets the tone for the film, immediately immersing us in a world where desperation and faith intertwine. The woman's plea to the divine highlights the limited scope of her reality, one where divine intervention is sought in matters of the heart. It's like sticking a lemon in front of an autorickshaw and trusting it to ward off any obstacles one may face on the road.
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Kottukkaali centres on women like Meena, played with haunting brilliance by Anna Ben, who refuse to conform to societal expectations. Meena's resistance is not just an act of rebellion; it is a silent, powerful statement against the facade of normalcy that her family wishes to maintain. The film's feminist undertones are undeniable, but Kottukkaali is much more than a feminist narrative. It is also the story of men like Paandi, portrayed by the exceptional Soori, whose struggle to understand Meena drives much of the film's narrative. Paandi's love for Meena is genuine, yet his journey reveals the deep-seated conflicts within him, challenging our perceptions of his character.
Meena appears as a woman whose emotions have been drained by an otherworldly force, as if her soul has left her, leaving her to move and behave like a walking corpse. No amount of shaming or physical violence can make her respond to her family's efforts to tame her spirit. She is an adamant girl, and only God can save her. But in reality, Meena's family doesn’t seek divine intervention to save her—they are merely hoping for a miracle that will make her docile so they can all return to their lives without facing the complexities of human emotions.
Meena's family, fully supported by Paandi, her fiance, takes her to a godman to extract the evil entity from her. Like Vinothraj's debut feature Koozhangal, Kottukkaali is also a road film. The journey that Meena and her family undertake to seek help from a godman exposes the vicious cycle of superstition that traps young people, dictating their lives and choices. The film's exploration of how superstition and societal norms stifle individuality and freedom is both poignant and powerful.
The character of Paandi is particularly intriguing. His deep affection for Meena is evident, yet there is a moment in the film that reveals an unexpected side of him, shocking the audience and challenging our assumptions. The moment of realization (towards the end), when Paandi understands that even the gods cannot solve his predicament, is pure cinematic brilliance.
Vinothraj's storytelling is deceptively simple. At first glance, it may seem like he is merely following his characters with a camera, but there is a profound depth to his work. In a single shot, he weaves multiple narrative threads that seamlessly intertwine, forming beautiful, decorative patterns that reflect the various shapes, motifs, and images of humanity.
After a remarkable showing at some of the world’s most popular film festivals, Kottukkaali is set to open in cinemas on August 23. As you may have guessed, it's an "artsy" film made with a copious amount of artistic sensibilities—a far cry from the brain-dead commercial entertainers we are subjected to week after week. This is your opportunity to prove the fixers, the movers, the shakers, the pundits and the naysayers of the film industry wrong. The theatre must have a place for all s of films, regardless of their size and budget. A theatrical experience should not be limited to its ability to distract us from our realities, but should also instill in us the ability to understand reality from a vantage point that we wouldn’t achieve if we were confined to the narrow definition of big-screen entertainment.