Koozhangal

A journey through the desert to reach the village where father and son live, it becomes a representation of the family, patriarchal power and the division of the sexes. Despite a drunken and violent father, the son follows him (perhaps he will also become a drunken and violent father). There is good handling of the camera (in the long shot in the village), but the length is long for the scope of the narration.

Disclaimer: This movie is strictly for move lovers like ..... i don't know like what but not for all 😊

Did i like it, i don't know but a very different attempt. Full visual, even if you don't understand a word you can follow and understand based on your experience. A story of bringing back an angry alcoholic's wife back home.

I dont think a movie like this is ever made in Tamil. And do we even call this a movie, may be a short film.

Watched it because Manirathnam, Vetrimaran, Sudha, and few others praised it so much. I did not read any review or heard anybody even watched, I just watched based on Mani and Vetri. I as surprised.

This movie is not the highlights of your life , cinema has been soo kind to give only the highlights of life and makes more intresting and increase our tempatation. But this film is an exception. This movie is toattly have a different working, if u r commercial cinema lover pls dont watch it but if u r a cinema lover this film is for you. Its a different concept , it will be difficult to explain. This movie is point to point action of events without highlights which portraits the true emotion of a person. The scenic climate siyuation everything was an absolute creep. U may get bored due to the lot of walking, but it was quite an experience. A perfect artistic film. The director vinoth kumar has conveyed lot of things without dialogues. The sounds camera were soo good. The cast did their job to perfect. The too much walki g scenes cud have reduced , but a good artistic experience. Many dont understand this concept. But its worth for a cinema lover. Available in Sony Liv.

I decided to watch this film primarily because of its Oscar nominations and award wins. However, what unfolded on screen left me with mixed feelings.

The documentary-style drama had its moments, but I couldn't help but feel that a significant portion of the movie could have been omitted. In particular, the extended walking scenes added unnecessary length to the runtime, making the viewing experience feel like a bit of a drag.

In hindsight, it seemed that the essence of the story could have been effectively conveyed in a much shorter format, perhaps as a concise and impactful short film lasting around 20 minutes. This would have likely made the narrative more engaging and avoided the sense of time being wasted during the viewing.

"Pebbles," a film by PS Vinothraj is a cinematic story that is analytical and sensual at the same time, a small narrative and abstract allegory and he meditates on the most sublime cinematic level on his story, the characters and the landscape. Vinoth's accents are mainly based on the rhythm of the day, landscapes and animals, visible for example in the opening scene. It is followed by the introduction of Ganapathy, sweat drips as every forward step he takes boils him alive. He drops by the school, interrupts the class and glances over to spot his son. This is not a dad trying to be hip and cool Infront of the teacher. The camera rummages to introduce us to Velu, he stands shaken, looking up with fear. He is pulled out of the classroom; next shot we see Velu maintaining a distance and walking behind his father. Coated in rage and sweat, Ganapathy turns to Velu and asks, "Do you love your mother or me?"

Velu stands in silence and is questioned again, he maintains the usual stare looking at his father who has pulled him out to accompany him to his in-laws' village and bring back his mother, who has left him to escape his abuse. What follows next is a road trip of Ganapathy and Velu on foot and the film manages to transcend drama and pain by speaking in silence, in the language of visuals. It is confronted with the clash of emotions with the harsh realities of the desolated landscapes. One has the feeling of experiencing the action from the perspective of the characters on the one hand, and on the other hand, by removing them, the harshness of the scene is emphasized. The characters are given space to sweat and the scenes are prolonged in length which is too pedestrian. It is haunting as the grim reality of the plot is deliberately multiplied by the inclusion of landscapes that are as hostile to life as possible. However, the silence is not particularly bad for me, as the film stages its story with masterful restraint. Vinoth allows for emotions, actually narrates and delves into endless deserted shots, which - one must say - never seem artificial and is very organic till the last frame where an old lady is inside the pit to collect a pot of water while others wait, the chances are less but life goes on.

The Cinematography is obviously so masterful even with a simple plot it is based on visual components in such a way that monotony the action only gains quality through the concrete form in Jeya Parthiban and Vignesh Kumulai's work. Another major highlight is the Sound design by Hari Prasad, it works so well. For the most part, it is accompanied by the ambient sounds of a deserted wasteland - birds chirping, trees rustling, the splash of water from the pot inside the bus, baby crying, rats squeaking, a girl throwing dried leaves high into the air, an airplane, TVS xl bike, a puppy playing with coke bottle, a snake slithering on the surface. The elements are out in full force and the result is a soundscape both epic eventually growing into something disturbing. Mention of the soundtrack necessarily means discussion of Yuvan Shankar Raja and his minimalistic score. It lays silent, or at least practically invisible, during the runtime only to erupt all of a sudden. The score in the penultimate scene showing a beautiful bond with Velu, his little sister playing with the puppy is of the highest order.

But the great strength of the film is probably the acting, the standout performance comes from Ganapathy excellently played by Karuththadaiyaan, he nailed as the abusive father and reveals a lot of toxic masculinity with rage. Velu is extraordinary, his gaze is filled with despair and longing for hope as he is part of his father's toxicity, misogyny and you know the rest and it's like every other day for him. My favorite scene is when Velu picks up shards of glass from a broken mirror and reflects the sun rays on his father's bare back while sucking on the pebble to keep saliva going, it is a brilliant scene, an innocent act of rebellion.

Overall, this film is not high on entertainment, and I'm very hesitant to recommend it to everyone due to its pacing which is its greatest asset. In the fast-paced smartphone generation to sit through "Pebbles" is a big yawn and I'm so glad that director Ram, Yuvan Shankar Raja and Rowdy Pictures stood by Vinoth and backed his vision. I couldn't be more excited for Koozhangal to represent India as it will be competing in the International Feature Film category at the Academy to be held in March 2022. Since there are not many reviews yet, I shared my thoughts on this gem and I hope this movie can harvest as many awards as it can, hopefully the Oscars (eventhough the competition is tough).

That said, I'm glad that the future of Tamil indie cinema is in good hands with talents like P. S. Vinothraj, Kamalakannan, Arun Matheswaran, Vijay Jayapal, Arun Prabu Purushothaman, Thiagarajan Kumararaja, Jayaprakash Radhakrishnan, Balaji Vembu Chelli, Leena Manimekalai, Arun Karthick, Manoj Leonel Jahson and Shyam Sunder.