Heat, wind and an adamant cinematographer

Every frame in PS Vinothraj’s Kottukkaali brims with intentionality. And every shot holds a story—sparking discussions among viewers even weeks after the film's release. B Sakthivel, who worked as an associate cinematographer in films like Maara, Mookuthi Amman, and Pathu Thala, made his debut as a cinematographer in Kottukkaali. He says it was overwhelming to hear how deeply the audience connected with his work. “What thrilled me most wasn't just the praise, but hearing viewers cite specific scenes to appreciate. They told me they felt like they were journeying alongside the film and its characters,” he shares, his voice brimming with excitement.

Sakthivel and Vinothraj’s association began long before the making of Koozhangal. “At the time, I was supposed to crank the camera for the film, but due to prior commitments, I couldn’t take up the responsibility. Vinothraj narrated Kottukkaali's script to me in 2022. From the moment I read it, I knew it would be challenging as well as interesting,” he recalls, adding that he wanted to capture the travel as well as the characters’ emotional journey in a cinematic way.

A minimalistic and precise approach

In a labour-intensive process like cinematography, Sakthivel had the added challenge of cutting mundanity wherever possible. “We experimented in all possible ways, by setting up shots from the auto’s front to back, placing shots from mid to wide to not make it repetitive. A lot of work went into figuring out which shot would convey the intended meaning. We designed and fixed the rig ourselves in Madurai with the help of a local builder,” he explains, noting that it was a first of its kind.

Shot fully in sync sound, Kottukkaali had a minimal cast, with most of them being first-time actors and a minimal crew. “There was an automatic discipline on sets when we started rolling. Even if there was a small error or a glitch, we shot it all over again,” he says.

The laborious pre-production

This was visible in Vinothraj’s perfection for shots and his eye for details in nature, not just in Kottukkaali, but also in Koozhangal. “None of the shots are there for beauty. Every shot serves a purpose to the overall story. The characters’ journey and the landscape shots would be in equal proportion,” says Sakthivel. Every scene was storyboarded, shot on DSLR and rehearsed by the team, before it was shot.

Just like the director's debut film, the heat was a constant companion in Kottukkaali. With almost all the scenes taken in daylight, the cinematographer mentions having to get involved in laborious pre-production work for three to four months before the shots could be finalised. “Each day would be different with varying intensity of heat and lighting. To ensure continuity, me and my assistants would hit the location and observe how the sun travels through the day and blocked the shots accordingly. We have shot the entire film in such harsh lighting,” he recollects. “You can notice that the landscapes and the wind would be a constant layer across the film. If not for nature’s support, we wouldn’t have been able to complete the film.”

Bringing out Meena’s defiance on camera

Another fascinating aspect of Kottukkaali is the symbolism subtly woven throughout the film, inviting the audience to interpret it. Sakthivel notes that even if viewers don't fully grasp the deeper meanings, they will still understand the film's core message. “We associate the bull with male chauvinism, but even without that context, if the general audience can see how the bull momentarily disrupts the journey, they’ll still comprehend the underlying message.”

Sakthivel’s camera was also focussed on showing Meena’s (Anna Ben) adamant nature on screen. “If you look closely, her eyes would never move even after getting hit by Pandi (Soori). We shot the scene using a 65mm block lens. If we had used another camera or a wide or close-up, we wouldn’t have gotten the desired emotion,” he shares, pointing out that they wanted to show Meena and the rooster in similar lighting.

“The rooster’s body language is beyond our control. We had the shot framed and were waiting for the rooster to lift its head and neck. It was a happy accident when it moved right to the center of the frame, just as we hoped. That moment was exhilarating for us, and it remains one of my favourite shots,” he adds.

Shift in perspectives

As he unravels every trivia, one naturally wonders about the challenges of working in the film. “To be honest, shooting the whole film was tough,” he laughs. “Apart from the lighting, we struggled with the interval portion, as it needed to be shot in a single take. The lengthy chaotic sequence required a lot of rehearsals. This is where the actors’ lack of experience helped retain the originality of the scene. All of their beatings were real. This had to be done to record the sound. There were almost six retakes for that sequence alone,” he reveals.

From point-of-view shots to close-ups and wide, long shots, the trial and error of camera placement led to diverse perspectives. “When you examine an issue up close, it can seem enormous, but when you step back, it feels different. We played with this irony in the long shot from across the bridge during the fight scene. Nature remained calm before they arrived and will remain unchanged after they leave. It is us who abuse them,” he shares.

This emphasis on perspectives extended to the characters as well. “Pandi is a disturbed individual. That’s why his introductory scene is shown upside-down. It looks weird for a reason. We also intentionally reduced his headroom to reflect his grey nature. Meena, on the other hand, is symbolically compared to the rooster,” he adds. There is an inner satire that also travels parallelly, which is seen in the way the women, despite being treated badly, rush to save the men in their family.

Debate around the climax

Meena is looked at as a possessed woman and the family is also adamant on casting the ‘spell’ out of her. By the time the film reaches its climax, the audiences are already part of their lives. “The point-of-view shots were used to make the audience interact with the characters. Pandi is confused and is shaken after the ritual takes place with another girl. The handheld shots indicate his troubled mind. The lens here is the human eye,” elaborates Sakthivel. “While we didn’t have the ending card, saying that the ending is in the audience's hands, in festival screenings, it was the team’s creative decision to add it later to the theatrical version.”

According to him, Soori had undergone a change even before the climax. “After the interval scene, where he hits everyone, he reflects on his behaviour and apologises. Throughout the journey, he is in a dilemma which reaches its peak in the end,” he signs off.

Story by Narayani M