In the 1970s and 80s, directors like John Abraham ( Amma Ariyan , 1986) and G. Aravindan ( Thambu , 1978) produced radical, almost documentary-like cinema that dissected feudalism and class. But the genius of modern Malayalam cinema is how it has internalised politics without becoming pamphleteering. A film like Ee.Ma.Yau (2018) is ostensibly about a poor man’s funeral, but it is a devastating critique of caste, clerical power, and consumer Christianity in Kerala. Nayattu (2021) uses a police chase to expose the brutal machinery of state oppression, echoing real-life political lynchings in the state.
Films from Mumbai Express (2005) to Vellam (2021) constantly toggle between the arid glitter of Dubai and the green longing of God’s Own Country. The archetypal “Gulf returnee”—with his gold chains, oversized suitcases, and broken dreams—is a stock character. Yet, filmmakers like Zakariya ( Halal Love Story , 2020) have nuanced this, exploring how the Gulf remittances built Kerala’s middle class while simultaneously creating a spiritual and emotional vacuum. The cinema becomes a kavadi (carrier) for this displaced identity, assuring the millions working in Doha or Riyadh that their sacrifice is seen, their culture remembered.
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have dominated the screen for decades, known for their incredible versatility and "unmatched talent". In the 1970s and 80s, directors like John
bring a raw, human intensity to the screen that felt as authentic as a Kathakali performance at the local temple. A Modern Masterpiece
Films frequently feature diverse religious backdrops—Hindu, Christian, and Muslim—portraying these lifestyles authentically without them being mere plot devices. A film like Ee
But the next morning, Ammachi called in a favor. Back in the 1970s, she had worked as a costume assistant on the sets of the legendary Nirmalyam (a landmark film about a temple priest’s decline). She still had the phone number of a certain retired art director who lived in Trivandrum.
For decades, the cinema was dominated by the "Communist hero"—the thoughtful, slightly weathered activist in a mundu (dhoti) and a khaki shirt, popularized by superstars like Mammootty in films like Oru Vadakkan Veeragatha (which re-imagined feudal legends through a class lens) and later Paleri Manikyam (2009). The Church, too, has been a frequent subject, portrayed as a pillar of community in classics like Kireedom (1989) or as a nest of hypocrisy in arthouse films like Agnisakshi (1999).
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