Think of the early works of Adoor Gopalakrishnan or John Abraham — stark, poetic, and unforgiving. They didn’t shy away from showing the decay of feudalism, the weight of caste, or the loneliness of modernity creeping into god’s own country. Then came the middle path — Priyadarshan’s wit, Sathyan Anthikad’s middle-class melancholia, and the sudden, raw eruption of new wave filmmakers who understood that Kerala is not just backwaters and boat races, but also a land grappling with migration, Gulf money, love jihad moral panics, and the quiet erosion of matrilineal memories.
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Films frequently tackle sensitive topics like caste, political corruption, and religious harmony. Think of the early works of Adoor Gopalakrishnan
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