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Filmmakers began using Kerala’s geography—its backwaters, paddy fields, and traditional architecture—not just as a backdrop, but as an active element that defined the characters' identities.

The 2021 film Nayattu (The Hunt) shows how three police officers, belonging to different caste and political affiliations, are forced to flee for their lives. It exposes the natturajavu (the rule of the village—or local political strongmen) that still trumps the written law in Kerala. No review is complete without noting limitations: Malayalam

No review is complete without noting limitations: the local police station’s casual corruption

Malayalam cinema has historically been a tool for social critique, mirroring Kerala's progressive movements. Kerala Literature and Cinema caste persists | Perariyathavar (2018)

| Issue | Cinematic Critique | Film Example | |-------|--------------------|---------------| | | Despite reformist claims, caste persists | Perariyathavar (2018), Nayattu (2021) | | Religious orthodoxy | Patriarchy within churches/mosques/temples | Great Indian Kitchen , Thondimuthalum Driksakshiyum (2017) | | Political violence | Cadre-based killings and corruption | Vidheyan (1994), Aami (2018 – partially) | | Mental health stigma | Toxic masculinity and family pressure | Kumbalangi Nights , Jaan-e-Mann (2021) |

Then there is the 2013 classic Drishyam . While the plot is a masterclass in manipulation, the film is steeped in the culture of Thodupuzha. The protagonist Georgekutty’s life revolves around the cable TV network , the local police station’s casual corruption, and the unique Malayali obsession with cinematic masala. Without understanding the Kerala mindset—the blend of intellect and hypocrisy—the twists of Drishyam lose their weight.