Malayalam Cinema Isn’t Playing Safe Anymore—And That’s Exactly Why Everyone’s Watching

Mammootty in Bramayugam — a performance that redefines risk

Image Source- The New Indian Express

For more than a year, I’ve been writing reviews, breaking films down, and nitpicking every detail—but I never stopped to talk about something bigger. But somewhere along the way, I realized I’ve never really paused to talk about something bigger, the industry itself, the films I grew up watching. And I think it’s high time I did that. Maybe I’m a little late, but then again, better late than never… so here I am.

After COVID hit, everything came to a standstill. People were stuck at home, unsure, and honestly just looking for something to hold on to. That’s when OTT took over, and something interesting started happening. People began exploring content beyond what they were used to. And suddenly, Malayalam cinema was everywhere. I remember even before that, back in college, when Premam released, my non-Malayalam friends were completely hooked. There was always something there, but during COVID, it felt like the whole country finally noticed it.

Since then, there’s been a shift. People started going back to older films of Mohanlal and Mammootty, and that’s when it really hits you how much legacy already exists here. Mohanlal’s older films, especially, are still so widely talked about, and for good reason. The kind of characters he’s played, the way he’s performed, it’s something you can keep going back to. I can honestly go on and on about his filmography. I remember reading somewhere that a Hollywood director once said Mohanlal was born in the wrong era, that if he were elsewhere, he would’ve probably had an Oscar. And when you watch his work, that statement doesn’t even feel exaggerated. The fact that he’s been honoured with the Padma Bhushan recently just makes it even more special. Moments like this make me feel proud to even be writing about this industry.

Mohanlal’s legacy still shapes how Malayalam cinema is seen today

Image Source- Madraswallah

And that’s when it really hit me, Malayalam cinema has never been about just actors. It’s always been about the story. The audience here is different, too. They’re sharp. They don’t just watch a film because of who’s in it; they watch it because it’s worth watching.

What I admire the most right now is the kind of choices being made. Actors are stepping into roles that push boundaries, stories are being told without fear, and filmmakers are trusting the audience to understand something deeper. Not everything is made for mass applause, and that’s exactly what makes it stand out. Of course, commercial films still exist, but alongside that, there’s this constant push to do something different, something real.

What really stands out to me is the kind of bold choices actors are making, especially someone like Mammootty. At a stage where most actors would naturally lean into safer roles, he’s doing the complete opposite. He’s constantly stepping into characters that are uncomfortable, layered, and sometimes even difficult to watch, and that takes a different level of courage. Take Kaathal – The Core, for example, where he plays a gay character. For an actor of his stature, that’s not just a role, it’s a statement. I honestly don’t know how many actors at that level would take that risk, and that’s exactly what makes it stand out even more.

And it doesn’t stop there. Films like Bramayugam show a completely different side, dark, haunting, almost unsettling, where presence alone carries the film. Then you have Kannur Squad, which feels grounded and real, driven more by performance than spectacle. When you look at films like Aattam, Rorschach, or Romancham, you start to see a pattern. These films aren’t holding back; they’re experimenting with form, tone, and storytelling in ways that trust the audience to stay with them.

Still from Romancham

Image Source- OTTPlay

There’s this one film, Dies Irae, that genuinely made me uncomfortable in the best way possible. It created such an eerie atmosphere that I was constantly on edge. It’s not the kind of film you instantly connect with—but that’s exactly why it stays with you. It’s not something I’ve experienced in a Malayalam film recently, and it honestly ticks so many boxes.

At the same time, films like Narivetta and Feminichi Fathima take a different route but still carry the same boldness. Feminichi Fathima, especially, stands out as a genuinely rebellious film, one that places a woman at the center and isn’t afraid to show her strength, her anger, and her space without softening it for comfort. These are stories that don’t try to please everyone, and that’s exactly why they work.

Then you have films like Ponman and Lokah: Chapter 1 – Chandra, which show how wide the spectrum really is, and Eko, where the storytelling takes a turn you don’t fully see coming, leaving you with something to think about even after it ends. Add to that something like Kishkindha Kaandam, which leaves you thinking about how tightly a thriller can actually be told, and you start to realize this isn’t about one genre or one kind of film, it’s about a mindset.

At this point, it doesn’t even feel like I’m talking about just a few films or performances. This is something bigger. It’s an industry that is constantly evolving, constantly pushing itself, and most importantly, trusting its audience. And as someone who grew up watching these films, there’s a certain pride in seeing this shift recognized everywhere now. This is honestly just scratching the surface. I could keep going and still not cover it all. And maybe that’s the best part. Because this isn’t just a moment, it feels like something that’s here to stay.

By the way, if you’re into grounded film thoughts, underrated thriller picks, or just plain honest recommendations, I’m over on Instagram:@bingewatch_perspective.  That’s where I post quick recaps, hot takes, and those offbeat gems you might’ve missed.

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