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The 1980s and 1990s saw a new wave of cinema in Malayalam, with directors like Adoor Gopalakrishnan, P. Padmarajan, and John Abraham making films that were more experimental and socially conscious. This period also saw the rise of stars like Mohanlal, Mammootty, and Dulquer Salmaan.
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Cinema often celebrates Kerala’s bold flavors. You can experience this firsthand at: Mullapanthal Toddy Shop The 1980s and 1990s saw a new wave
No discussion of Malayalam cinema is complete without mentioning the Parallel Cinema movement of the 1970s and 80s, spearheaded by the legendary Adoor Gopalakrishnan, Aravindan, and Shaji N. Karun. Films like Elippathayam (The Rat Trap) and Mathilukal (The Walls) were steeped in Kerala’s feudal history, caste dynamics, and post-colonial melancholy. Films like Elippathayam (The Rat Trap) and Mathilukal
Despite its many achievements, Malayalam cinema faces challenges in the modern era. The rise of digital platforms and changing audience preferences have forced the industry to adapt and evolve. There is a need for more experimental and innovative storytelling, as well as a greater focus on niche subjects and themes. The industry must also strive to promote diversity and inclusivity, representing the experiences and perspectives of marginalized communities.
Two years later, Unni’s first feature film, The Lamp and the Rain , opened the International Film Festival of Kerala. The final shot was a ten-minute single take: an old man walking through a crumbling tharavad courtyard, extinguishing a brass lamp with his bare fingers. No dialogue. Just rain, a veena , and a chenda beating a slow, funeral rhythm.
The Pooram (temple festival) with its caparisoned elephants and panchavadyam (orchestra) is a favorite set piece. In Varathan (2018), the tribal Theyyam dance (a ritualistic performance of a god’s story) is juxtaposed against the terror of home invasion. In Ee.Ma.Yau , a Christian funeral procession is filmed with the same epic grandeur as a temple procession, suggesting that ritual—regardless of religion—is the skeleton of Keralite identity.
