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In the 1950s and 60s, films like Neelakkuyil (The Blue Cuckoo) broke taboos around caste and illegitimate children. By the 1980s, the golden age of directors like G. Aravindan and John Abraham produced works devoid of song-and-dance fantasies, focusing instead on existential struggles. Aravindan’s Thambu is essentially a visual poem about a circus troupe traveling through rural Kerala, where the landscape itself becomes a character. In the landscape of Indian cinema, where spectacle

When a director like Lijo Jose Pellissery ( Jallikattu , Ee.Ma.Yau. ) shoots a funeral or a buffalo chase, he is not just showing action; he is dissecting the pagan undercurrents that survive beneath the veneer of Kerala’s high literacy and religious piety. It transforms the gritty streets of In the

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