The Year In Malayalam Cinema: Underrated Films & Performances

IT IS SAID THAT Malayalees who are known for their discerning taste in cinema rarely overlook exceptional cinema. But yes, even the much-acclaimed films are scrutinised through multiple lenses before gaining approval. The box office hits so far have been testimony to that fact. Having said that now and then comes a film (or performance) that might have garnered attention but still deserves better numbers at the box office. This year such instances have been rare, but we still managed to compile a list.

Directed by Vishnu Narayanan, this satirical drama conceals a relevant premise beneath its lighthearted surface. At the core of this family drama, set in an apartment complex, are fragile male egos at work, as they attempt to hide their insecurities and chauvinism to masquerade as society-abiding citizens. The men in the locality are incensed by their new neighbour Mariner Unni (Biju Menon) who appears to be rather popular with the women, leading to a series of conflicts. 

What’s interesting is how Vishnu seamlessly weaves in patriarchy, societal double standards, female desire, and social media infringement into the narrative, without compromising on the entertainment quotient. For instance, the antagonist Ajith (a stellar Suraj Venjaramoodu) is that typical “good guy” who hides his toxicity beneath a veneer of sophistication. But unfortunately except for ruffling the feathers of a significant portion of the male audience, the film failed at the box office.

Gaganachari

Arun Chandu propels us into a dystopian Kerala of the 2040s, where ecological devastation has already occurred. Petrol prices have hit the roof, the ecosystem is in disarray, aliens roam the streets and beef has been outlawed. Amidst this chaos, three men with idiosyncrasies are trying to navigate their lives—Victor (KB Ganesh Kumar), a petrol-head turned national hero who gets his routine programmed by a local Alexa, Allen (Gokul Suresh), a voice artist obsessed with cult Malayalam films and is unhappy about remaining single and Vaibhav (Aju Varghese), ex-social media influencer who lost his job owing to internet shutdown. A female alien’s (Anarkali Marikar) entry to their home further disrupts their lives. 

The writing is biting and irreverent, mocking societal norms, gender dynamics, politics, and digitalisation. The setting is vividly realised through its vibrant hues, props, sartorial sense, and imaginative cinematography. Performances, of course, amplify the writing. It’s a satirical glimpse into a disturbingly plausible future. But the film seemed ahead of its time, struggling to resonate with a wider audience, beyond a niche section of cinephiles. Even on OTT, it didn’t create a stir, maybe a lot of it has to do with its deliberate pacing and unconventional theme.

It takes a lot of ingenuity to weave a witty spin on a familiar narrative. In his debut directorial Krishnadas Murali pitches a joint family into the centre, with an elderly man (Saikumar), his wife (Kalaranjini), and their children. Their unassuming life is left shattered when during a health scare, the man admits to having a second wife to his son (Saiju Kurup). 

There is nothing original about this thread, especially when we have had such narratives that bordered on melodrama. But what makes this ingenious is how they create an unlikely layer of satire into this complexity, thereby subverting the traditional melodramatic tropes attached to such a theme. So not only do the two women turn the man irrelevant in their narrative but also navigate this unexpected setback in their lives with a sense of heartwarming sisterhood. But again the film didn’t fetch numbers though it did create a minor stir on OTT.

If MT Vasudevan Nair weaved a meditative relationship drama in Oru Cheru Punchiri, which takes us through the endearing mundanity in the daily existence of a loving septuagenarian couple, Abijith Asokan had a more daunting task in Jananam. The film’s narrative centres around an old couple, both widowed and finding love all over again. 

It’s a theme that requires finesse and profundity and that’s achieved through well-crafted characters and nuanced details. Their relationship is portrayed with subtlety, devoid of melodrama. It helps that Leela Sampson and Jayarajan Kozhikode pick the intricacies of their characters with flair. With just the right dose of feel-good factor and gravitas, the film unfortunately flew under the radar, deserving a wider audience.

Aattam pivots around a flourishing drama troupe in the city when a woman’s camaraderie with her male colleagues is shattered when she gets groped at a party thrown by one of the leading actors in the group. Not only does it leave her traumatised but also opens her eyes to the misogynistic tendencies of the men she considered her own. 

Zarin Shihab is a natural, navigating the complexities of Anjali with grace and depth. Her arc is well-developed, thereby making us easily invested in her journey. Take the crucial scene when she is cornered by the men at the dining table, their mask slowly slipping in front of her, that showcases Zarin’s nuanced understanding of her character. But somehow her performance didn’t get the accolades it deserved.