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The arrival of digital cinematography and OTT platforms (Netflix, Amazon, Hotstar) unleashed a raw, unglamorous wave of filmmakers.

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    • The 2010s saw the explosion of the "New Generation" cinema, spearheaded by directors like Anjali Menon and Aashiq Abu. Films like Bangalore Days (2014) and Ustad Hotel (2012) were slick, urban, and aspirational. They featured youngsters using MacBooks, discussing sex openly, and breaking joint-family norms. To the urban elite, this was "progressive." Search Online : You can use search engines

    However, a fierce counter-narrative emerged. Filmmakers like Lijo Jose Pellissery and Dileesh Pothan argued that "New Generation" often erased the darker aspects of Malayali culture: caste.

    For decades, Malayalam cinema was dominated by upper-caste (Nair, Namboodiri, Syrian Christian) narratives. The lower castes—Ezhavas, Dalits, and tribals—were either comic relief or victims. Films like Kumbalangi Nights (2019) and Jallikattu (2019) changed that. Movie Databases : Websites like IMDb, Wikipedia, and

    Ee.Ma.Yau. (2018), directed by Lijo Jose Pellissery, is a masterpiece of cultural deconstruction. The entire film is set around the failed funeral of a poor, lower-caste man named Vavachan. The film satirizes the Catholic church’s commercialization of death, the village politics of respect, and the absurdity of ritual. It asks a brutal question: In Kerala, does a poor man even have the right to die with dignity?

    Similarly, The Great Indian Kitchen (2021) became a cultural phenomenon not because of its filmmaking, but because of its honesty. The film showed the daily drudgery of a Brahmin household—the scrubbing, the cooking, the misogyny masked as tradition. It sparked a state-wide debate about patriarchy in the kitchen. In Kerala, a state with the highest divorce rate in India and a high rate of female suicide, this film was a necessary mirror. It led to real-world "I quit" movements among housewives and changed how family courts looked at "mundane" cruelty.