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Instead, we get characters like in Mandi or Prasad in Kumbalangi Nights —flawed, broke, vulnerable, and deeply human. These characters reflect a culture that values relatability over escapism.

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Malayalam cinema sits exactly on this fault line. Films like Elipathayam used the crumbling taram (feudal estate) as an allegory for the upper-caste Nair’s inability to adapt to land reforms. Thondimuthalum Driksakshiyum built an entire courtroom drama around a stolen gold chain and a man who claims he is god—a brilliant satire of the gullibility and transactional nature of faith. Instead, we get characters like in Mandi or