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This new wave is also more diverse, bringing stories from Christian and Muslim communities that were previously relegated to stereotypes. It is confronting caste directly—something the industry itself has historically hidden due to its upper-caste dominance.

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The superstar Mohanlal’s iconic character in Kireedam fails because of a corrupt system, not personal weakness. In Sandhesam (1991), a satirical comedy, a family’s political rivalry between the communists and the Indian National Congress exposes the absurdity of ideological rigidity. Even today, films like Nayattu (2021)—a thriller about three police officers on the run—is an unflinching look at caste politics and the tyranny of the state machinery over the powerless.

Unlike Bollywood, which historically shied away from explicit political commentary until recently, Malayalam cinema has always been comfortable with class consciousness. The late 1980s saw the rise of the "Goddard of Kerala," John Abraham, whose film Amma Ariyan (1986) was a radical Marxist critique of feudalism. But the influence is subtler, too.

However, mainstream Malayalam cinema has often been criticized for its conservative treatment of women, despite the state’s high literacy and gender development indices. The "superstar" films of the 1990s relegated heroines to decorative "love interests" for the male protagonist. But the parallel cinema movement, led by directors like Adoor Gopalakrishnan ( Elippathayam - 1981), offered a different narrative. His films show the rat-in-a-maze existence of the feudal landlord, a creature of a dying matrilineal world unable to adapt to modernity.