The year 2024 began for Malayalam cinema with a thunderous applause for Manjummel Boysa film that captured the essence of friendship and adventure.
Set against the backdrop of Tamil Nadu’s famous Guna caves of Kodaikanal, the daring rescue drama marked how Malayalam cinema continued to push geographical boundaries while staying true to its storytelling roots. The success of this Chidambaram-directed venture set the tone for what would become a year of diverse storytelling.
Aadujeevitham, the talking point
But it was Aadujeevitham (The Goat Life) that became the talking point of Indian cinema. Blessy’s adaptation of Benyamin’s acclaimed Malayalam novel, starring Prithviraj Sukumaran, was hailed as the industry’s ability to handle grand narratives.
The desert survival drama arrived with immense expectations, owing to its nearly 15-year journey to the screen and Prithviraj’s dramatic physical transformation. While the film showcased Blessy’s directorial prowess in capturing the harsh desert landscapes and Najeeb’s harrowing survival story, pacing issues, particularly in the second half, somewhat took the edge off its impact.
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The film’s technical achievements — especially AR Rahman’s haunting score and Sunil KS’s cinematography — were universally praised. However, the relentless portrayal of suffering and the repetitive nature of certain sequences led to audience fatigue. Despite these criticisms, the film succeeded in translating Benyamin’s compelling novel to screen while demonstrating Malayalam cinema’s capability to handle international-scale productions.
When Fahad Faasil tried something new
Jeethu Madhavan's sophomore attempt, Avesham, marked an interesting turn in Fahad Faasil’s career, seeing him embrace a mass entertainer role with surprising enthusiasm. As the Bengaluru gangster with a soft heart, Fahad crafted a character that was a delightful departure from his usual intense, nuanced performances, channelling an almost theatrical energy reminiscent of over-the-top Nineties’ antagonists, but with a contemporary twist.
The film, directed by Jithu Madhavan, showcased Fahad’s versatility in handling comedy and mass sequences while maintaining his characteristic attention to detail. His portrayal of Rangannan with anger management issues demonstrated how even seemingly straightforward “mass” characters could be elevated through subtle character work. What made the performance particularly noteworthy was how Fahad managed to balance the exaggerated elements of Rangan with enough restraint to keep the character from becoming a caricature.
The surprise hit of the year
While Avesham brought its own flavour to the year, Premalu captured the hearts of young audiences with its fresh take on modern relationships and was the surprise hit of the year. The romantic comedy proved that Malayalam cinema could successfully cater to Gen Z sensibilities while maintaining its characteristic authenticity.
ARM (Ajayante Randaam Moshanam) and Brahmayugam showcased the industry’s growing appetite for experimental storytelling. The latter, a black-and-white period horror film, pushed the boundaries of conventional Malayalam cinema, proving that audiences were ready for bold, artistic choices. The striking aspect was how Mammootty approached this character with remarkable nonchalance and confidence, despite it being a significant departure from his usual roles.
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Experimental storytelling welcome
In Brahmayugamhe inhabited the menacing presence of Kodumon Potti /Chathan with such conviction that it reminded audiences of his exceptional range as an actor. His performance was enhanced by his masterful use of the period-appropriate Malayalam dialect and body language, creating an aura of timeless malevolence.
ARM attempted to experiment with narrative structure and genre-blending, but the execution fell short of its ambitious vision. While the film deserved credit for trying something different, its complex narrative choices sometimes came at the cost of emotional engagement. The film’s reception highlighted the ongoing debate about balancing experimental storytelling with audience accessibility in Malayalam cinema.
Bot nothing too experimental, please!
Mohanlal’s Malaikottai Vaalibandirected by Lijo Jose Pellissery, presented a particularly interesting case study. Despite the powerful combination of Mohanlal’s star power and Lijo Jose Pellissery’s directorial expertise, the film failed to connect with audiences at the box office. The film’s bold artistic choices — including its unique period setting, distinctive visual style, and unconventional narrative structure — while admirable from a creative standpoint, proved too experimental for mainstream audiences expecting a traditional Mohanlal entertainer.
The underwhelming performance of Malaikottai Vaaliban also reflects a broader shift in audience preferences, where even established stars such as Mohanlal need more than just presence to guarantee box office success. The film’s reception suggests that while Malayalam audiences are open to experimental cinema, they expect a certain level of narrative coherence and emotional connection, regardless of the star power involved.
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Woman power
Attam by Anand Ekarshi and Ullozhukku by Christo Tomy were two standout offbeat films of the year. Although Attam was censored in the previous year, it was released in theatres this year and achieved a respectable level of success—an uncommon feat for films of this genre. Both films upheld the Malayalam industry’s reputation for compelling, narrative-driven parallel cinema, exploring the lives of women from two distinct perspectives. UllozhukkuChristo Tomy’s first feature film following the immense success of the Netflix documentary Curry and Cyanideshowcased stellar performances from Urvashi and Parvathi Thiruvoth, with Urvashi delivering an unparalleled performance.
Gaganacharidirected by Arun Chandu, marked an ambitious venture in Malayalam sci-fi cinema, skilfully blending extraterrestrial elements with human drama. Despite budgetary constraints, the film impressed with its VFX and AI-generated imagery, creating a convincing post-apocalyptic Kerala ravaged by floods. What set it apart was its ability to weave emotional depth and complex human relationships into its sci-fi narrative, while maintaining an engaging balance between intrigue and suspense, ultimately emerging as a noteworthy addition to Malayalam cinema’s expanding genre boundaries.
Significant shift in audience preferences
Although not strictly a Malayalam film, the predominantly Malayali characters and the presence of Malayalam actors like Kani Kusruthi and Divyaprabha made All We Imagine as Light feel distinctly rooted in Malayalam cinema. The film follows the lives of two Malayalam-speaking nurses in Mumbai, exploring themes of desire, loneliness, and female friendship through a dreamlike narrative structure. Kapadia’s distinct visual language, combined with the nuanced performances of Kusruthi and Divyaprabha, created a work that resonated deeply with both critics and audiences on the international stage.
Its journey through prestigious film festivals, starting with its premiere at Cannes, marked a significant moment for Indian independent cinema with Malayalam roots. The film’s Golden Globe nomination further cemented its position as one of the year’s most significant achievements, showcasing how Malayalam cinema’s influence extends beyond traditional industry boundaries.
The box-office success of these films near the year’s end suggested a significant shift in audience preferences, embracing more experimental and genre-diverse content.
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Three standout films of different genres
The final quarter of 2024 saw Malayalam cinema’s impressive genre diversity with three standout films. Diljith Ayyathan’s Kishkindha Kaandam and Amal Neerad’s Bougainvillaea that delved into psychological thriller territory, offering a layered narrative that kept viewers on edge until the very end with both having memory loss of certain characters as an underlying theme.
MC Jithin's Sookshmadarsini reimagined the thriller genre, presenting a neighbourhood mystery through the eyes of an ordinary woman protagonist. Meanwhile, Aashiq Abu’s Rifle Club delivered a unique twist on Western films, rebranding them as “Wild Western Ghats” while stripping away traditional emotional arcs. What set these films apart was not only their genre variety but also their ability to captivate a broad audience.
Growing confidence in handling big-budget projects
BarrozMohanlal’s directorial debut, was a bold attempt at 3D filmmaking, signalling Malayalam cinema’s willingness to take on new technical challenges. The film’s ambitious scale reflected the industry’s growing confidence in handling big-budget projects. However, it encountered significant hurdles in execution.
Despite the substantial investment and use of 3D technology, the film struggled with fundamental storytelling. Its effort to deliver a fantasy adventure aimed at family audiences revealed weaknesses in managing VFX-heavy narratives. Barroz ultimately highlighted that technical advancements cannot replace the need for a solid, engaging story.
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Three surprise packages
Three films featured at this year’s IFFK—Feminichi Fathima (Feminist Fatima) by Fasil Mohammed, Appuram (The Other Side) by Indulakshmi, and Victoria by J Sivaranjini—proved to be surprise packages for Malayalam cinema. While Feminichi Fathima swept nearly all the major awards at IFFK and Appuram earned the KR Mohanan Award for greenhorns, Victoria is expected to spark significant discussions upon its theatrical release. Another notable addition to this category was Bharatapuzha by Manilal, a narratively powerful independent film.
The global reach of Malayalam cinema expanded further in 2024. Several films found audiences beyond Kerala’s borders, with some making significant impacts in international festivals. This global recognition came not from compromising the industry’s unique identity but from staying true to its storytelling roots while embracing universal themes.
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