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The post-2010 "New Wave" (often called the Prakruthi Padam or "nature film" ironically) has actually deconstructed the very idea of "culture."
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While Malayalam cinema has historically been progressive in its themes, it has faced criticism for harboring behind-the-scenes patriarchy and on-screen misogyny during certain eras. However, Kerala's contemporary cultural awakening has forced a massive reckoning within the industry.
Unlike Bollywood’s "angry young man" who fights a system for personal revenge, the Malayalam hero of the 1980s and 90s was often the everyman —a weaver, a goldsmith, a union leader. K. G. George’s Yavanika (1982) used a missing tabla to expose the corruption within the cultural troupes of Kerala. John Abraham’s Amma Ariyan (1986) was a radical critique of the Naxalite movement, questioning whether the revolution ate its own children. The financial potential of this industry is staggering
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The foundations of Malayalam cinema are deeply intertwined with Kerala’s literary tradition and social reform movements. The early decades of the industry saw a seamless transition of popular Malayalam literature from the page to the silver screen.
The 1950s to 1970s are often referred to as the "Golden Age" of Malayalam cinema. During this period, filmmakers like Adoor Gopalakrishnan, Kunchacko, and P. A. Thomas made significant contributions to the industry. Films like "Nokketha Doorathu Kannum Nattu" (1962), "Chemmeen" (1965), and "Adoor Gopalakrishnan's Swayamvaram" (1972) showcased the complexities of Kerala society, including the struggles of everyday life, social inequality, and the decline of traditional values.