<p>The Malayalam industry’s response to the pandemic is worth emulating.</p>.<p>A couple of days ago, the Kerala government announced its plan to open an OTT platform for the industry. It aims to help small-budget films reach the audience.</p>.<p>It remains to be seen if the plan succeeds but the idea couldn’t have come at a better time. Streaming sites became home for films once the pandemic broke out. As startling as it may sound, there have been 45 direct-to-OTT Malayalam releases so far this year.</p>.<p>This terrific development comes on the back of several top-notch Malayalam releases during the peak of the pandemic in 2020. Treating existing themes with an innovation touch has been Malayalam filmmakers’ biggest trick to success. The sheer variety of plots is worth a study. By adapting to the challenges thrown by the pandemic, they redefined the idea of film locations. </p>.<p>Showtime takes a look at how the industry stood out amidst the rush of overflowing content online in the most interesting phase of the OTT era.</p>.<p><strong>Old ideas with a difference</strong></p>.<p>‘Kala’, starring Tovino Thomas, is a revenge drama. Director Rohith VS turns a done-to-death concept into an edge of the seat affair by focusing on form. It’s a gloriously shot film with many unusual camera angles. The abundant hideous violence is wonderfully choreographed. Amidst the bloodbath, the film potently speaks about the man versus nature subject. </p>.<p>Debates about cinema versions of famous literary works are never-ending. ‘Joji’ is based on Macbeth, the Shakespearean tragedy. Director Dileesh Pothan deserves credit for his minimalistic approach to an intense tale. Fahadh Faasil’s amusing performance grows darker towards the end and leaves a chilling impact. </p>.<p><strong>Experimental takes on social issues</strong></p>.<p>The weakest portion of ‘CU Soon’ is when the story of human trafficking unfolds. It becomes a plain retelling of a subject explored extensively in films. But till that point, the film is riveting. Sharply edited and brilliantly shot, the excitement of watching an Indian computer-screen film is not something we experience often. </p>.<p>Like ‘CU Soon’, ‘Love’ by Khalid Rahman, also embraces an out-of-the-box style to talk about an issue (domestic violence). Shot mostly in an apartment, the thriller imaginatively shows different sides of an abusive husband. Fine acting and ample black comedy keep us guessing the script’s twists and turns. The climax turns the story on its head. Flaws and all, ‘Love’ is never less-interesting. </p>.<p><strong>Unique conflicts</strong></p>.<p>In ‘Nayattu’, the mouth-watering premise of police, the traditional hunters, being hunted is engagingly told on screen. The film surprises and provokes us as it lays bare the dirty games of politics. The film’s open-ended finish spurred discussions, serving the purpose of director Martin Prakkat. He takes a realistic story and makes it hard-hitting. </p>.<p>‘Aarkkariyam’ seems like a really simple relationship drama till a superb shock at the interval block. The big reveal drastically shifts the tone of this slow-burner. It suddenly becomes a self-realisation journey of all the characters that grows on you. </p>.<p><strong>Stories of strong women </strong></p>.<p>Our go-to-comfort films show food in all its glory. Jeo Baby’s ‘The Great Indian Kitchen’ (TGIK) disrupts the pleasing image attached to cooking. A mundane aspect in every household, like women’s judicious efforts to clean the messy kitchen, was hardly represented in films. The film is a powerful portrayal of a voiceless woman who turns into a fiery individual to walk out of a patriarchal setup. </p>.<p>‘Biriyani’, by Sajin Babu, is also about questioning regressive practices. The difference being that ‘TGIK’ can leave women empowered while ‘Biriyani’ jolts and disturbs people with its climax. It’s a bold tale of a woman cruelly suppressed at every stage of her life. Both the films ruffled some feathers but won worldwide acclaim. </p>.<p><strong>Art of making a sequel </strong></p>.<p>Fans were drawn to the old great Mohanlal in Jeethu Joseph’s ‘Drishyam 2’. To retain the soul of the original is the key to a sequel’s success. Director Jeethu Joseph enhanced the charm of a rare character like Georgekutty, stayed true to the family-drama genre once again and didn’t forget to place a jaw-dropping twist in the climax. </p>.<p><strong>Creativity rules</strong></p>.<p>In Mollywood, established stars don’t give importance to the size of their roles. They have a keen eye for interesting characters. The industry is blessed with content creators even from the state’s smaller towns. It is an industry that is flexible, constantly explores its roots, its picturesque locales and strives for creativity while dealing with solid subjects. All for an audience that has an equally insatiable hunger for quality.</p>
<p>The Malayalam industry’s response to the pandemic is worth emulating.</p>.<p>A couple of days ago, the Kerala government announced its plan to open an OTT platform for the industry. It aims to help small-budget films reach the audience.</p>.<p>It remains to be seen if the plan succeeds but the idea couldn’t have come at a better time. Streaming sites became home for films once the pandemic broke out. As startling as it may sound, there have been 45 direct-to-OTT Malayalam releases so far this year.</p>.<p>This terrific development comes on the back of several top-notch Malayalam releases during the peak of the pandemic in 2020. Treating existing themes with an innovation touch has been Malayalam filmmakers’ biggest trick to success. The sheer variety of plots is worth a study. By adapting to the challenges thrown by the pandemic, they redefined the idea of film locations. </p>.<p>Showtime takes a look at how the industry stood out amidst the rush of overflowing content online in the most interesting phase of the OTT era.</p>.<p><strong>Old ideas with a difference</strong></p>.<p>‘Kala’, starring Tovino Thomas, is a revenge drama. Director Rohith VS turns a done-to-death concept into an edge of the seat affair by focusing on form. It’s a gloriously shot film with many unusual camera angles. The abundant hideous violence is wonderfully choreographed. Amidst the bloodbath, the film potently speaks about the man versus nature subject. </p>.<p>Debates about cinema versions of famous literary works are never-ending. ‘Joji’ is based on Macbeth, the Shakespearean tragedy. Director Dileesh Pothan deserves credit for his minimalistic approach to an intense tale. Fahadh Faasil’s amusing performance grows darker towards the end and leaves a chilling impact. </p>.<p><strong>Experimental takes on social issues</strong></p>.<p>The weakest portion of ‘CU Soon’ is when the story of human trafficking unfolds. It becomes a plain retelling of a subject explored extensively in films. But till that point, the film is riveting. Sharply edited and brilliantly shot, the excitement of watching an Indian computer-screen film is not something we experience often. </p>.<p>Like ‘CU Soon’, ‘Love’ by Khalid Rahman, also embraces an out-of-the-box style to talk about an issue (domestic violence). Shot mostly in an apartment, the thriller imaginatively shows different sides of an abusive husband. Fine acting and ample black comedy keep us guessing the script’s twists and turns. The climax turns the story on its head. Flaws and all, ‘Love’ is never less-interesting. </p>.<p><strong>Unique conflicts</strong></p>.<p>In ‘Nayattu’, the mouth-watering premise of police, the traditional hunters, being hunted is engagingly told on screen. The film surprises and provokes us as it lays bare the dirty games of politics. The film’s open-ended finish spurred discussions, serving the purpose of director Martin Prakkat. He takes a realistic story and makes it hard-hitting. </p>.<p>‘Aarkkariyam’ seems like a really simple relationship drama till a superb shock at the interval block. The big reveal drastically shifts the tone of this slow-burner. It suddenly becomes a self-realisation journey of all the characters that grows on you. </p>.<p><strong>Stories of strong women </strong></p>.<p>Our go-to-comfort films show food in all its glory. Jeo Baby’s ‘The Great Indian Kitchen’ (TGIK) disrupts the pleasing image attached to cooking. A mundane aspect in every household, like women’s judicious efforts to clean the messy kitchen, was hardly represented in films. The film is a powerful portrayal of a voiceless woman who turns into a fiery individual to walk out of a patriarchal setup. </p>.<p>‘Biriyani’, by Sajin Babu, is also about questioning regressive practices. The difference being that ‘TGIK’ can leave women empowered while ‘Biriyani’ jolts and disturbs people with its climax. It’s a bold tale of a woman cruelly suppressed at every stage of her life. Both the films ruffled some feathers but won worldwide acclaim. </p>.<p><strong>Art of making a sequel </strong></p>.<p>Fans were drawn to the old great Mohanlal in Jeethu Joseph’s ‘Drishyam 2’. To retain the soul of the original is the key to a sequel’s success. Director Jeethu Joseph enhanced the charm of a rare character like Georgekutty, stayed true to the family-drama genre once again and didn’t forget to place a jaw-dropping twist in the climax. </p>.<p><strong>Creativity rules</strong></p>.<p>In Mollywood, established stars don’t give importance to the size of their roles. They have a keen eye for interesting characters. The industry is blessed with content creators even from the state’s smaller towns. It is an industry that is flexible, constantly explores its roots, its picturesque locales and strives for creativity while dealing with solid subjects. All for an audience that has an equally insatiable hunger for quality.</p>