Amid the ongoing debate on the absence of women in Malayalam cinema, a quick rewind of films with female characters that left a strong impact on the audience.
An overview of the ongoing discussion on lack of female representation in recent Malayalam hits. (X)
The ongoing debate about the lack of female characters in recent Malayalam hit movies is breaking the internet. The debate kicked off after filmmaker Anjali Menon, in her Instagram story, wondered: “Where are women in Malayalam cinema?”
She also shared an article published in The Hindu that focused on the absence of female characters in successful Malayalam movies released recently.
When asked about this ongoing debate, actor Nikhila Vimal, during the promotions of Guruvayoor Ambala Nadayil, opined that it was better not to include female characters in films if their roles were insignificant.
Interestingly, Jithu Madhavan, the director of Romacham (2023) and Aavesham (2024)—which were criticised for the absence of women’s representation—told the media recently that he does not add unnecessary characters (male or female) in his films.
Well, the momentum of this debate reached its peak when Malayalam actors Kani Kusruti and Divya Prabha became the talk of the town after their movie, All We As Imagine As Light directed by Payal Kapadia, won the Grand Prix Award at the recently concluded Cannes Film Festival.
Making Indian Cinema Proud. What an amazing achievement.
Congrats to Payal Kapadia, Kani Kusruthi, Divya Prabha, Chhaya Kadam and the entire team of All We Imagine as Light pic.twitter.com/OW1eRE8YVp
— Mammootty (@mammukka) May 26, 2024
Interestingly, those who opposed Anjali Menon and The Hindu article cited Kani Kusruti and Divya Prabha as the torchbearers of Malayalam cinema on the world stage and found others at fault for making a controversy out of nothing.
Against this backdrop, here’s a quick rewind of films with strong female characters that left an impact on audiences:
Kani Kusruti made a mark for herself in Malayalam cinema by doing a variety of films, web series, and short films. She hogged the limelight with her performances in Biriyaani (2020), Maharani web series (2021), and Poacher web series (2024).
Similarly, Nimisha Sajayan has done some exceptional roles in films like The Great Indian Kitchen (2021), Malik (2021), Nayattu (2021), Chithha (2023), and Poacher (2024).
Darshana Rajendran drew applause for her inspiring role in Jaya Jaya Jaya Jaya Hey (2022). The Vipin Das film was criticised for showcasing domestic violence though.
Jaya Savage mode on🔥👊#DisneyPlusHotstar #JayaJayaJayaJayaHey pic.twitter.com/xSSharVsYI
— Disney+ Hotstar Tamil (@disneyplusHSTam) March 28, 2023
Divya Prabha played an impactful role in Malik and Ariyippu (2022). Though she mostly plays serious roles, the actor revealed in an interview that she was keen to do comedy films, too.
After winning hearts in festivals all over the world @maheshNrayan’s #Ariyippu hits @NetflixIndia on Dec 16. What an experience it was working with this talented team of filmmakers🙏🏽❤️💐 #KunchackoBoban @DivyaPrabhaa #LovleenMisra @malikfeb @Sidhaaarthh pic.twitter.com/7vilMtFkan
— Danish Husain । دانش حُسین । दानिश हुसैन (@DanHusain) December 9, 2022
A woman director, on condition of anonymity, avers that gender inequality continues to be a major issue in Malayalam cinema.
“If we consider the recent blockbuster films in Malayalam, there aren’t any women characters in them. Only men’s ideas and concepts are materialising into films and becoming superhits, which is a serious matter of concern,” she tells South First.
The Malayalam industry did witness some interesting women-oriented films and powerful female characters.
For instance, KG George’s works—Adaminte Vaariyellu (1983), Kathakku Pinnil (1987), and Ee Kanni Koodi (1990)—gave utmost importance to women. They highlighted and also raised pertinent questions about women’s issues and women’s empowerment.
Interestingly, the filmmaker made these remarkable movies at a time when Malayalam cinema was glorifying the “family system” and normalising female self-sacrifice and self-silencing.
Women played prominent roles in the films of directors Padmarajan and Fazil, too.
Cut to 2020s. Most of the Malayalam blockbuster films released in the past two years—Bheeshma Parvam (2022), Kaduva (2022), Kaapa (2022), Thallumala (2022), Kannur Squad (2023), RDX (2023), Romancham (2023), Manjummel Boys (2024), Aadujeevitham (2024), and Aavesham (2024)—either don’t have any significant female characters or lacked women representation.
Surprisingly, women were also missing in the teasers, trailers, and promotional material of these movies.
However, director Jis Joy, who is riding the success of Thalavan, tells South First that these are unwanted discussions. He says some films do give importance to women, “but we can’t expect every film to do the same”.
Meanwhile, let’s check the strong female characters in recent Malayalam films that made us sit up and notice:
Anaswara Rajan in ‘Neru’. (X)
In Neru (2023), Mohanlal played advocate Vijaymohan, who appears as a special public prosecutor in a rape case.
Young actor Anaswara Rajan appears as the rape survivor (Sara Muhammed). Sara is blind but is an exceptionally talented sculptor, thanks to her stepfather Mohammad (played by Jagadish).
Michael, the son of a Mumbai-based business magnet, rapes her when she’s home alone and leaves no evidence.
The rest of the film follows how Sara fights for justice—despite repeated threats from Michael and his family and the cheap tactics of his defence lawyer—and Vijaymohan proves Michael guilty.
With Neru, Anaswara Rajan proved herself as a bankable actor. She worked on her mannerisms, body language, and expressions to fit into the role of a blind girl.
She delivered a nuanced performance along with seasoned actors like Mohanlal, Jagadish, Siddique, and Priya Mani, especially while emoting the heartwrenching trauma of a rape survivor while recounting the sexual attack during the court hearings.
Neru is a major turning point in Anaswara Rajan’s career, and the actor is here to stay!
I have yearned to see a performance like this from him🛐 Vijaymohan or #Mohanlal ,I love a story of Phoenix rising from its ashes🔥
Anaswara Rajan is a star in the making 🙌 By the rule book,you shouldn’t be missing any Malayalam movie & #Neru is no exception..what a screenplay pic.twitter.com/rXGw68SX55
— ℘ཞıყąŋƙą 🌷💝🧘♀️ (@priyank65601552) February 3, 2024
Zarin Shihab in a still from ‘Aattam’. (X)
The year 2024 started with the sensational film Aattam, which was received well both by the audience and critics. The movie revolves around a sexual assault perpetrated against an artist in a theater group and the events that follow.
Zarin Shihab plays the character of Anjali, the only woman artist in a theatre group, who is sexually assaulted one night.
The film doesn’t reveal the perpetrator till the end and every member of the theater group becomes a suspect.
Aattam takes a strong stand for women through Anjali.
The final play in the film, helmed by Anjali, depicts the emotional and physical struggles and the trauma a woman goes through during and after the sexual assault.
Zarin Shihab nails the act with her earnest performance. The well-written narrative and dialogues coupled with an apt background score further elevate the sequences in the film.
Anjali’s final act, where she choreographs the dance moves for the drama, blows audiences away.
Aattam rightly captures the helplessness and turmoil of women and makes us think and take a stand against such atrocities.
Mamitha Baiju and Akhila Bhargavan in a still from ‘Premalu’. (X)
Interestingly, the recent Malayalam blockbuster movie Premalu (2024) featured two women characters, who got equal screen time as the male lead—Mamitha Baiju’s Reenu and Akhila Bhargavan’s Karthika.
Naslen K Gafoor played the male lead (Sachin).
The Girish AD film raised discussions around stalking (wasn’t glorified in Premalu), jilted love (Sachin doesn’t harm Reenu on being rejected), and women and their right to decision-making, among others.
Director Girish AD drew praise for not showcasing misogyny like every other film and instead, representing strong women in his work.
For instance, Reenu is straightforward and opinionated. She is career-oriented and doesn’t indulge in relationships just for fun. She takes her stand and sticks to it, come what may. She cares for her friends and is there for them in difficult times.
In short, Mamitha Baiju’s Reenu represents today’s girls who love to live on their terms.
Coming to Karthika, she stands with Reenu in her ups and downs. She respects her choices and decisions.
Reenu and Karthika’s combo beautifully exemplifies female friendships and sisterhood in the true sense.
Mamitha Baiju became the cynosure of all eyes soon after the release of Premalu. The up-and-coming actor pulled off the role of Reenu with elan. Her effortless performance widened her fanbase and got her more offers.
A poster of ‘Mandakini’. (X)
Mandakini (2024) is a feel-good Malayalam film based on a wedding. The confusion that happens on the wedding night after the bride accidentally consumes alcohol forms the crux of the movie.
Anarkali Marikar played the leading lady (Ambili) and Althaf Salim played the male lead (Aromal) in this Vinod Leela film.
Mandakini has a group of female actors who play crucial roles in the plot.
Sarita Kuku appeared as Rajalakshmi, Ambili’s mother-in-law. She helps Ambili teach a lesson to her ex-boyfriend, who cheated on her. Well, that may appear cinematic but it’s not unrealistic because, in reality, there are women who support and stand by their daughters-in-law.
Debutant Vinod Leela presented the whole affair in a light-hearted way rather than being preachy.
Anarkali Markar and Sarita Kuku, along with the other female actors, do justice to their roles.
More than a comedy entertainer, Mandakini is a feel-good film, where female characters take centre stage and highlight how “women must stand up for women”.
Bindu Panicker in a still from ‘Turbo’. (X)
Senior actor Bindu Panicker shone in both comedy and serious roles.
She made a comeback in 2022 with Mammootty’s Rorschach, where she appeared as a strong mother who goes to any extent to uphold her family’s values.
Bindu Panicker’s Seetha is a grey-shaded character. She doesn’t hesitate to kill people to keep her family safe.
Though married to an irresponsible man, Seetha doesn’t entertain him but tolerates her husband for her sons.
The actor was brilliant as Seetha.
Bindu Panicker portrayed a mother’s role in Madhura Manohara Moham (2023), too. And this time, she left an impact on the audience with her trademark comedy scenes.
Stephy Zaviour’s directorial broke the stereotypes around women and relationships. It also discussed the Sabarimala episode and the Nair Service Society activities in a satirical way from a woman’s perspective.
Similarly, in Turbo (2024), Bindu Panicker played Rosakutty, the mother of Jose (Mammootty). Her character spoke volumes about the versatility of the actor, especially in emotional scenes.
Cinema has been male-dominated since the beginning, and films are made based on the market of the lead actors.
In an interview about gender parity in movies, Bollywood actor Aamir Khan stated that male leads would be paid more because they pull crowds to theatres.
Interestingly, Malayalam actor Sshivada played a key role in the recent Tamil hit film Garudan (starring Soori, Sasikumar, and Unni Mukundan).
She appeared as the wife of Sasikumar’s Aadi. Sshivada proved that she could pull off challenging and intense roles with ease.
Though Garudan is a revenge/action drama revolving around Soori’s Sokkan and Unni Mukundan’s Karuna, the script equally prioritised its female characters.
Similarly, Malayalam actor Aparna Balamurali clinched the National Award for Best Actress (68th National Award) for her performance in Sudha Kongara’s Tamil film Soorarai Pottru (2020).
Aparna, as Bommi, was an integral part of the movie. Bommi is an aspiring woman and leaves no stone unturned to be a successful entrepreneur. She also supports her husband in chasing and realising his dream.
Aparna Balamurali dedicated a whole year to the film. She not only managed to get into the skin of the character but also owned it up.
It is indeed worrisome that women are missing from Malayalam cinema. However, in a welcome trend, a few Malayalam filmmakers are indeed showcasing strong female characters that not only reflect today’s society and modern life but also break stereotypes and raise pertinent points on women’s issues.
(Edited by Y Krishna Jyothi)
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