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Directors like Adoor Gopalakrishnan and John Abraham (and later, Lijo Jose Pellissery and Dileesh Pothan) stripped away the gloss. Instead of heroes fighting ten goons, they gave us Ayyappan (from Nayattu ), a cop running for his life from a broken system, or Pranchiyettan (Mammootty), a wealthy trader grappling with insecurity and ego.

The 1980s saw the emergence of a new wave in Malayalam cinema, characterized by a shift towards more experimental and avant-garde storytelling. Directors like Adoor Gopalakrishnan, A. K. Gopan, and John Abraham introduced a new language of cinema, exploring themes of social inequality, politics, and human relationships. Classics like "Swayamvaram" (1972), "Udyanapalakan" (1973), and "Papanasham Sivalingam" (1975) exemplified this trend. Directors like Adoor Gopalakrishnan and John Abraham (and

Malayalam cinema began with J. C. Daniel’s silent feature Vigathakumaran (1928), which notably focused on social drama rather than the mythological themes prevalent in other Indian industries at the time. Directors like Adoor Gopalakrishnan, A

: Unlike many contemporary film industries that favor escapist fantasy, Malayalam films have traditionally maintained a focus on "rootedness," capturing the minute details of everyday life in Kerala. Reflections of a Changing Society Daniel’s silent feature Vigathakumaran (1928)