Malayalam movies in 2025 found itself at a fascinating crossroads between scale and subtlety, making it one of the most creatively paradoxical years for the industry. On one end were unprecedented big-budget spectacles and franchise-driven event films that broke long-standing box-office records and widened Malayalam cinema’s national and global footprint. On the other end were smaller, writer-led films that leaned into realism, moral complexity, and regional specificity.
Compared to 2024, the year saw a clear dip in the number of landmark blockbusters and culturally defining works. Yet the few films that did succeed commercially stood out because they offered sharply defined experiences, either confident mass entertainment or tightly constructed, idea-driven narratives. In that sense, 2025 revealed an industry testing its extremes, even as the space in between struggled to find its footing.
Out of the 184 Malayalam films released in 2025, only about 8–10 percent managed to turn a profit, underlining the year’s uneven commercial landscape. Yet a handful of titles dramatically altered the box-office narrative. “Lokah: Chapter 1 – Chandra” crossed ₹300 crore worldwide, becoming the first Malayalam film to enter that league. “L2: Empuraan” and “Thudarum” followed closely, each grossing over ₹230 crore, reaffirming the enduring draw of star-led franchises. Mammootty’s “Kalamkaval” sustained strong momentum, nearing ₹80 crore and continuing to register house-full shows weeks into its run.
Genre cinema matured notably, with crime investigations, psychological thrillers, horror, and socially charged dramas showing greater narrative confidence and technical polish. Directors experimented boldly with form, sound design, pacing, and non-linear structures. In the genre space, “Dies Irae,” a horror thriller starring Pranav Mohanlal, opened to impressive numbers, including one of the highest debuts for an 18+ Malayalam release, signalling a growing audience appetite for darker narratives. Meanwhile, “Sarvam Maya” blended horror and comedy to a positive reception, helping spotlight emerging talent such as Riya Shibu and pointing to the industry’s gradual diversification beyond conventional formulas.
Quieter films such as “Narayaneente Moonnaanmakkal” and “Ronth” gained critical admiration for their literary sensibilities and patient pacing. Even polarising works like “Eko” played a crucial role by expanding the formal boundaries of Malayalam movies, signalling that risk-taking, whether commercially successful or not, was central to the year’s cinematic identity.
The year also proved momentous on the awards front. At the 71st National Film Awards, Malayalam cinema made a strong showing, with Mohanlal receiving the Dadasaheb Phalke Award, reaffirming his towering legacy. Performances by Vijayaraghavan and Urvashi earned national recognition, while films like “Ullozhukku” and “Pookkaalam” secured major wins, underscoring the industry’s continued strength in performance-driven and thematically grounded storytelling.
Here are the 10 best Malayalam movies of 2025:
10. Thudarum
One of the most talked-about films of 2025, not merely for its box-office success but for how it foregrounds Mohanlal’s craft, “Thudarum” blends intimate family drama with simmering revenge. Directed by Tharun Moorthy, the film positions itself less as a conventional crime thriller and more as a deeply felt character study, anchored by one of Mohanlal’s most compelling performances in recent years. Mohanlal plays Shanmugham, affectionately called “Benz,” a humble taxi driver whose love for his vintage Ambassador car and quiet life in rural Kerala is upended by a brutal injustice. When the police seize the vehicle in connection with a drug case, Benz is forced into a difficult struggle to reclaim his cherished possession, a journey that also compels him to confront dark truths from his past as a stuntman. His arc becomes a meditation on the lengths an ordinary man will go to when pushed beyond his limits.
The film’s greatest triumph lies in how it allows Mohanlal to completely shed his star mantle and return to the actor the Malayali audience fell in love with. In “Thudarum,” he becomes the man next door, marked by vulnerability, unafraid of laughing and crying out loud, of letting his eyes glitter at the sight of his loved ones and well up in moments of loss. Shobana, returning opposite him, brings quiet strength to Lalitha, grounding the film’s emotional core, while strong supporting performances by Prakash Varma and Binu Pappu add texture as the narrative expands from personal grief into wider social conflict.
Stylistically measured and narratively deliberate, “Thudarum” unfolds at its own pace, rewarding patience with moments of genuine catharsis. Jakes Bejoy’s evocative score and Shaji Kumar’s cinematography subtly support the film’s tonal shifts, from intimate familial warmth to simmering reckoning. Ultimately, “Thudarum” reaffirms the power of character-driven storytelling and stands as a testament to Mohanlal’s extraordinary emotional range, one of Malayalam movie’s most affecting performances of 2025.
Read: Thudarum (2025) Movie Review: Mohanlal Feels Completely in His Element Elevating a Mostly Standard “Wrong Man” Fare
9. Rekhachithram
“Rekhachithram” is not merely a run-of-the-mill investigation thriller; it is a playful yet meticulously constructed act of cinematic archaeology. Director Jofin T. Chacko uses the familiar grammar of Malayalam crime dramas only as a point of entry, before steering the film into far more adventurous territory. The film is about a reinstated police officer, Vivek Gopinath (Asif Ali), who investigates the apparent suicide and confession of an elderly man, uncovering a 40-year-old cold case involving the disappearance of a young woman, Rekha (Anaswara Rajan), from the set of a classic 1985 Mammootty film. This whodunit mystery thus becomes a rare blend of police procedural and cinephile nostalgia, revealing a crime and its impact across decades.
The real audacity of “Rekhachithram” lies in its setting. By threading its mystery through the making of Bharathan’s “Kathodu Kathoram” (1985), the film invents an alternate cinematic past that feels uncannily plausible. This reimagining is neither gimmicky nor indulgent, allowing personal histories and film history to bleed into one another. “Rekhachithram” treats cinephilia as texture – embedded in backstories, atmospheres, and subtle references.
As a suspended officer back on duty, Asif Ali plays his investigator less as a conventional truth-seeker and more as a listener, piecing together suppressed and forgotten histories. Anaswara Rajan continues her impressive run with a performance that combines vulnerability and curiosity in a role that could easily have been overshadowed by the film’s conceptual ambitions. “Rekhachithram” stands out as a film that dares to rewrite cinema’s past in order to interrogate its present.
8. Kalamkaval
Mammootty has never been a star who shied away from playing the villain. From the feudal brutality of “Vidheyan” to the moral decay at the heart of “Paleri Manikyam,” his career has repeatedly flirted with antagonism. “Kalamkaval,” however, marks a different kind of gamble. In the role of a ruthless serial killer, Mammootty delivers one of the most unsettling performances of his late career, dissolving into a character defined by charm, patience, and terrifying control.
Loosely inspired by the Cyanide Mohan case, writer-director Jithin K. Jose avoids biographical fidelity, instead borrowing select traits and methods to construct a fictional investigative thriller set along the Kerala–Tamil Nadu border. The narrative begins with what appears to be a minor elopement case in early-2000s Kerala, taken up by SI Jayakrishnan (Vinayakan). As the investigation deepens, a chilling pattern of disappearances emerges, exposing a cross-border trail of crimes targeting vulnerable women.
Structured as a cat-and-mouse game, “Kalamkaval” pits Jayakrishnan against an elusive and methodical killer, played by Mammootty as Stanley Das, a man whose intelligence and adaptability make him both brilliant and horrifying. As the hunt unfolds, the film shifts its centre of gravity toward its antagonist, allowing Mammootty’s performance to dominate. His understated Trivandrum slang, far removed from caricature, becomes a key instrument in crafting menace, recalling the way Jack Nicholson elevates even familiar material through sheer interpretive daring.
It is a role few would dare attempt, and Mammootty approaches it with the conviction of a man who believes, as his character says, “Higher the risk, greater the satisfaction.” Opposite him, Vinayakan delivers a methodical and grounded portrayal of the officer on his trail, creating a riveting, almost chess-like dynamic between hunter and hunted. Stylistically gritty and supported by a minimalist, Ilaiyaraaja-esque score, “Kalamkaval” may stumble in places, but it remains a bold and memorable addition to the serial killer canon of Malayalam cinema.
Check Out: Mathilukal and Vidheyan: How Mammootty Captures the Opposite Ends of Hyper-Masculinity with His Layered Performances
7. Padakkalam
“Padakkalam” introduces a refreshing, wholly original voice to Malayalam cinema. It channels a distinctly “Jumanji”-like spirit into one of the most unabashedly fun genre cocktails of 2025. A campus fantasy comedy-drama at heart, the film gleefully marries supernatural whimsy with laugh-out-loud college chaos. Directed by debutant Manu Swaraj and co-written with Nithin C. Babu, the film unfolds in an engineering college where four nerdy, comic-book-obsessed students stumble upon a bizarre supernatural mystery involving their professors and a cursed ancient game. Their professor Ranjith (Sharafudheen), charismatic but suspicious, wields ancient powers that spill into eerie and hilarious consequences, prompting the gang to unravel the truth before chaos consumes their academic world.
Suraj Venjaramoodu and Sharafudheen lead the film with infectious energy, navigating comedy and oddball fantasy beats. Suraj, in particular, revels in the physical humour and playful antics that define much of the film’s charm, while Sharafudheen’s eerie charisma adds an unpredictable edge to the narrative. The ensemble of young actors – Sandeep Pradeep, Saaf, Arun Pradeep, and Arun Ajikumar – brings an earnest comic pulse to the story, keeping the tone light and engaging even as the plot dives into the absurd. In “Padakkalam,” the supernatural serves as both spectacle and metaphor, driving playful commentary on campus life, authority, and camaraderie. The film’s technical side – zippy editing, energetic cinematography, and an immersive soundscape – complements its whimsical spirit.
6. Dies Irae
Unlike “Bhoothakalam,” which thrived on ambiguity and the unsettling possibility of rational explanations, Rahul Sadasivan’s “Dies Irae” is unapologetically direct in its engagement with the supernatural. Here, horror is tangible, visible, and confrontational. The film follows Rohan (Pranav Mohanlal), an architect haunted by supernatural events after taking a keepsake from a deceased ex-classmate, Kani (Sushmita Bhatt), but the spirit turns out to be a vengeful stalker named Philip (Shine Tom Chacko), leading Rohan into a dark supernatural investigation. The film embraces its genre head-on, crafting fear not through cheap shocks but through meticulously orchestrated cinematic design. The supernatural presence is felt as much in the frame’s negative spaces as in its overt manifestations, resulting in a deeply immersive theatrical experience.
Sadasivan’s mastery of the horror genre is quite visible, producing moments of sustained dread that linger long after the scene ends. Rather than relying on jump scares, the film builds terror through atmosphere and a gradual tightening of psychological pressure, reaffirming Sadasivan’s position as one of the most visionary genre filmmakers working in Malayalam cinema today. Pranav Mohanlal delivers a career-best performance, particularly excelling in physically demanding sequences that require both endurance and emotional restraint. His vulnerability becomes central to the film’s unsettling impact. Jothish Shankar’s exquisite production design creates spaces that feel ominously alive, while Christo Xavier’s extraordinary score amplifies the film’s dread without overwhelming it. “Dies Irae” stands among the finest Malayalam horror films of recent years and emerges as a definitive highlight of 2025.
Also Read: Shared Guilt and Divergent Fates: Why ‘Dies Irae’ Feels Like Psycho’s Distant Cousin
5. Ronth
There are no grand revelations or stylised heroics in “Ronth,” and that is precisely where its power lies. Directed and written by Shahi Kabir, himself a former police officer, the film unfolds over the course of a single long night, following two patrol officers as they confront the moral ambiguities, routine pressures, and emotional toll of policing in rural Kerala. What begins as an ordinary shift becomes an intimate study of how authority is tested and ultimately worn down by the mundanity of duty. Sub-Inspector Yohannan (Dileesh Pothan) is a seasoned yet jaded veteran, while CPO Dinanath (Roshan Mathew) is an idealistic newcomer eager to do what’s right. Their dynamic forms the crux of the film, capturing the clash between experience and innocence.
This compelling and realistic buddy cop thriller discloses the textured lived experience of police work: domestic disputes, missing persons, accidents, and the everyday human frailties officers encounter on patrol. Pothan and Mathew deliver some of their finest work, imbuing their characters with vulnerability, which makes us deeply concerned about their fate. Pothan’s senior officer moves with the weary confidence of someone who has learned which battles to avoid, while Mathew’s younger cop still clings to the idea that the uniform can stand in for justice.
Their conversations, often casual, sometimes uncomfortable, reveal more about power and conscience than any dramatic confrontation could. “Ronth” articulates the emotional cost of duty, offering a devastating look at how the line between order and disillusionment can blur in the night’s long hours. Thus, it stands out as a haunting police drama and a standout addition to Malayalam cinema’s exploration of institutional and personal conflict in 2025.
4. Feminichi Fathima
A spiritual sister to Jeo Baby’s “The Great Indian Kitchen” (2021), “Feminichi Fathima” emerges as one of the most quietly powerful and empowering films of 2025. This social drama infuses a feminist critique into a deceptively simple, deeply humane plotline. Directed, written, and edited by debutant Fasil Muhammed, the story centres on Fathima (Shamla Hamza), a homemaker in a conservative coastal town whose unassuming desire for a new mattress becomes the spark for a small but resonant act of resistance. It is a commentary on gendered expectations, religious perceptions, and the everyday negotiations women make within family and community spaces. It splendidly exposes how the institutions of religion and family sustain themselves through the quiet, routinised subservience of women. Rather than staging brazen confrontations, the film excels in its novel observation of how patriarchal norms operate in ordinary moments, revealing how freedom often begins in the smallest of revolutions.
Shamla Hamza delivers a remarkable performance as Fathima, imbuing the character with warmth, frustration, and a burgeoning self-assertion that earned her the Kerala State Film Award for Best Actress. The supporting cast complements the film’s grounded tone, making every interaction feel lived-in and authentic. “Feminichi Fathima” is triumphant in its ability to engage with feminism without moralising, reflecting on entrenched norms through humour and quiet subversion rather than polemic. Fasil Muhammed offers one of the most accessible and layperson-friendly articulations of feminism in recent Malayalam cinema – feminism not as a slogan or spectacle, but as everyday awakening. It proves that gentle storytelling can carry sharp political insight, and that subtlety need not dilute impact.
While You’re Here, Also Read: 35 Best Malayalam Movies of All Time
3. Eko
What Dinjith Ayyathan and Bahul Ramesh achieved with the monkey army in “Kishkindha Kaandam,” they refine and deepen with even greater precision through the dog brigade in “Eko.” The final instalment of Bahul Ramesh’s ‘Animal Trilogy’, “Eko: From the Infinite Chronicles of Kuriachan,” stands out as one of the most intriguing Malayalam films of 2025. Framed as a slow-burn mystery-thriller set in the mist-laden hills of Kaattukunnu, the film initially presents itself as a conventional hunt for the elusive dog breeder Kuriachan, a man of mythic reputation whose legend draws all manner of seekers.
But the film is far subtler: it makes use of its canine characters not just as protectors but as symbols of control and obedience, continually probing how “protection and restriction look the same” – a line that sparked the screenplay’s creation. The film deliberately blurs the lines between master and servant, pet and prisoner, loyalty and servitude. It brings to the table a nuanced study of human-animal relationships and laudably politicises the idea of ‘protection.’
The temporal and spatial layering, spanning across different time periods and geographies, enriches its atmospheric world-building, situating its mystery within histories of displacement, survival, and obsession. For Sandeep Pradeep, following his breakout performance in “Padakkalam,” “Eko” serves as a confident statement of intent. He anchors the film as Peyoos, a caretaker whose presence oscillates between calm and unsettling, who convincingly portrays his loyalty, moral ambiguity, and his slow realisation of deeper truths. Biana Momin’s Mlaathi chedathi, an embodiment of deceptive vulnerability, is equally enigmatic and brings a weary, quiet strength to the world around her. What makes “Eko” stand out isn’t just its world-building or its unusual focus on animals as narrative drivers, but its willingness to leave crucial questions open, trusting viewers to piece together meaning from ambiguity. In an era of over-explained thrillers, “Eko” reminds us that cinema can still be a puzzle worth pondering.
2. Ponman
A technically assured and emotionally resonant debut, “Ponman” announces Jyothish Shankar as a filmmaker of remarkable control and empathy. Set along the coastal stretches of Kollam district, the film examines how the dowry system, particularly the toxic obsession with gold, continues to thrive in contemporary Kerala. Based on the novel “Naalanchu Cheruppakkar” by GR Indugopan, the story follows PP Ajesh, a gold broker who provides wedding jewellery on credit, to be repaid later through the bride’s cash gifts, an arrangement entangled with dowry pressures.
Trouble erupts when bride Steffi’s family is unable to return the gold, leading Ajesh into dangerous conflict with Steffi’s criminal husband. Rather than approaching the subject with didactic outrage, “Ponman” takes a more unsettling route: a non-judgemental, character-driven study of people trapped within this exploitative system, many of whom are themselves victims of a deeply entrenched social malaise.
The film is especially attentive to the lives of last-mile workers who facilitate these illegal transactions, portraying how their livelihoods are marked by precarity and constant risk. Jyothish Shankar’s background as an acclaimed art director shows in the film’s textured visual design and lived-in spaces, which lend authenticity and tension to the narrative. Basil Joseph delivers one of the finest performances of his career, venturing far beyond his familiar comic terrain.
His portrayal is raw and emotionally exhausting, culminating in a devastating outburst inside a dingy lodge room, easily one of the most searing moments in Malayalam cinema this year. Lijomol Jose provides strong support, grounding the film’s emotional register with restraint and sensitivity. “Ponman” could have been a simple “message film.” Instead, it becomes an engrossing, morally complex portrait of a society weighed down by tradition, greed, and fear, making it one of the most compelling Malayalam films of 2025.
Also Related: Ponman (2025) Movie Review: Excellent Performances Anchor This Anxiety-Inducing Drama
1. Lokah Chapter 1: Chandra
Topping my list of the best Malayalam movies of 2025, “Lokah: Chapter 1: Chandra” stands as one of Malayalam cinema’s most ambitious and conversation-starting films – an inventive fusion of folklore, fantasy, and superhero spectacle that expands the industry’s narrative horizons. Directed by Dominic Arun and headlined by a commanding Kalyani Priyadarshan, the film reimagines Neeli, the feared and vilified figure of Kerala folklore, as a modern-day vigilante. Under the alias Chandra, she fights for the voiceless and the oppressed, offering Malayali audiences a bold, revisionist take on the haunting grandmother’s tales they grew up with. Kalyani Priyadarshan plays Chandra as a red-haired, athleisure-clad enigma who arrives in a neon-soaked, flame-tinged Bengaluru.
Taking up night shifts at a café, she carries a dark, gothic aura that draws curious glances from across the street, hinting at a past she carefully conceals. The film’s textured world is further enlivened by a strong supporting cast, Naslen’s effortless charisma, a dynamic ensemble, and a series of high-voltage cameos that add to its pulpy appeal.
“Lokah” transports you into an extraordinary world from the very first frame, one where the superhumans live quietly among the mortals. While global cinema has often explored this idea, the thrill here lies in how director Dominic Arun roots this concept in a distinctly Malayalam sensibility, blurring folklore, feminism, and contemporary politics. Dominic peels back the mystique of her identity as well as her backstory, maintaining a sense of intrigue that grips you from start to finish. It’s a world-building so immersive and meticulously built that it is impossible to look away from the screen.
“Lokah” sets itself apart, positioning itself as Malayalam cinema’s answer to the Marvel Cinematic Universe, and perhaps an evolution of it, because it draws its strength from the rich tapestry of Kerala’s mythology, history, and culture. “Lokah” not only marks the dawn of a saga, promising the birth of a mythology-driven cinematic universe, but also becomes relevant for it dares to challenge hierarchies, provoke dialogue, and reclaim narratives for those historically marginalised. It indeed signals a thrilling new direction for Malayalam movies.
Now that we are done with this bunch, let’s move on to the honourable mentions from Malayalam movies in 2025:
Honourable Mentions:
Narayaneente Moonnaanmakkal
Reminiscent of the MT Vasudevan Nair–IV Sasi classic “Aalkkoottathil Thaniye” (1984) in its exploration of familial estrangement and impending loss, “Narayaneente Moonnaanmakkal” is a heartfelt film on dysfunctional relationships, loss, and reconciliation. Directed by debutant Sharan Venugopal, this meditative drama brings three estranged brothers – Vishwanathan (Alencier Ley Lopez), Sethu (Joju George), and Bhaskar (Suraj Venjaramoodu) – back to their ancestral home in Koyilandi as their mother lies gravely ill, forcing each of them to face unresolved wounds and long-buried emotions.
The film provokes conversations around its deeply human characterisation, especially the quietly powerful performances of Joju George and Garggi Ananthan. The subplot involving the younger generation, the delicate rapport, and the taboo relationship between the cousins Aathira (Garggi Ananthan) and Nikhil (Thomas Mathew) adds layers to the already fragile equilibrium of the family. “Narayaneente Moonnaanmakkal” ultimately rewards us with a poignant meditation on familial bonds, the echoes of past grievances, and the quiet courage required to let go.
Vyasanasametham Bandhumithradhikal
The premise of “Vyasanasametham Bandhumithradhikal” makes it one of the more curious films of 2025, a funeral-set comedy-drama that doubles as a sharp social satire. Written and directed by S. Vipin, the film embraces the chaos that unfolds when a close-knit family and an entire village descend upon the home of their recently deceased matriarch, Savithri Amma (Mallika Sukumaran), bringing with them gossip, quirky rituals, and an unmistakable strain of humour. The film finds its laughs in generational responses to grief, ranging from WhatsApp status updates to meddling relatives and local power brokers angling for attention. Anaswara Rajan shines as Anjali, deftly navigating the absurdity and emotional undercurrents of her family’s antics, while Siju Sunny and Joemon Jyothir contribute significantly to the film’s lighter, more crowd-pleasing moments.
Sarvam Maya
One of the final releases of the year, “Sarvam Maya” stands out as one of Malayalam movie’s most feel-good genre blends of 2025. Directed by Akhil Sathyan and headlined by a charismatic Nivin Pauly, it is a horror-comedy fantasy that balances gentle supernatural whimsy with warmth and humour. The film also marks a welcome return to form for the actor, reaffirming his effortless charm and comic timing. Nivin plays Prabhendu, an aspiring musician and reluctant priest whose life is upended when he encounters Delulu (Riya Shibu), a playful, boundary-aware ghost.
Unlike conventional horror figures, Delulu’s presence evokes curiosity and emotional introspection rather than fear, lending the film a grounded, humane tone. Aju Varghese, as Prabhendu’s cousin Roopesh, provides reliable comic support, with his easy chemistry with Nivin anchoring many of the film’s lighter moments. Though “Sarvam Maya” follows a familiar narrative arc and occasionally feels predictable, its sincere performances and understated humour make it an engaging watch, a comforting year-end entertainer that underscores Nivin Pauly’s enduring screen presence.
