The exponential rise of streaming platforms during the pandemic has given a boost to regional films. The consumption of content has increased manifolds and has touched unprecedented highs. Although regional cinema already had a vast audience, the tragic times have further broadened its penetration. Films from the South have gained traction due to innovation in narration and layered character exposition. The number of quality Malayalam movies, both on Netflix and Prime Video, is a testament to the growing voice of independent artists. Filmmakers like Liju Jose Pellissery and Jeethu Joseph keep pushing the bar and creating cathartic experiences for viewers. The streaming platforms together house some of the best movies India has produced in recent times.
The non-Malayalam-speaking populace today doesn’t mind the two-inch barrier of subtitles, and moreover, the platforms also offer dubbed audios in Hindi and English. The combination of all these factors has prompted us to present to you a list of the best Malayalam movies to stream on Prime Video. The picks have been stretched to be eclectic to accommodate diverse tastes without compromising quality. Don’t shy away from name-dropping in the comments below. Happy reading!
15. Malayankunju (2022)
Malayalam films often dare to question the status quo. Besides Ratheena PT’s ‘Puzhu’, Sajimon Prabhakar’s ‘Malayankunju’ explore the crooked structure of caste hierarchy. ‘Malayankunju’ revolves around a service mechanic – Anikkuttan, who appreciates peace and quiet. But it gets affected when a family move next to them. Their baby cries at night and ruins the Anikkuttan’s sleep. Their lower caste status brings back memories from his past when his sister eloped with her lower caste partner. Since then, Anikkuttan stayed distant from her and forced their mother to do the same.
After priding himself on his self-sufficiency, Anikkuttan falls prey to a natural calamity where his prejudices or conspiracy theories cannot save him. It ultimately him to fight for his survival against all odds. While the first half of the film works like a socially conscious drama, the second half acts like a survival drama akin to Danny Boyle’s ‘127 Hours’ and Rodrigo Cortés’ ‘Buried’. As usual, Fahadh excels in his role as an ever-bickering, prejudiced man having a change of heart. Besides A. R. Rahman’s music, the film also features strong acting performances by Rajisha Vijayan, Arjun Ashokan, and Indrans.
14. Trance (2020)
Trance’ stars the mercurial Fahadh Faasil as Viju, a struggling motivational speaker in Kanyakumari living with his depressed brother. Kunju. His suicidal tendency and heavy reliance on substances keep Viju on his toes. His worst fears are realized when he finds Kunju hanging from the same fan his mother hung several years ago. Viju shifts to Mumbai and stumbles upon an old acquaintance, who sends a job his way. Little does he know about the true value of what he actually trades when he accepts the doomed offer.
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Trance’ explores various themes such as substance abuse, mental illness, and the growing penetration of illusory spiritualism. It is an indictment of men trying to play God and commercializing the faith of hopeless people living both in abject poverty and opulence of wealth. Faasil’s central act is the lifeblood of ‘Trance’. His ability to shape-shift from the easygoing and jolly Viju to the inured and indifferent Joshua is remarkable. The film ebbs and flows with Viju and his journey towards oblivion and a place where he loses himself. ‘Trance’ will leave you in tears by the end, heartbroken over the banality of and ease with which a troubled man slips into depression and is further isolated by greedy businessmen who never shy away from making a quick buck, no matter what the cost.
13. C U Soon (2020)
‘Searching‘ was a sensation when it released first. It successfully created a niche category of films completely set in a digital world. The onslaught of similar films has been relentless ever since and the fever has also caught up with Indian cinema. ‘C U Soon’ was envisioned due to the constraints in place due to the pandemic. Directed by Mahesh Narayanan, the film revolves around Jimmy Kurien and Anu Sebastian, a girl he befriends on a dating app. The flirtation soon enough blooms into a romance that brings the two together. At first, Anu’s strict upbringing seems an innocuous stereotype but turns out to be a macabre event that risks her life. Fahadh Faasil and Roshan Mathew star as cousins Kevin and Jimmy and Darshana Rajendran plays Anu. The taut storyline hardly wastes any second. The crisp editing keeps new events in the film engaging and also induces a dream run-time that any film aspires for.
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‘C U Soon’s social commentary on human trafficking brings to light the tragedy and trauma that many young girls face today. Without familiar faces and support, they’re entrapped by vultures like Joseph and forced into selling themselves. The sequence where Kevin goes through Anu’s exchanges with her sister is the highlight of the film. ‘C U Soon’ offers an enduring blend of socio-political awareness and crafty storytelling and optimizes its limited settings to unlock a whole new avenue for Indian cinema.
12. Unda (2019)
‘Unda’ means “bullet” in Malayalam. The film was conceived out of a newspaper clipping that reported the unthinkable blunder by the State administration in Chattisgarh of not providing sufficient ammunition to a police unit stationed in a Maoist-infected area to facilitate elections. The film explores similar issues to the ones highlighted in ‘Newton‘ but is told from a different perspective.
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Mammootty stars as Mani, an SI who leads the unit in the focus. ‘Unda’ is politically aware and critically represents various weaknesses in our administrative system and the casual manner in which public duty is dispensed. The film compassionately discusses a gamut of social issues. ‘Unda,’ for most parts, remains true to the events of its bizarre real-world inspiration and raises opportune truths about our democracy that need sincere attention from the concerned stakeholders.
11. Virus (2019)
As the world fights a tragic pandemic, the makers of ‘Virus’ transport the viewer back to another lesser-known but equally significant fight against the invisible enemy in Kerala. The Nipah virus outbreak in 2018 startled and shocked the State. Those anxious days are dramatized in ‘Virus’, right from the first indexed case to the last, and the efforts of medical professionals, government officials, and the people to contain the outbreak.
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There are several personal stories of characters losing their loved ones intertwined with the main narrative. Aashiq Abu’s simplicity keeps affairs within reach and mostly comprehensible to the general masses. His emotional connection with his viewer is through the enduring resolve of the human spirit driven by compassion. ‘Virus’ is an engrossing and moving retelling and a timely reminder that together we can scale the insurmountable and do the unthinkable.’
10. Jallikkattu (2019)
‘Jallikkattu’ is not about the related controversial sport traditionally celebrated in Tamil Nadu. The film is born out of a manic buffalo hunt in a small Keralan village that engulfs its entire population. But really the film is more about the ‘man v. beast’ showdown that is still the same today. Liju Pelliserry’s choreographed chaos in his typical tradition of using rambunctious dialogue and carefully curated long shots trails the dissolution of man and his civil sensibilities acquired over millions of years of evolution into something he himself fears – the beast. The gap is literally bridged in the exhilarating climax but is more subtly exploited through ‘Jallikkattu’s rich subtext and underlying themes. For instance, the masculine showdown between Kuttachan and Antony following the intense, teasing buildup is a microcosm of the film’s predominant theme. The slightly larger scuffle between factions of men – that is originally a singular group – to hunt the wild beast down is another. The observant social critique proves women the more prudent of the species. While the men burn down forests, demolish its ecosystem, and pull down trees, the women stay home and are further tortured by the monstrosity that runs uninhibited within those involved in the chase.
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Even in its short run time, ‘Jallikkattu’ flows kinetically and fiercely owing to a combination of Prasanth Pillai’s magnificent soundscape – a mix of tribal beats, animal cries, fighting men, and the setting itself – Girish Gangadharan’s immersive and visceral imagery, and Liju Pellissery’s polished vision and conviction.
9. Pada (2022)
Based on an actual incident, Kamal K. M.’s ‘Pada’ (Army) follows a rebellious fight for justice. It follows a group of five male activists who decide to get what is rightfully theirs. They enter a district magistrate’s office and kidnap the officer, which triggers the authorities to listen to their demands. Their fight is against the government’s Land Amendment bill that keeps the tribals distant from their human rights. So, to get it repelled, they resort to this stage since their hopes and desires are otherwise neglected by those in power. The structure screams our burning desire to rage against the machine.
Through the interactions between the officer and the five men, ‘Pada’ highlights the plight of the Adivasi community and the struggle for survival by the oppressed. Despite its heightened drama, Kamal K. M.’s script explores the ground reality of exploitation prevalent to date. It features negotiations and intimidation techniques that show the ugly sides of the institutions that we are told to trust. With the powerful performances by Kunchacko Boban, Joju George, Vinayakan, Dileesh Pothan, and Arjun Radhakrishnan, it turns into an emotionally potent drama that remains relevant.
8. Drishyam 2 (2021)
With about 18 minutes remaining, Officer Thomas quips, “I feel this is the beginning of something”. And he’s not wrong. Jeethu Joseph and Mohanlal’s much-anticipated sequel to ‘Drishyam’ released in 2013 is worth its weight in gold, although it takes its own sweet time to unravel Georgekutty’s miraculous escape. ‘Drishyam 2’ continues in the same universe and six years after ‘Drishyam‘ ended. Georgekutty has moved from being a small-time cable repairman to owning his own movie theatre and producing a film with a renowned screenwriter. His family is still recuperating from the events of that night and feels weighted and guilty over what transpired. The police, which now has the cooperation of jealous locals, secretly continues IG Thomas Bastin’s ‘personal mission’ to bring down Georgekutty. Unbeknownst to them, Georgekutty is already five steps ahead.
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‘Drishyam 2’ introduces a small, yet critical number of new players in the game. Jose, Vinayachandran, a gravedigger all culminate fractiously to serve the story. There’s a great level of deception on director Joseph’s part. Details that might not seem important actually are; there are certain leads that look like leads but aren’t. Joseph scatters the missing pieces of his omniscient puzzle in different parts of the runtime. The buildup is a tad sluggish, especially for the first hour. Our patience, though, is rewarded with a finely tuned story that lacks the panache of its illustrious predecessor but tackles more weighty themes about crime, punishment, and the atonement of guilt.
7. Kaathal – The Core (2023)
The mainstream Indian cinema has often shied away from exploring the reality of the LGBTQIA+ community. Its few recent attempts at representation either used its characters as tools for a conventional tragedy or a comedy. However, Jeo Baby’s ‘Kaathal – The Core’ is a refreshing change from its preachy predecessors and contemporaries. The film follows a retired bank secretary who faces marital issues as he enters the world of politics. Set in a community of their small town, where almost everyone knows everyone, it dissects the future of relationships based on a lie.
Made with earnest intentions, ‘Kaathal – The Core’ isn’t the least bit interested in taking sides for the sake of it and antagonising anyone. It explores the plight of a gay man and those close to him with the same compassion. The film explores their internal lives by showcasing how the external factors affected them for years. It explores the themes of personal fulfilment, desire, and justice as the characters try to make peace with their new relationship dynamic. Filled with opportunities ripe for a melodrama, the film never resorts to a cheap sentimentality. Mammootty and Jyothika’s central performances elevate their dramatic moments with their nuanced understanding of the subject matter.
6. Ayyappanum Koshiyum (2020)
Old Hindu scriptures contain great verses and wisdom about ego and its effect on men. The ancient teachings point towards a solitary, unchangeable result for men consumed with it – destruction. ‘Ayyappanum Koshiyum’ (i.e., Ayyapan Nair and Koshy) is about two men who let their egos control their decisions and proceed to make sure the other person is destroyed. The mutuality of their condition extends beyond their personality to their dark pasts, the secrets of which are still buried somewhere deep within.
As they clash (just like the Ayyapan and Koshiyam of Hollywood some weeks from now), the world witnesses an epic battle fueled by patriarchal ideas about masculinity and the goal of manhood. Koshy, on one hand, struggles with his supposed inferiority in the relationship with his father. Powerful figures of authority often challenge us as children to become more like them and prove ourselves, compelling us to remain in a constant state of insecurity. Ayyapan, on the other, is a proven alpha, demonstrated by his history of violence for righteous causes, as we are led to believe. The breach of his trust jolts his ideals of taking a moral high ground and teaching Koshy a lesson.
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Despite its sumptuous philosophical vastness, ‘Ayyappanum Koshiyum’ is a thoroughly entertaining watch, elevated by two fierce performers at the peak of their game. Prithviraj and Biju make for a fearsome couple and stand for everything that is wrong with our society.
5. Joji (2021)
Fahadh Faasil starrer ‘Joji’ is a crime drama inspired by William Shakespeare’s Macbeth. It follows Joji (played by Faasil), an engineering dropout, who aspired to move abroad and be wealthy. But his father considers him a loser and ridicules his ambitions. So, amid the Covid pandemic, Joji is left with his unsuccessful business ventures. Besides Joji, some of his family members also consider the father an authoritarian nuisance. In his attempt to break free, Joji takes some reckless steps that come with its own share of wild consequences. It leads them to a treacherous path where his loserism often dictates his actions.
Written by Syam Pushkaran and directed by Dileesh Pothan, the film paints a riveting drama despite being in a quaint setting. It uses the limitations of shooting during the pandemic to its advantage to express Joji’s feelings of being caged in a place against his will. Shyju Khalid’s cinematography makes a fine use of the overcast, cloudy atmosphere and turns it almost into a mood piece Fahaad is brilliant as the self-serving but neglected Joji and explores his complicated emotional canvass with prowess. While the family drama is intriguing in itself, his central performance keeps us glued to the screen.
4. Aavesham (2024)
In recent years, Bollywood has lost its dominance in the scope of Indian cinema. So, calling non-Hindi films regional feels outdated at this point. The Malayalam cinema has become a go-to solution for the arthouse movie lovers. However, with a few recent examples, Malayalam films have also started dominating the masala entertainment space. Fahadh Faasil starrer ‘Aavesham’ is a prominent example of the same trend. Written & directed by Jithu Madhavan, the film is a comedy action thriller that makes the best use of Fahadh’s charismatic persona. After exploring the complexities of the human mind, he portrays a larger-than-life character with a veteran expertise.
‘Aavesham’ follows a group of students who move from Kerala to Bangalore, Karnataka to pursue their engineering degrees. But their dreams of good education get shattered after they realise the reality of this new environment. They face violence almost every day until they meet Ranga, an affable gangster (played by Fahadh Faasil), who helps them gain respect. But he also leads them on an unpredictable journey full of terror. Through its slapstick humour, the film presents Ranga as a silly caricature that we can also empathise with. So, unlike the usual fare of action thrillers, its use of violence doesn’t feel stale or redundant.
3. The Great Indian Kitchen (2021)
Before ‘Kaathal – The Core’, Jeo Baby floored the viewers with his 2021 drama – ‘The Great Indian Kitchen’. Often lauded as one of the finest Indian films, it is an apt representation of the harrowing gender dynamic prevalent across the country. Set in a small town, the film follows a woman’s quest for freedom as she tries to make peace with the authoritarian structure of her new family. Despite her fine education, she finds herself caught up in marriage to an orthodox family that values a regressive mindset. It strips her of her dignity and leaves her with no say over her fate.
Each day, she has to contend with the repetitive, disgusting, domestic tasks while the men reap the benefits of the women’s free labour. They see no issue in this arrangement as it benefits them. But it leaves the married woman feeling woefully ignored and disgusted by her mere existence. The film emphasises the scale of her emotional labour and makes us introspect on how we deal with similar situations. It presents a scathing portrait of domestic married life that speaks beyond the conventional idea of a happy marriage, backed by the expected servitude and submissiveness of the women. Thanks to Nimisha Sajayan’s evocative performance, the film stays etched in our minds.
2. Aattam (2023)
Written & directed by Anand Ekarshi, ‘Aattam’ (The Play) can be seen as a contemporary retelling of Sydney Lumet’s ‘12 Angry Men’. It follows a theatre actress who becomes the sole female performer in a local play. She accuses a movie star, who recently joined their theatre group, of sexual harassment. Since she decides to file a case against the star, the male performers take it upon themselves to find a solution that is ‘amicable for everyone’. They argue with each other based on their prior differences and end up caring less about the actress and more about how the final outcome will impact them.
Through their discussion, the film explores several themes, be it the men’s saviour complex, their fickle morality, complicity, ignorance or their fragile egos. The screenplay shows the men gradually and frequently switching sides based on the new discoveries and revelations. So, it unfolds like a heightened courtroom drama albeit without the usual theatrics. The entire cast makes it a compelling watch. However, in the central role, Zarin Shihab gives the most fascinating performance that keeps us invested in her struggle to make others comprehend the complexity of the matter at hand.
1. Kumbalangi Nights (2019)
‘Kumbalangi Nights’ is Madhu Narayanan’s directorial debut and stars Shane Nigam, Soubin Shahir, Sreenath Bhasi, and newcomer Mathew Thomas as four brothers united by blood and distanced due to personal differences in Kumbalingi, a small village in Kerala. Their discord is so intense that Bonny (Bhasi) chooses to stay away from the house entirely, only coming back when Franky (Thomas) returns from school. Saji (Shahir) and Bobby (Nigam) often quarrel amongst themselves and do little or no work without any sense of responsibility. The film draws the family closer on the back of events, both fortunate and unfortunate, while also bringing in new members. Fahadh Faasil, who also co-produces, stars as the antagonist Shammi, who struggles with his own identity and stature as the man of the house.
Syam Pushkaran recounts his days spending vacations in Kumbalingi. His writing makes the town a character in itself with its own life, magic, and misery. The picturesque town boasts of a beautiful marriage of lush greenery and bioluminescent water bodies. Cinematographer Shyju Khalid captures the town at its best, while director Narayanan and the talented cast bring out the worst in human nature.
‘Kumbalangi Nights’ has a strong female representation, unlike many of its contemporaries. Baby is emblematic of the modern woman, combining her cultural upbringing with a strong character and defiance. Simmi, even in her domestic demeanor and docile disposition, stands up to her misogynist husband when times demand it. Through these level-headed women, Narayanan also explores and accentuates the inherent patriarchy and the “macho image” that men grow up in our culture. Shammi’s character, apparently named after the hero Shammi Kapoor, suffers from his obligation to act tough and as the savior of the women, which forces him to resort to extreme violence.
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The camaraderie of the brothers and the mental effect of the family as a unit on the individuality of the institution’s benefactors progresses visually with more smiles and unity under the roof. When Franky replies “Really?” in astonishment to Nylah’s remark of their house being beautiful, there’s an instant change in perception. Saji brings along Vijay’s widow and her newborn to complete the bond that truly fulfills their house home. The brothers together take down Shammi at the end, something which wouldn’t have been possible without their cumulative efforts. ‘Kumbalangi Nights’ is a film that sets you free and at the same time, brings you closer to yourself and others around you. Also, you’ll not stop crooning “Cherathukal” for days to come after the film.
I am sure we must have missed out on many other great Malayalam movies on Prime Video. Do tell us in the comments section.