For the last few years, the Malayalam film industry has given us one gem after another. Ever since the Malayalam new wave films started hitting theaters, the industry has seen a shift in the way stories are told. Malayalam films today have this strange power to narrate the most complicated and controversial stories with a style that feels simple yet fascinating.
Stories of everyday life, the struggles of regular people, the oppression of the weak, caste, and gender violence – the new age Malayalam films can talk about it all without getting overly dramatic. Vital subject matters are dealt with here with a light yet profound touch, and the results bloom beautifully on the screen. Now, here’s a list of the ten best Malayalam movies that are streaming on Netflix.
10. Vikrithi (2019)
In today’s age of constant social media trolling and canceling, “Vikrithi” is a significant movie that deals with this grave subject in a way that won’t feel too heavy. Directed by Emcy Joseph, the film shows how Sameer Muhammed’s (played by Soubin Shahir) misinterpretation of Eldho (played by Suraj Venjarammoodu) as a drunkard changes both their lives.
Eldho is a deaf and mute man who falls asleep in a Kochi metro train out of the exhaustion of staying up for two nights at the hospital to take care of his daughter. However, Sameer, traveling on the same train, thinks he’s drunk, so he captures and uploads his video. It quickly becomes viral, and both parties have to bear the consequences.
One thing that Malayalam cinema has been doing well is telling a story on a controversial topic without making anyone seem like the villain. Soubin’s character is never put forward as someone to be blamed. He’s shown as a vulnerable human prone to make believable errors. Despite making a mistake like that, the character is never villainized and is simply shown in the light of who he really is.
Suraj Venjarammoodu’s acting here deserves a special mention. He brings Eldho’s character to life without uttering a single word. Right from the opening shot till the end, he holds the screen with such power that the audience will likely never feel the absence of words on his lips. The rest of the cast also does a commendable job. With subject matter that’s so relevant in today’s time, the film does a brilliant job of discussing it without pointing fingers. The ending is exceptionally well-crafted and is bound to tug at our heartstrings.
9. Nayattu
Nayattu (2021) is one of the trickiest political films to measure a response to. It resists rating, branding, embracing, or rejecting—much like a fish you enjoy eating but whose bone gets stuck in your throat. Its discomfort emerges from the film’s conscious choice to root its central conflict in Dalit angst when several alternatives—caste pride, feudal arrogance, nationalism, jingoism, toxic masculinity—existed with far lower stakes. Choosing Dalit angst forces a confrontation: can any political film exist away from savarna politics? And as a savarna viewer, one must acknowledge one’s own internalized casteism and the limits of one’s perspective.
The film shapes Dalit angst into a spontaneous neo-rebellion triggered by an accident that occurs at the most convenient spatial and temporal moment. Its realistic aesthetic masks the contrivance, and once the chase begins, lies inflate into propaganda until propaganda becomes truth. No version of reality outside the film’s events can comfortably cancel what unfolds, and running only postpones the inevitable.
This creates contradictions. The film hints that every truth is nuanced, but this inadvertently leans pro-establishment, suggesting that widely dismissed “cover-ups” could be true. Yet soon after, it becomes fiercely anti-state, shifting blame to political greed and appeasement. In doing so, it risks punching down on Dalit unity and, through careless viewing, could reinforce savarna myths that stigmatize marginalized agitation as opportunistic or threatening.
Still, Nayattu works superbly as a thriller because it builds tension through character and realism rather than tropes. It’s a broken dart that accidentally hits the bull’s-eye: a politically bitter slow-burning built on contrived but potent conflict.
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8. The Goat Life (Aadujeevitham)
When Benyamin wrote his best-selling Malayalam novel in 2008, his goal was to depict the harsh realities of emigration and labor conditions in the Gulf countries. “The Goat Life,” Blessy’s film adaptation of this true story, aims for a wider scope. Although it’s not deeply socio-political, it makes up for this by steering a hero-centric narrative compellingly, turning it into a captivating survival story. The protagonist, trapped in the vast Rub al’ Khali, the world’s largest continuous sand desert, starts to see his humble origins and marriage as blissful.
The movie has some tonal inconsistencies and seems overly devoted to its visual splendor, which I find excessive. However, its portrayal of survival as a testament to the promise of freedom, hope, and faith in a higher power renders it a must-watch film. Prithviraj Sukumaran’s performance as the protagonist Najeeb Muhammad is so measured and gripping that it appears to be the role he was destined for. His understated approach and avoidance of excessive dramatization in conveying pain, despair, and belief significantly enhance the film.
7. Iratta (2023)
Rohit M. G. Krishnan’s “Iratta” features Joju George in dual roles as twin brothers ASI Vinod Kumar and DYSP Pramod. Now, this one is a trauma-ridden crime thriller that touches on the subject of parental violence and how horribly it can affect children. The film begins with the supposed murder of ASI Vinod Kumar and the subsequent investigation of it that reveals more than the viewers could have imagined.
We are let into the childhood of these twin brothers and come to know how their father has abused them. By unfortunate turns of events, the brothers get separated, and Vinod grows up on his own and ends up being a degenerate. Pramod, brought up by their mother alone, turns out to be a better human being. Vinod is in the force, but all he does is drink and cause trouble, including sexually assaulting women.
It might come across as a surprise how much Vinod gets away with simply because of being in the force. While his trauma is understandable, the complete lack of accountability on his part might make us uncomfortable. His brother Pramod has his own family issues, yet he seems a saint compared to his brother.
“Iratta” deals with the theme of trauma quite well. Vinod’s character is relatively given little more space because of his history. His gradual reformation after coming in contact with a woman named Malini (played by Anjali) seems rather convenient. It’s the same woman Vinod was going to assault but does not for some reason, and gradually, they develop a romantic connection of sorts, which becomes catalytic to Vinod’s redemption. However, we don’t forget his heinous crimes, especially the one that goes unpunished. In fact, as the film proceeds, we realize that the implications of Vinod’s crime go far beyond his own understanding.
He realizes how grave a mistake he has committed, leading to the disturbing climax. Despite having a lot of potential, the film remains somewhat problematic because of its treatment of a sensitive subject like sexual assault. One might very reasonably ask that the decision that Vinod makes at the end of the film would have remained the same if he had never come to know about his victim’s identity.
6. Kuttavum Shikshayum (2022)
“Kuttavum Shikshayum,” translating to “Crime and Punishment,” is a police procedural directed by Rajeev Ravi and is based on an actual incident. What’s interesting here is that Sibi Thomas, the officer on whose experience this film is based, not only has co-written the film but also does a cameo. The fact that everything unfolding on the screen is real and experienced by someone first-hand makes this an exciting watch.
“Kuttavum Shikshayum” demands our patience. Just like the film goes on to show how demanding the job of a police officer can be and how much of it is spent navigating the bureaucracy, the viewers must be patient enough to get the final payoff. The cops here, consisting of Kerala CI Sajan Philip (played by Asif Ali) and SI Basheer, CPOs Abin Raj, Rajesh Mathew, and SI Rajeevan, start investigating what appears like a local jewelry theft. However, as the film progresses, it becomes clear that things are not as easy as they seem, and these South Indian cops have to travel to the northern part of the country to catch the culprits.
As these police officers try out their luck and skills in a foreign land where they are met mostly with hostility, one might be reminded of Lijo Jose Pellissery’s “Churuli.” The primary difference, however, is that the journey of those cops was mystic and surreal, but here, whatever happens is extremely real. Right from the film’s opening shot, where CI Sajan wakes up from a nightmare showing his past trauma, the film’s tone and pace are set.
Dawn Vincent has done an excellent job with the music here. It goes along with the movie’s tone very well and often helps retain certain scenes’ tension. Suresh Rajan’s cinematography also adds to the charm. The only complaint that can be brought against the film is its lack of well-written women characters.
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5. Jana Gana Mana (2022)
Directed by Dijo Jose Antony and starring powerhouse performers like Prithviraj Sukumaran and Suraj Venjaramoodu, this legal thriller deals with burning social issues that were inspired by real-life atrocities. We see Suraj Venjaramoodu as a police officer committing extrajudicial killing. The victims are four individuals suspected to have killed a young woman professor. However, does he do the right thing? More importantly, did he round up the real culprits, or were they based on some clouded judgment of his own? This is what forms the crux of the story. We see Prithviraj playing a skillful defense lawyer who poses pertinent questions about law and justice.
The film offers an honest insight into the campus life of a politically active university and the subsequent police brutality that the students have to endure. The resemblance of the incidents depicted here is too real to ignore comparison. However, the heavy-handed writing and direction dilute a bit of its impact. “Jana Gana Mana” may become predictable after a point, and more so because you will feel familiar with the incidents happening on the screen. However, that does not diminish the quality of its performances and the relatability of its social issues.
4. Love (2020)
In every relationship, couples fight. In every relationship, there’s some form of abuse. We consider these things normal, at least to an extent. But what happens when that line between the abused and the abuser gets blurred? What happens when you no longer know what is real, and you get a hunch that anyone can be anything? Well, that’s precisely what “Love” is about.
Directed by Khalid Rahman, “Love” gives us a glimpse into the lives of Deepthi and Anoop, a married couple whose relationship seems to be not working too well. Right at the beginning, we learn that Deepthi is pregnant. When she texts Anoop this, he does not respond and keeps playing a video game. When she comes back home, a fight erupts, and things keep taking turns from there.
As a film, “Love” works on multiple levels. On the one hand, it is a psychological thriller that will keep you questioning the actual nature of its characters throughout the movie. On the other hand, it beautifully depicts the troubles and tribulations of a modern relationship and how things can escalate if they are not appropriately addressed and at the right time.
To give viewers a better sense of the couple and their equation, we are introduced to two of Anoop’s friends, who have their own troubles. However, it is not until almost the end of the film that we understand that these friends aren’t really other people; they are fragments of Anoop’s psyche, showing what he thinks and what he is doing with his life. With Deepthi’s car being stopped by the police in the last scene, the film ends on an open-ended note.
3. Thallumaala
At first glance, “Thallumaala” might be dismissed as just another iteration of a well-worn narrative: a flawed hero, his band of misfits, and the well-to-do woman who inexplicably falls for him. However, this story unfolds in an unexpectedly complex manner, offering a fresh take on a classic setup. The film stars Tovino Thomas, who delivers a powerhouse performance that surpasses his already impressive previous work in “Minnal Murali.”
“Thallumaala” takes the familiar framework of a traditional masala film and infuses it with a new life, paying a colourful tribute to the quirky action genre that has become a staple of pop culture. The film’s portrayal of the former couple’s playful bickering after their split is elevated into one of the most unforgettable musical moments of recent times.
It’s true that the film isn’t perfect. Its extended duration sometimes requires a series of spectacular scenes to maintain the audience’s attention. Yet, it’s the film’s astute self-awareness and boldness that ultimately renders it a captivating watch. The movie doesn’t shy away from its identity, embracing its length and using it to its advantage to craft sequences that are both visually stunning and narratively engaging. In doing so, “Thallumaala” secures its place as a standout film that not only entertains but also resonates with viewers long after the credits roll.
2. Nanpakal Nerathu Mayakkam (2023)
The feeling of being a completely different person when you wake up from a really good siesta is something almost all of us have experienced. Well, that is what happens in “Nanpakal Nerathu Mayakkam.” A bunch of Malayalis visit a Church in Tamil Nadu, and while returning to Kerala, they fall asleep on the bus.
Upon waking up, one among them, named James (played by the brilliant Mammootty), stops the bus and wanders into a nearby Tamil village. Directed by Lijo Jose Pellissery and written by S. Hareesh, the film indeed feels like an afternoon dream. James wakes up a different man, completely forgetting his previous identity. He starts living as Sundaram, a resident of that village who disappeared two years ago.
This causes considerable confusion among the Malayalis and the Tamil villagers. James addresses Sundaram’s wife and parents as his own. He argues with both the villagers and his fellow Malayali passengers to prove his identity. The two sets of wives and children from James and Sundaram’s family witness the whole episode helplessly, one losing hope and the other seeing a faint flicker of hope, thinking her husband might have actually returned.
Then the night ends, and so does this dream. Sundaram wakes up, and we see that he’s James again. He behaves as if nothing happened and everyone carries on with their lives. The sheer absurdity of the situation and its rootedness in reality make it a beautiful watch. The line between what is real and what is happening inside a dream is often blurred, and the audience gets to decide what they want to believe.
1. Minnal Murali (2021)
A superhero origin story, Basil Joseph’s “Minnal Murali” is a brilliant blend of superhero lore and sociocultural aspects of Kerala. This is the story of an ordinary man getting extraordinary power by chance (as with most superheroes) and then figuring out how that power can be navigated without causing too much of a ruckus. “Minnal Murali” actually stands out because of its finely characterized villain character (played by Guru Somasundaram). The arc of Shibu’s character, who eventually turns into a deranged villain, is done so impeccably that it becomes hard to look at him as just a bad guy waiting to be destroyed by the hero (Tovino Thomas).
Shibu’s character has been developed with so much humanity that, in the end, the audience is bound to ask what really separates a hero from a villain and how much society is responsible for the making of a villain. Director Basil Joseph has brilliantly played with the idea of an outcast in this film. Besides the story and the screenplay, the film also did well in terms of editing and music.
