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For the Malayali, film is not a distraction from life. It is the argument life is having with itself. And as long as there is a dysfunctional family in a rented house in Thrissur, a corrupt politician in a village cooperative bank, or a lover betrayed by the monsoon rains, Malayalam cinema will continue to hold up a mirror. And what we see in that mirror is not always pretty—but it is always, undeniably, alive.
Where Bollywood offers escape, Malayalam cinema offers confrontation. It is a cinema that smells of rain-soaked laterite soil, of fish curry burning on a stove, of the specific loneliness of a bus ride through the Western Ghats. It refuses to lie. For the Malayali, film is not a distraction from life