The 1970s ushered in a "renaissance," driven by a new generation of filmmakers trained at the Film and Television Institute of India (FTII) and empowered by a vibrant film society movement. The establishment of institutions like the Film Finance Corporation and the National Film Archives supported this 'new cinema'. In Kerala, this movement was spearheaded by what poet Ayyappa Paniker called the 'A Team': Adoor Gopalakrishnan, G. Aravindan, and John Abraham. Adoor Gopalakrishnan's Swayamvaram (1972) is often cited as the film that truly inaugurated the new wave. His second film, Kodiyettam (1978), blended realism and lyricism to tell a story of a village simpleton's maturation. The main character’s growth was seen as a parallel to social and historical changes in Kerala: the erosion of a matriarchal system and the rise of a competitive world. This movement also put Malayalam films firmly on the international festival circuit.
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For decades, tourism ads sold Kerala as serene and golden. The new wave of Malayalam cinema (post-2010) has dared to show the underbelly. Kammattipaadam exposes the real estate mafia and destruction of Dalit land rights. The Great Indian Kitchen weaponized the kitchen to expose gendered domestic labour. Jallikattu turned a village’s festival into a primal nightmare. These films don’t disrespect culture—they interrogate it, which is the most Malayali thing you can do. Aravindan, and John Abraham
The use of specific regional dialects and local cultural practices adds a layer of authenticity that makes these stories feel personal and grounded.
This period saw strong collaborations with literary figures. Iconic films like Neelakuyil (1954) and Chemmeen (1965) addressed social issues such as caste discrimination and won national acclaim.
The late 1990s and early 2000s were a bleak period for the industry. It reached its nadir in the early 2000s, when softcore adult films generated more profit for stakeholders than many mainstream movies did. The industry suffered from intellectual and creative stagnation, with filmmakers hesitant to experiment and a dearth of fresh minds.