This pandemic’s explosion in the use of streaming services has given a boost to local filmmakers. Consumption of content has risen exponentially and has reached new highs in the past several years. A wide audience for regional films already existed, but the awful times have made it much more accessible. Films from the South have become popular because of their innovative storytelling and complex character development. Malayalam movies on both Netflix and Prime Video are a sign of the rising popularity and success for independent filmmakers. Cathartic films like Liju Jose Pellissery’s and Jeethu Joseph’s continue to raise the bar. Some of the best movies made in India in recent years may be found on the various streaming services.
If you are not proficient in Malayalam, don’t worry; you can still enjoy the films thanks to subtitles and dubbed audios in Hindi and English. You can find the top Malayalam movies on Prime Video thanks to a combination of these characteristics. To accommodate a wide range of preferences without sacrificing quality, the selections have been broadened. Do not hesitate to use your own name in the comments section. You’re welcome.
10. Ayyappanum Koshiyum (2020)
There is a wealth of insight in the ancient Hindu scriptures about ego and its effect on men. According to ancient teachings, men who become completely engrossed in anything can only ever see one outcome: devastation. It is about two men who allow their egos dominate their actions and proceed to make sure the other person is destroyed in ‘Ayappanum Koshiyum’ (i.e., Ayyapan Nair and Koshy). To put it another way, their condition extends beyond their personalities to the mysteries of their terrible pasts, which remain hidden someplace deep within.
The world is seeing an epic struggle fueled by patriarchal ideals about masculinity and the purpose of manhood as they collide (much like the Ayyapan and Koshiyam of Hollywood a few weeks from now). On the one hand, Koshy is troubled by his perception of his own inadequacy in comparison to his father. As youngsters, powerful figures of authority often urge us to become more like them and prove ourselves, causing us to remain in a perpetual state of fear and doubt. Ayyapan, on the other hand, is a confirmed alpha, as we are led to assume by his history of violence for moral causes. Suddenly, he feels compelled to take the moral high ground and teach Koshy a lesson as a result of the betrayal of his confidence.
9. Virus (2019)
As a global pandemic ravages the world, the makers of ‘Virus’ bring the audience back to Kerala, where a different but equally important battle is taking place. The 2018 epidemic of the Nipah virus astonished and alarmed the state. Medical specialists, government officials, and members of the public all work together to contain the spread in “Virus,” which chronicles those anxious days from the first indexed case until its final conclusion.
8. Trance (2020)
Viju (Fahadh Faasil), a struggling motivational speaker in Kanyakumari, is played by Fahadh Faasil, a mercurial actor. Kunju. Suicidal tendencies and a significant dependency on drugs keep Viju always on the edge of his seat. Kunju is discovered dangling from the same fan that his mother did several years prior, confirming his greatest fears. Once in Mumbai, Viju runs into an old acquaintance who connects him with a job. When he accepts the fateful offer, he has no idea what he is really giving up when he does so.
7. C U Soon (2020)
When it initially came out, ‘Searching’ was a huge hit. It succeeded in establishing a distinct subgenre of films, those set entirely within a digital environment. Since then, similar films have been released nonstop, and now the virus has spread to Indian cinema. In order to meet the needs of the epidemic, ‘C U Soon’ was created. The story follows Jimmy Kurien and Anu Sebastian, a girl he meets on a dating app, in this film directed by Mahesh Narayanan. The two fall in love and are married as a result of their initial flirtation. Innocent-looking at first, Anu’s rigid upbringing turns out to be a macabre incident that puts her life in danger. Among the cast members are cousins Kevin and Jimmy, played by Fahadh Faasil and Roshan Mathew, and Anu, played by Darshana Rajendran. The fast-paced narrative doesn’t waste any time. As the film progresses, fresh occurrences become more exciting thanks to the film’s streamlined editing.
6. Unda (2019)
Malayalam’s word for “bullet” is ‘Unda’. After seeing a newspaper clipping about the state of Chattisgarh failing to supply a police unit stationed in a Maoist-infested area with enough weapons to conduct elections, the idea for the film was born. As with “Newton,” although from a different angle, this film looks at similar concerns.
5. Drishyam 2 (2021)
Officer Thomas quips, “I feel this is the beginning of something,” with roughly 18 minutes left. Indeed, he is correct. It’s worth its weight in gold, despite it takes its sweet time to unravel Georgekutty’s remarkable escape, to see Jeethu Joseph and Mohanlal’s much-anticipated sequel to ‘Drishyam’ released in 2013. ‘Drishyam 2’ picks up six years after the events of the first film. From working as a cable repairman to running his own movie theater, Georgekutty has made a remarkable transition. His family is still struggling to come to terms with the events of that night, and they feel heavy and guilty. Secretly, the police pursue IG Thomas Bastin’s ‘special mission’ to bring down Georgekutty, with the help of envious locals. Georgekutty, however, is five steps ahead of them and they have no idea.
4. Helen (2019)
Survival dramas that combine suspense and character development are few and far in between. It’s not uncommon for the plot to focus on the survival story to the hilt. It is common for filmmakers to use the genre formula of isolating the protagonist and then introducing new variables to the way they overcome hardship. Experimentation and deviance from the norm characterize Helen. Helen’s interpersonal interactions and fundamental character are established by filmmaker Mathukutty Xavier (in his debut film) from the very first scene to brief interludes in-between. By detailing her contacts and establishing her skills and destiny, Xavier establishes that she will be saved. Little details make a big difference in the way a tale unfolds.
3. Ee. Ma. Yau. (2018)
/Ee. Ma. Yau. meaning Jesus, Mary, and Joseph in English. /Eesho Mariyam Yauseppe Chellanam in Kerala is the setting for Liju Jose Pellisserry’s narrative, which tells the story of Eeshi, a son who promises his dying father (Vavachan) that he will give him a lavish funeral. The sardonic pace of ‘Ee. Ma. Yau.’ combines absurdist humour with deep sadness. Two angels who play cards while the rest of the world around them is in disarray; Pennamma, who weeps at Vavacharan’s body and utters rude comments; and the rain that falls at the time of the burial all feature in the meditative work. The Seventh Seal’s mid-credits scene is clearly influenced by the film’s depiction of death. P.F. Matthews, who wrote the script, has written a number of books on the subject.
2. Kumbalangi Nights (2019)
As four brothers, Shane Nigam, Soubin Shahir, Sreenath Bhasi (and newcomer Mathew Thomas) are bonded by blood but separated by personal differences in Kumbalingi, a small hamlet in Kerala, Madhu Narayanan’s directorial debut. It’s so bad that Bonny (Bhasi) decides to stay away from the house, only returning when Franky (Thomas) gets back from school.. For whatever reason, Bobby (Nigam) is unable to get along with Saji (Shahir) and frequently fights with him. Both happy and terrible occurrences bring the family closer together as well as introduce new members into the mix. A co-producer and actor of Shammi, Fahadh Faasil portrays Shammi, the man of the house who is struggling with his own identity and status.
Syam Pushkaran reminisces about his childhood summers spent in Kumbalingi. Town has its own personality and magic thanks to the author’s work. The town’s rich flora and bioluminescent water features are a stunning match. Shyju Khalid’s cinematography captures the best of the town, while director Narayanan and his superb ensemble bring out the worst in human nature.
1. Jallikkattu (2019)
‘Jallikkattu’ is not a reference to the Tamil Nadu practice of celebrating a similar, controversial sport. In a small Keralan village, a frantic buffalo chase engulfs the entire population. However, the film is actually about the “man vs. beast” clash that is still relevant today. Choreographed pandemonium in Liju Pelliserry’s style of raucous dialogue and meticulously controlled long shots follows the collapse of man and his civil sensibilities that he himself fears – the beast – into something he himself fears. ‘Jallikkattu’s rich subtext and underlying ideas are more carefully utilized to bridge the gap, which is physically bridged in the exciting climax. After a long, teasing buildup, the final clash between Kuttachan and Antony is a microcosm of the film’s overall concept. There’s also the bigger battle to tame the wild beast, which began as a single group of men. The social critique shows that women are the more cautious of the species. Men destroy woods, destroying ecosystems and tearing down trees while women remain at home and suffer the horror that runs rampant within those engaged in pursuit.