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In the last five years, films like Keshu Ee Veedinte Nadhan and The Great Indian Kitchen have sparked literal street debates. (2021) was a cinematic earthquake. It depicted, with brutal realism, the daily routine of a housewife—from grinding masala to cleaning the pooja room. It was a quiet horror film about patriarchy disguised as a family drama.

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Look at Joji (2021), an adaptation of Shakespeare’s Macbeth set in a Keralite family compound. Fahadh’s Joji isn't a warrior; he is a lazy, engineering dropout son who murders his father for an ATM pin. The culture of sons not leaving the nest , the pressure of NRI wealth, and the feudal dynamics of Keralite families are the real villains of the film, not the plot. In the last five years, films like Keshu