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The industry’s “New Wave,” which began in the 2010s, rejected the exaggerated tropes of the 90s. Filmmakers like Lijo Jose Pellissery ( Jallikattu , Ee.Ma.Yau ), Dileesh Pothan ( Maheshinte Prathikaaram , Joji ), and Mahesh Narayanan ( Malik , Ariyippu ) began crafting films that felt like documentaries about broken people.

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This era cemented the cultural trope of the Malayali anti-hero . Unlike the flamboyant stars of Bollywood or the mass heroes of Telugu/Tamil cinema, the Malayalam superstar (think Prem Nazir, and later, Mammootty and Mohanlal) often played the everyman . He was a school teacher, a fisherman, a reluctant landlord. This cultural grounding—the rejection of the demigod persona—reflects the state’s egalitarian ethos. The industry’s “New Wave,” which began in the