We are not calling these ‘FEMINIST FILMS’, we’re just choosing to look at them through a feminist lens
Feminism in Malayalam Cinema: Rethinking Masculinity Through Films
You saw 6. We saw 9. Same films, same scenes—but maybe not the same questions.
This isn’t about labeling these as “feminist movies” or rewriting Malayalam cinema. It’s about looking closer at what’s already there, because something has quietly shifted in new age Malayalam cinema, where the loud “alpha hero” is no longer the center, making way for softer men, fragile egos, emotional vulnerability, and the consequences of control.
From Kumbalangi Nights to Sudani from Nigeria, from Manjummel Boys to Kappela and Ayyappanum Koshiyum, these films don’t preach—they make you feel, and in doing so, they make you question masculinity, patriarchy, and the roles we’ve long accepted.
And that’s where it gets interesting, because these are the same questions feminism has always been asking—not against men, but against the pressure and expectations that limit everyone.
So if you’ve connected with these stories, felt uncomfortable, or seen yourself in them, maybe this perspective isn’t new to you.
This isn’t a fight or a label—just a different lens. And sometimes, that’s all it takes to see better.
THE NEW" MALAYALAM MOVIE FEMINIST REFERENCES
Kumbalangi Nights (2019) – For the “New Man” perspective
The Point: Feminism actually helps men by redefining masculinity.
The Argument: Contrast the “Shammi” character (toxic patriarchy disguised as a “complete man”) with the brothers who learn to care and support each other. How its’ feminist: It shows that the “patriarch” is often the most miserable person, and letting go of that control makes everyone’s life, including the men’s life better.
Sudani from Nigeria (2018) – Feminism through Empathy
The Point: It shows a “soft” masculinity rooted in care and community.
The Argument: The movie focuses on the bond between Majeed and a foreign football player. While it’s male-dominated, the underlying values are feminist: it prioritizes empathy, hospitality, and emotional connection over competition and ego.
How its’ feminist: It shows that a world influenced by feminist values is a kinder place for men too, where they don’t have to be “tough” all the time.
Manjummel Boys -the rescue is an act of interdependence.
The Point: The boys aren’t trying to be “macho”; they are terrified, crying, and desperate. Feminism argues that men should be allowed to show this fear and vulnerability.
The Argument: It shows that true strength isn’t about being a “tough guy” (like the aggressive police officers in the film), but about emotional commitment and staying for a friend when everyone else gives up. The movie portrays a “homosocial devotion” where men take care of each other’s physical and emotional needs without judgment. The way Soubin risks his life is a “selfless act” driven by love, not ego. This “feminist masculinity” replaces dominance with empathy and solidarity.
IMPORTANT NOTE: Traditional movies often end when the hero walks away from the explosion. This movie shows the aftermath of trauma: the nightmares, the silence, and the slow process of healing. By showing that men are deeply affected by trauma and need support to recover, the film challenges the toxic “man up” or “be rigid” stereotype.Kappaela (2020)
The Point: This is a “trap” movie that perfectly exposes the “Savior Complex” in men. It starts like a typical romantic movie. You have a “hero” (Roshan Mathew) and a “tough guy/protector” (Sreenath Bhasi).
The Argument: The Misconception is that most Keralites would initially side with the “tough guy” because we are conditioned to think the aggressive, protective male is the “good guy.” The Feminist Twist: The movie flips the script. It shows that both men the “lover” and the “protector” are actually treating the girl like a prize or an object to be won or saved, without actually listening to her. HENCE THE ARGUMENT is that feminism isn’t about attacking men; it’s about calling out the “Moral Policing” and the “I know what’s best for you” attitude that many Malayali men have toward women.Ayyappanum Koshiyum (2020)
The point: This is the ultimate study of Toxic Masculinity and how it destroys everyone. It’s a movie with almost no female leads, but it is deeply feminist in its critique.
The Argument: It shows two men (a powerful ex-military man and a local cop) destroying their lives, families, and careers just to satisfy their Male Ego. It shows that the “Patriarchal system” (represented by Biju Menon’s father character) is the real villain. It proves that when men try to be “Alpha,” nobody wins. Ayyappanum Koshiyum-il avar randu perum thallu koodunnath ‘shouryam’ kondalla, verum ego kondaanu. Athu avarkku thanne nashtamaanu undakkunnath.
What makes these films powerful is not just their storytelling—but their ability to quietly challenge what we’ve been taught about being a “man.” They show that strength doesn’t lie in control, aggression, or ego, but in care, vulnerability, and emotional honesty.
Feminism, in this context, is not a threat—it’s a release. A release from rigid roles, from silent suffering, from the pressure to always appear strong. If these stories feel uncomfortable, maybe that discomfort is the starting point of change. Because the goal isn’t to argue- it’s to evolve. And mabe the real question isn’t “Is Feminism Offensive?”.
BUT RATHER-WHY DOES IT FEEL THAT WAY?
So tell us—when you connected with these stories, were you watching cinema… or were you already seeing through a different lens?
