 I hope the Oscars shake things up. OK, it's been a pretty on like it's been an anti climactic award season this year. Maybe there's just one enough. Great films. Well, no, there were. There were clearly not. If there's one clear winner in each category. Yeah, no, did you see Nayad? No, did you see? You saw the holdovers. I did. Yeah, Nayad is is is those two together. Great films. You've seen poor things. I had Barbies not gotten near the level of respect that should have gotten not to Indians. Opinion, yeah, they did not like them a bit. Yeah. I walk back to our stupid or X Corbin. I'm Margot Robbie. False Instagram Twitter for juicy content. Thank you for some pictures and photos of guns. I did indeed. And this is this is a little video indeed. Beyond it's called Beyond Malielem Cinema, Beyond Priam, Bangalore Days and Father of Steel by Vishal Menon. He's so he's going to go over the Malielem industry and a little it's an interview with him. We've seen a lot of his videos, but he's interviewing this Malielem. I don't know who he is in the industry, but kind of goes over a little bit of some history and OK, where kind of the current changes happened. He's been in 2011. Now we'll get to, you know, all of the movies, you know, the recommendations that, you know, that you you should give us and everything. But who are the people who are the main filmmakers, writers, actors who kind of started this Renaissance movement in 2010, 2011 period? Yeah. So these guys were already there. You know, in fact, the irony is if you talk about the list of those films that the director who made Raja Makin, Anwar Ashid, he kind of completely changed that part of the mid-2000s because Mamuti started acting in those movies. Of course, I love a lot of them. I'm not saying those films are beneath me or anything like that. I love some of them. But Anwar Ashid actually has been very instrumental, even in the 2010s, like he directed Ustad Hotel. You know, he would have produced to either. I think he's one of the producers or the producer of Bangalore Days. So he produced Premam. So the guy who made Raja Makin kind of is a really big part of the guy who kind of changed Malayalam industry in the 2010s. Along with Anwar Ashid is Ashik Abu. And then, of course, then you have Amal Neera. Even he had kind of made movies in the 2000s, but it felt like these guys were making the movies they originally wanted to make or something like that in the 2010s. Along with them, we had some of those directors like Anjali Menon. She made a couple of films. Even directors like the older directors like Vicky Prakash, Ranjit, Satya Nandikar, they all, you felt like they were at least doing something different. Like Ranjit Tharan is a completely transformed director when he comes to his later years. And Lijo, of course, Aame and whatever, I really like, I remember going to the theatre watching this movie called Naayakan. His first movie, it's a very, I mean, I don't love the movie or anything, but it was a fascinating movie. There's something interesting going on in that movie. And then when he made City of God, I'm like, dude, this guy is going to kill it. By that time, if he was a company, I would have bought stocks. You kind of knew that it had reached that point. And then with Aame and when he made Aame and whatever, then you know that this guy is like another level. So, but even though those are like slightly later, like closer to mid-2010s, you feel like that that ecosystem had already been created by 2011, 2012, 13. There was another movie called Tatatan Maretha, which is a very, very nice feel-good movie. But it looked very fresh. It's a very fresh-looking, like rom-com or whatever you want to call it with new actors and beautiful music and all that. So the ecosystem system got created very quickly within the 2013-14 phase. And by the time, Lijo kind of hits his mark with like kind of, he had a massive flop. He had a like a legendary flop called Double Battle, like an expensive flop. Yeah. So after that, he kind of came back and kind of, not reinvented because Aimen is also a great movie, but when he made Angamali Diaries and I think around that year or the next year, Maheshendra Pradigaram kind of came and Kamati Padam came. Rajiv, we had two movies before that. Then you got this trio, this trio of like really wonderful, like Malayalam directors who kind of, who really like bigger than Kerala. Even of course, Alphonse Putrin. These four or five guys are those, really those four or five Malayalam directors who kind of took it to the next level. Oh, those are the filmmakers. Okay, so now, imagine that, imagine I'm like this North Indian guy, okay? Or someone who's not from Kerala, who doesn't know about Malayalam cinema at all. He just, he, I just come to know that there's something called Bangalore Days, I watch it, then there's Prima, I watch it. So for someone like me who doesn't know much, but who wants to get into Malayalam cinema, I would imagine that before going to the classics, correct me if I'm wrong, before going into the classics, I should start with the contemporary, this thing, contemporary movies, just like a, like a gateway drug kind of, right? So in that case, what are some of the movies that I have to watch? Like, give me like a Malayalam cinema starter pack of yours, if you have. I'll start with like, of course, all the films that you mentioned, like Ustad Hotel, Bangalore Days, Tatat Sanamaretha, Kumbulangi Nights, you know, maybe North 24 Kadam, which is kind of slightly underrated in that sense. Kondimudulam, Kamati Padam, Premam, of course, maybe Nairam, because he made Nairam before Premam, you know, of course, Joji, which just came on. Nyan Prakashan. Just watch Fafafam. Yeah. So I will thrill her. Oh, we haven't seen that one. About a girl who gets stuck in a freezer. It's releasing in Hindi also pretty soon, but it's like a good place to start. Then there is this movie I really love called Shutter. It's released in Tamil, but I think it was like a flop kind of a thing. It's Shutter is basically, I don't want to reveal much, but it's basically about this family man who gets stuck in a Shutter, like a shop. Another person, he shouldn't be stuck. Who shouldn't be there with him. Then of course, the two Dhrishyams, then there is a movie called Kali. Okay, Dulkar's Kali, which is an ultra stressful movie. Like I get, I get, I get, I get. It's very anxiety inducing. Yeah, yeah. Anxiety inducing movie. So that's another good thriller, Varathan is another thriller like that. You know, it's a home invasion thriller, which is again, you know, like, like crazy, exciting Ezra. It's not a thriller per se. It's like a horror movie, but just, just think about it. It's a Malayalam movie that deals with like Jewish ghosts and all those kinds of things. Like there's a synagogue in it. And there's a, there's a portion that's set in the 40s or 50s or something like that. So it's like, even in the horror genre, it's not like a basic horror film. It's trying something unique, you know, and there's this whole nuclear explosion angle, a nuclear waste angle and all that. So it's a, even, even that is like a unique, like weird quirky movie that you can watch. Three films from these different directors, why don't we take each director and best films by him? Like, if we can start with Adore, right? I think I've watched three of his films. One is like Vidyan. Then there's this film called Anand. Madhya Ligal I watched. That is, yeah, Anand Dharam. Yeah, recommended a lot after the war. Yeah, after the war I got recommended a lot. One of my all-time favorites once again, because such a beautiful looking film that to set within like a prison. This was something I watched like late last year. But one thing I want to ask about Adore is, for me, it holds up even now, right? What was the reception of these movies back in the late 80s and 90s? Like, were they considered like parallel cinema like that by the people who are watching it that time? Or was it like any other movie, did they do well? And was it easily accepted by people? See, he was always celebrated. Okay, he made this movie in the 73 or 74 called Swayamaram, which everybody, like, it's a very accessible kind of a film. Everybody should watch it. And there's a lot of good writing on Swayamaram that's written in English, like a lot of PDFs that you can read about the film to understand how, like, why it's such a great film. So right from Swayamaram, Adore was like, everybody was very proud of Adore. Everybody is like, okay, Malayalam cinema is very seriously. Malayalam cinema has kind of traversed boundaries because of Adore. But 90% of the people who know Adore and read his interviews and spoke about him would have probably never watched one of his films. You know, that was generally the kind of like, at that time or whatever, everybody knows Adore. Everybody takes pride in the fact that Adore is a Malayali filmmaker, but they've maximum watched one or two films. That's how it was at that time, you know? Because I remember like, we are like uncles and like people when you watch those movies on Sundays and all that. The second is an Adore film, you know? The films that will play with this hard-coded Arabic and Hindi subtitles and all that, they'll change it because they're not ready to watch that kind of a film, you know? And this is generally a joke. Like generally, like there's a joke, like if somebody, like for instance, if you ask somebody to get you something from that table and that kind of takes a really long time to get you that from the table, they're like, onion, the Adore cinema, you know? Like that. The joke is like if you take some time, take a little extra time to do something, they'll kind of compare you with an Adore film and stuff like that. But if you're asking me if they commercially made money and all that, they're definitely not. Like, how do I tell you? Like, Anu Ega is the smallest theater in Ega, right? Like that, there's a theater called Sangita in Kochi. It's Sarita, the biggest, Savita and Sangita, the tiniest. These are all films, these are all Sangita films, you know? So it's like they will get a release which itself is a big deal because these guys are superstars of their area, their zone, you know? But it's definitely not like, you know? Vanapuram, I remember Vanapuram is, I think just a film before Narasimha or something like that, it released in 2000 and Mohanlal with all his might the fact that he got a national award and all that. Nobody went to watch that movie, you know? Nobody went to watch it because they know that it's like a Shah Jain Karun movie, like he's a Kathakali artist and it just didn't matter to them, you know? So these films, they might watch it if it comes on the TV. Then people like us, like those people who take cinema seriously, they of course would have watched it when it's CDs or some cassettes and all that. But it's not like a generally, like everybody is watching Aadur movies every day. It's not like that. It's not like Satyajit Ray or anything in Calcutta. It's not like everybody is watching it. But I think personally, like whoever is watching or listening, right? Don't get scared of, you know, like how Vishal described in the sense, of course it is difficult to get into if you're not familiar with Malalum cinema, if you're not a little bit open to experiencing other things, like if you want to listen to my personal recommendation, please, please watch Madhulagal and Vidyan especially. Madhulagal is a very straightforward story. There is not, you don't have to, it is political also if you want to think a little extra about it, but you'll just enjoy it if you don't think about subtext and all of those things. Vidyan on the other hand, it's a little intense. It has, you know, Mamoti playing this Zamindar, right? He's like a landlord kind of a thing. Landlord. Yeah. So this film, I just suggest watch it, watch it on one side, but on the other hand, just keep in mind the things that are going on right now. In the sense that the government, I don't know, it depends also on which side of, which side you're leaning towards and everything if you want to understand the subtext. But if you are little towards the left leaning side, you'll understand that movie much better. And then it is so amazing that he made such a movie so much before that is still so relevant right now. So whoever wants to check out Adho's movies, all of them are on YouTube with a pretty good print or actually a really good print. Everything with subtitles, really good subtitles. So just check them out. So yeah, sorry. The other directors like... Oh, I think somebody cut this up because it's an hour long interview altogether. That's a deep dive into Malayalam cinema. Which is great. No shock. Mamoudi's name was mentioned and Fafaz constantly. There'll never be another Mamoudi, but Fafaz... And LJP, that's not a shock either. Yeah. And I guess that's why like, who before... That's a question I think I've asked before. Who was there before Mamoudi and Mohanlal? In the beginning was Mamoudi and Mohanlal and... They created Malayalam cinema. Yeah, and they created Malayalam cinema and it was good. I know because obviously it's been around, but maybe that's also why the golden era from what I hear is like late 80s and 90s for Malayalam cinema, which is why I changed it. Yeah, but I would like to know what are the precursors to that? Because obviously it's been around long before that. They have old films. You just don't hear about them as much as you hear. It's almost like the industry began with Mamoudi and Mohanlal. Maybe. And then obviously now it's really taken off, I think. I think it's true and obviously we're still incredibly new to this and ignorant of the history. But my suspicion is that the larger audience of India and then the larger audience of the international community became aware of Malayalam cinema because of Mamoudi and Mohanlal. Mamoudi and Mohanlal walked so Fafa could run. Yeah. Not that Mamoudi or Mohanlal are walking. No, but they made the clearing of, you know, knocked down all the trees that made the road for Fafa to look to Mohanlal. Because they are most definitely still running, both of them. Oh yeah, without any question. We haven't seen it, right? What? A film with Fafa and Mohanlal? I mean, Fafa and Mamoudi? Not to my knowledge. I don't think so. Am I forgetting? If we did, it may have been one of the earlier films of Fafa's that I've forgotten that because we didn't know Mamoudi at all back then. Film stars Mamoudi in title role with Fahad Fasil and... Yeah, we didn't see that. It's called Emanuel? Emanuel also publicizes Emanuel. A 2013 Malayalam comedy drama directed by... Laul Jaws? Laul Jaws, produced by S. George. So yeah, it looks like he has done. You can let us know how that film is. Mamoudi and Fafa is really intriguing. Yeah. Do they have anything lined up? I hope so, man. That'd be awesome. And what was that like for Fafa to work with? Oh, God. Obviously, we would love to. There's nobody in the industry I'd love to talk to more than Fafa. Yeah, no, it's like somebody here working with De Niro, you know? His new film. Turbo. Just got announced, just turbo, the... The, it just got announced. The poster. I just, it would make sense to put them in a film together now. Right? Fafa and Mamoudi? Yes. Absolutely. It makes sense, right? Oh. Bazooka. Ooh, Fafa Light. I know what you should do. What? Because Fafa could still pull it off. Please, kid. Do Hamlet. Let Fafa play Hamlet. Let Mamoudi play Claudius. It wasn't that, Joji was... Joji was, what was Joji? Macbeth. Macbeth. Theater of Dreams. Shine Choco. He's worked with Fafa Light a few times. Shine Tom Chakos, who I'm talking about, by the way. But that was cool. I enjoyed the video. I could have listened to it. More, yeah. To Dolkar Salman. Oh my God, here we go. Untitled, I'm a project. What is that? Oh, it's got some folks attached, boys. There's one, hold on, sorry. Come on, this can't be real. This is not real. Yeah, there's no way that's real. This must be like a documentary or something. It claims that the actors attached to this film are Mamoudi, Prithee Raj, Mohanlal, Tovino Thomas. Dolkar. Fafa, Dolkar Salman. Yeah. No, that's not happening. This is like a, must be like a documentary, maybe. Yeah. Dialogue, screenplay. That would be the greatest cast. Screenplay, if this is real. No. That'd be the most epic Malayalam cast ever assembled. There's no way. That's like the Avengers of Malayalam. Yeah. Speaking of an epic cast, when are we getting that Prabhu film that has Amitabh and Deepika that we saw at Comic-Con? I think it's May. Oh, it's that soon. I think so. That makes me happy. The strike screwed up a bunch of shows here as far as we're not getting white lotus or morning show till 2025. It might be a film. I don't know. You guys have to let us know. Why, also why haven't I heard more about that? If that, if you have the greatest cast in Malayalam history. Yeah, what is going on there? Mamoudi, Mohanlal, Prithee Raj. Dolkar. Tovino. Bafa. I mean, Subin has to be in there too. I know, somewhere. There's no way that's real. I can't imagine it is, and that's the first but we just happened upon it on IMDb. There's no way that's real. No way. It has to be like them going over Malayalam cinema and like talking about it to something like that because that would be the greatest cast in the history of Malayalam cinema. Indeed. God. Anyways, let us know. And let us know what the next Malayalam film should be. They mentioned a lot that we hadn't seen, obviously. Yeah. If there's something in it. Especially the one that was, what's the one that you said came up after we watched The Wall that was really, can we talk about it? I think it's a negative role for Mamoudi. Mamoudi. And he plays, I believe someone said a slave owner. And it's a really negative role. And speaking of that, for those of you who've been asking, because I've seen a ton of DMs begging us to watch Mamoudi's new film. It's not here, guys. We're going to. If you didn't see it in other reactions, we said it was released too far away on a single screen for us to get to considering all that's been going on in both of our lives. We've been two hours each way. Yeah. And a lot going on in our lives. There's the rare occasion, like we did that for when he did the film with LJP and it released, we were able to get there. But for the most part, we can't make that theater. And we're probably, you had said, we're going to do it as a watch along, once it's available. Once it's available. I'm sorry, I have no doubt that the theatrical experience is better. It is better. I wanted to, but it is what it is. It happens. I've told you guys many times, Miley Alam, we don't hardly get unless the production house, which they did for LJP's film, gives us a special screening, brought it to something really close to us. And that was the only time it's ever happened. Yeah. And it wasn't like nothing because these are our dose. No, and maybe when I mean reached out. Yeah. Yeah. So, here you go. What happens? But we'll do it as a watch along. Let us know down below. Just.