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<title>World Malayalee Voice &#45; : CINEMA</title>
<link>https://worldmalayaleevoice.com/rss/category/cinema</link>
<description>World Malayalee Voice &#45; : CINEMA</description>
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<dc:rights>Copyright © 2026 World Malayalee Voice. All Rights Reserved.</dc:rights>

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<title>അഹാന കൃഷ്‌ണ&#45; നിമിഷ് രവി പ്രീ&#45;വെഡ്‌ഡിങ് ഇവന്‍റ്; ‘അമ്മു–നിമ്മു&amp;apos; കാർണിവലിന്റെ  ചിത്രങ്ങളും വിശേഷങ്ങളും പുറത്ത്</title>
<link>https://worldmalayaleevoice.com/ahana</link>
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<pubDate>Mon, 28 Sep 2026 20:21:44 +0000</pubDate>
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<title>‘Why are our films denied screening?’ Filmmakers at docu film fest ask</title>
<link>https://worldmalayaleevoice.com/why-are-our-films-denied-screening-filmmakers-at-kerala-docu-film-fest-ask</link>
<guid>https://worldmalayaleevoice.com/why-are-our-films-denied-screening-filmmakers-at-kerala-docu-film-fest-ask</guid>
<description><![CDATA[ Standing in a group at the Kairali Theatre complex in Thiruvananthapuram, wearing black and looking dejected, are filmmakers and crew members of some of the films that were not allowed screening at the International Documentary and Short Film Festival of Kerala (IDSFFK) this year. They are hoping to meet the newly appointed chairperson of the Kerala Chalachitra Academy, actor Ravindran, to present their case. No reason has been given for not allowing the screening of eight films, including five in the competition section, at the IDSFFK. The Union Ministry of Information and Broadcasting had initially denied censor exemption to 31 films selected at the fest, but after the government of Kerala wrote seeking permission, 23 of these were approved.  “We hope to meet the chairperson and ask for an explanation on why our films were denied approval. The IDSFFK is very important for us, and two of my previous films have won awards at the festival. This year I finished my film on time for the IDSFFK because this is the only place – if my film is good enough – it will be shown, it is almost like an Indian stamp that gives you confidence. It  was last Sunday that I got an email saying that the festival committee has not got permission to screen my film, but I was still welcome to attend the festival,” says Spandan Banerjee, whose long documentary Parliament Street is among the films that are being denied screening. Parliament Street and four of the other films that have been rejected are in the competition section of the festival. “We are asking if at least the jury will have a private screening of our films since they are in competition, or else will the entire competition be cancelled because how is it fair otherwise?” Spandan asks.  His film focuses on an artistic venture called People Tree, founded by artist Orijit Sen, which had been running on Parliament Street in Delhi for 33 years. Spandan shot his entire film on May 8, 2023, the day the shop had to close down, which also happened to be the day the new Parliament building was inaugurated. His film was submitted for the IDSFFK before May 2026, which was the deadline for submissions. Spandan mentions the dates clearly to say that the film has nothing to do with the student protests initiated by the Cockroach Janata Party on Parliament Street this year. This is under the assumption that that must have been a reason that the Union government took issue with the film. However, the entire filming and even the submission happened much before. Along with him are makers of the short documentaries Sanitised Republic and The Mali and the Parasite, which too are in the competition section and have been disallowed a screening. Afiya Khalid and Rizwan Rahman made Sanitised Republic on sanitation workers at Delhi hospitals who were promised permanent employment during COVID-19 but lost their jobs later. Their film focuses on contractual labour and the relationship between caste and sanitation work.  “This is the third film festival for which our film has been denied permission for screening, because of the same objections by the Union Ministry. They wanted us to cut a few references to the Prime Minister of India. We cut them and sent the film again. They asked us to further cut down some references, and we did that too. Even after that we didn’t get an exemption order. It is not about us as filmmakers but the film is important and we should leave it to the audience to decide if they like the reference. We had hoped that the film would be screened in Kerala, that’s why we came all the way. We are requesting that the film be at least watched by the jury,” says Afiya. The Mali and The Parasite is about a group of Adivasi and Dalit communities in Odisha who resisted their displacement by a corporation called Vedanta Limited. “The Odisha government signed an MoU with Vedanta and hundreds of hectares of land were given on lease for 31 years. Resisting that, a collective of people fought against the corporate’s exploitation of the Sijimali Hills for four years. The film is about their fight,” says Sankaraa, director of the film.          View this post on Instagram            A post shared by Indigenous People’s Land, Life and Knowledge (@indigenouspeoplesllk)
 The filmmakers feel that censorship has become more rampant in recent years, after the Union government singled out Anand Patwardhan’s Reason in 2019, for which he had gone to court and won a favourable verdict. The film was on the killing of rationalists in India in the years before. The filmmakers at this festival also thought of approaching the court but the court is closed for the weekend, and even if they win a favourable verdict, it will be too late to get a screening at the festival, which ends on September 30. ]]></description>
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<pubDate>Sun, 27 Sep 2026 13:30:24 +0000</pubDate>
<dc:creator>WorldMalayalee</dc:creator>
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<title>23 films get censor exemption for Kerala film fest, eight still await clearance</title>
<link>https://worldmalayaleevoice.com/23-films-get-censor-exemption-for-kerala-film-fest-eight-still-await-clearance</link>
<guid>https://worldmalayaleevoice.com/23-films-get-censor-exemption-for-kerala-film-fest-eight-still-await-clearance</guid>
<description><![CDATA[ Twenty three of the 31 films which were denied approval for screening at the International Documentary and Short Film Festival of Kerala have now been given censor exemption by the Union Ministry of Information &amp; Broadcasting. However eight more films still await permission. Among these are five competition films, including the short fiction In Search of Buddha, long documentaries Redlight to Limelight and Parliament Street, and short documentaries The Mali and the Parasite and Sanitised Republic. Two long documentaries which are in focus category - Shimmering Odyssey and Far From Home - are also awaiting approval for screening. The 18th edition of the IDSFFK began on September 25, and initially the Union Ministry had disallowed the screening of 31 films which included a Malayalam film. However, after the government of Kerala wrote seeking permission to screen all the 31films, the Union Ministry approved 24 films, including a film that is in the waiting list of the festival.  Although reasons for denying permission for the films have not been given, it is understood that the Ministry had taken issue with using Prime Minister Narendra Modi&#039;s voice over in the documentary Sanitised Republic. The filmmakers have edited the film twice after this to remove the reference of the Prime Minister&#039;s Office. The film focuses on sanitation workers who risked their lives during the COVID-19 pandemic but later lost their jobs in June 2022. Through their stories of struggle the film examines the enduring link between caste and sanitation work in India. Among the other films yet to get approval, In Search of Buddha traces the story of a forgotten Naxal leader called Buddha. Redlight to Limelight follows the mothers and children of a Kolkata brothel community and Parliament Street explores Delhi&#039;s Parliament Street through its landmarks, people and everyday spaces.  The Mali and the Parasite tells the story of the people&#039;s fight to protect the Sijmali mountains of Odisha’s Eastern Ghats. Shimmering Odyssey is the story of teachers and students reclaiming education as a tool in the conflict ridden landscape of Bastar. Far from Home is an international documentary on free Tibet. And the eighth film, in the waiting list, Starlet Echoes is a docu fiction set against the 2024 student uprising of Bangladesh.  During the last edition of the International Film Festival of Kerala in 2025, as many as 19 films were similarly denied approval for screening. After the Government of Kerala wrote to the Union Government, 13 of these were allowed screening.    Union govt ban, Kerala’s defiance and Resul Pookutty’s stand: What unfolded at IFFK ]]></description>
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<pubDate>Sat, 26 Sep 2026 13:29:13 +0000</pubDate>
<dc:creator>WorldMalayalee</dc:creator>
<media:keywords>films, get, censor, exemption, for, Kerala, film, fest, eight, still, await, clearance</media:keywords>
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<title>ഇന്ത്യയിലെ ഏറ്റവും സമ്പന്നനായ നടൻ ഷാരൂഖ് ഖാൻ;  അമിതാഭ് ബച്ചൻ രണ്ടാം സ്ഥാനത്ത്</title>
<link>https://worldmalayaleevoice.com/khan</link>
<guid>https://worldmalayaleevoice.com/khan</guid>
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<pubDate>Wed, 23 Sep 2026 17:30:55 +0000</pubDate>
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<title>Malayalam film &amp;apos;It’s a Medical Miracle&amp;apos; confronts male sexual violence, but panics midway</title>
<link>https://worldmalayaleevoice.com/malayalam-film-its-a-medical-miracle-confronts-male-sexual-violence-but-panics-midway</link>
<guid>https://worldmalayaleevoice.com/malayalam-film-its-a-medical-miracle-confronts-male-sexual-violence-but-panics-midway</guid>
<description><![CDATA[ Spoiler warning: This article discusses major plot points from ‘It’s a Medical Miracle’. In popular cinema, the male body is almost exclusively built as an instrument of hyper-action, unchecked power, or comically pathetic vulnerability. When it suffers, it suffers heroically — bruised and bleeding, but fundamentally unbroken. We know how to film a man being beaten, bloodied, or even killed. Cinematography has spent decades perfecting the art of masculine martyrdom. What Indian cinema rarely knows how to do is hold space for the male body when it is stripped of its authority and becomes the site of sexual violence. In Shyamin Gireesh’s fantasy thriller It’s a Medical Miracle (2026), starring Sangeeth Prathap and Sharaf U Dheen, the narrative offers a rare, horrifying departure from this norm. The premise begins as a quirky fantasy setup: Ruben (Sangeeth Prathap) wakes from brain death with extreme, painful hyperacusis, that is, amplified hearing that turns ambient noise into physical agony. But the story quickly darkens through its antagonist, Sooraj, a sociopathic police officer played by Sharaf U Dheen. Sooraj’s defining trait is a fragile, pathological ego. His retaliation is never a simple assault, but a calculated effort to strip his victims of whatever gives them dignity or joy — burning a man’s parrots, killing a woman’s cat, or kidnapping a child whose father mocked his sexual prowess. When Ruben and the woman he is courting, Susanna – a nurse who once cared for him during his treatment – inadvertently offend the police officer’s paranoia, and an egg she playfully throws lands on his face, his bruised vanity demands absolute, humiliating subjugation.  The retribution is a meticulously orchestrated act of sexual violence. The scene is horrifying not because it relies on explicit, sensationalised gore, but because of how it frames power and captures the psychological horror of complete helplessness. Shot from an uncomfortable, claustrophobic vantage point, the sequence forces the audience into a state of edge-of-the-seat discomfort, just wanting to disappear, as the act is explicitly designed to annihilate Ruben&#039;s agency. To the film’s credit, the director handles this sequence with restraint, avoiding gratuitous visual repetition or cheap shock value. Instead, the film focuses on the psychological aftermath: the crushing shame, the immediate withdrawal, the refusal to seek medical help or contact the police, and the survivor’s utter inability to look his partner in the eye.  In one scene, the film also captures the horror of somatic memory, about how trauma is stored in the physical body, causing involuntary bodily reactions long before the mind consciously processes the memory. Yet, It’s a Medical Miracle also exposes the deep, frustrating limitations of our cinematic vocabulary. First, there is the glaring absence of language. Throughout the film, the assault is never named as rape or sexual violence. It is treated as an unnamed, unspeakable tragedy, a silence that reflects real-world societal taboos in which male survivors are denied even the vocabulary to articulate their violation. Second, while the film lays the groundwork for a profound exploration of assault and its aftermath, it abruptly abandons that potential in favour of a conventional revenge plot. Ruben moves from a traumatised survivor to a brave avenger, redirecting the narrative into the familiar, safe territory of masculine retribution. This tendency to resolve sexual violence through individual vigilantism rather than institutional or systemic discourse is a recurring trope across Indian cinema.  We have seen similar themes of male custodial sexual abuse and torture in films such as Jai Bhim (2021) and the raw brutality of Visaranai (2015), where sexualised violence by law enforcement is used to break the human spirit. Even when cinema has touched upon male sexual trauma, it has rarely allowed an adult male hero to exist as a surviving victim without immediately neutralising that vulnerability with physical dominance or murder. It&#039;s a Medical Miracle had the rare opportunity to remain in that uncomfortable space, but chose the commercial relief of an action climax instead. The most telling detail, however, lies in how the film’s audience interacts with the broader ecosystem of violence it portrays. Throughout the narrative, a couple of scenes feature casual cruelty punctuated by blatantly misogynistic punchlines, moments that were met with laughter and applause by at least a section of the audience. That theatre reaction is the entire problem in microcosm. The cultural mindset that chuckles at casual, everyday misogyny in one scene is part of the same ecosystem that enforces rigid, shameful silence around sexual violence against men in the next. Patriarchy is often misunderstood as merely a conflict between men and women. In reality, it is an overarching hierarchical system of power built on sexist control. It demands that power be ]]></description>
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<pubDate>Tue, 22 Sep 2026 13:25:55 +0000</pubDate>
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<title>Malayalam film ‘Half’ makes history at Toronto festival</title>
<link>https://worldmalayaleevoice.com/malayalam-film-half-makes-history-at-toronto-festival</link>
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<pubDate>Sat, 19 Sep 2026 15:15:19 +0000</pubDate>
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<title>ഇന്ത്യയുടെ ഔദ്യോഗിക ഓസ്‌കര്‍ എന്‍ട്രിയായി മറാഠി ചിത്രം &amp;apos;ഗൊന്ധല്‍</title>
<link>https://worldmalayaleevoice.com/gondhal</link>
<guid>https://worldmalayaleevoice.com/gondhal</guid>
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<pubDate>Fri, 18 Sep 2026 18:34:20 +0000</pubDate>
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<title>ബെത്ലഹേം കുടുംബ യൂണിറ്റ് ഒടിടിയിലേക്ക്; സ്ട്രീമിങ് പ്രഖ്യാപിച്ചു</title>
<link>https://worldmalayaleevoice.com/bethlehem</link>
<guid>https://worldmalayaleevoice.com/bethlehem</guid>
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<pubDate>Mon, 14 Sep 2026 17:27:19 +0000</pubDate>
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<title>Kochi filmmaker is only Indian to be selected to Artists Academy, New York Film Festival</title>
<link>https://worldmalayaleevoice.com/kochi-filmmaker-is-only-indian-to-be-selected-to-artists-academy-new-york-film-festival</link>
<guid>https://worldmalayaleevoice.com/kochi-filmmaker-is-only-indian-to-be-selected-to-artists-academy-new-york-film-festival</guid>
<description><![CDATA[ In the list of roles Raymond George Dias has played in his young life – filmmaker, photographer, and multidisciplinary artist, with a background in law – you might look for the word ‘poet’, if you have come across one or many of his works. His words and visuals tend to carry the hangover of a poem, lyrical and musical pieces hopping through time and space.  All that art has paved the way for his selection in the Film at Lincoln Center (FLC) Artists Academy 2026, held as part of the New York Film Festival. He is one of the 12 filmmakers from around the world to participate in the programme, to be held between September 25 and October 12. The FLC Academies support the next generation of film artists and critics by conducting a workshop, during which participants can meet with established filmmakers and others, and find new opportunities. The FLC page describes Raymond’s approach to art as a “spiritual rite, a pilgrimage of unmaking and becoming”.  “I am the only filmmaker selected from India. For me, it feels particularly meaningful because the programme brings together emerging filmmakers with established artists and people working across the international film community at a moment when I&#039;m beginning to develop my first feature,” says Raymond, who hails from Kochi.From Raymond&#039;s documentary &#039;Lonely Miracle in the River of Time&#039;The young filmmaker’s journey is as interesting as the randomness of his art. He studied law at National University of Advanced Legal Studies (NUALS) in Kochi, completed a Master’s degree in Law at the University of Auckland in New Zealand, and somewhere along the way, slipped into the world of cinema.  &quot;I practised law for a while, but alongside it I had always been drawn towards creating through different means of expression I picked up along the way, from photography to writing, music, collage, and eventually film,&quot; he explains.Reimagining &#039;The Sound of Music&#039; in the postmodern world - digital collage by Raymond  While he practised as a junior lawyer, Raymond began to make his own independent films. He had to teach himself filmmaking, cinematography, and editing. He says his not coming to cinema through the traditional film-school route helped shape the way he approaches the medium.   &quot;I&#039;m interested in filmmaking not simply as storytelling, but as a way of exploring myself, other people, myself through other people, and understanding inner experience. Much of my work moves between fiction, documentary, and experimental forms and often returns to questions of memory, identity, belonging, faith, dreams, and the traces people leave upon one another&#039;s lives,&quot; he says.From Raymond&#039;s film &#039;House of Memory&#039;  In his independent short film House of Memory (2023), that goes through faded film photographs, is the picture of a man in various stages, Robin Dias, his grandfather, to whom a voice says, “You told me I am just a memory, I told you we are all someone else’s memory. In a photograph, memory is preserved, it is the only place where forever exists.” In Funeral Tape (2023), an experimental short, you hear the deep voice of a man ask, &quot;Would you believe me if I told you that the safest place in the world is not in the world but in the worlds that I create.&quot; In his short documentary Lonely Miracle in the River of Time (2025), his lens moves through the movements of a watch repairman who says his happiness is his prayer. His films are mostly in English, rarely in Malayalam.  Raymond is currently pursuing a Master&#039;s in Film Direction at ESCAC in Barcelona, and will soon begin work on his first feature length film. Some of his work has been exhibited or screened in the Kochi Art Fair, Ras Al Khaimah Art Fair and Jaipur Centre for Art. ]]></description>
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<pubDate>Mon, 07 Sep 2026 13:41:02 +0000</pubDate>
<dc:creator>WorldMalayalee</dc:creator>
<media:keywords>Kochi, filmmaker, only, Indian, selected, Artists, Academy, New, York, Film, Festival</media:keywords>
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<title>Meghna Gulzar’s ‘Daayra’ brings Kareena and Prithviraj together in a gripping cop&#45;versus&#45;cop thriller</title>
<link>https://worldmalayaleevoice.com/meghna-gulzars-daayra-brings-kareena-and-prithviraj-together-in-a-gripping-cop-versus-cop-thriller</link>
<guid>https://worldmalayaleevoice.com/meghna-gulzars-daayra-brings-kareena-and-prithviraj-together-in-a-gripping-cop-versus-cop-thriller</guid>
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<pubDate>Fri, 04 Sep 2026 13:49:49 +0000</pubDate>
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<title>സുശാന്ത് സിങിൻ്റെ മുൻ മാനേജർ ദിഷ സാലിയൻ്റെ മരണം; സിബിഐ അന്വേഷിക്കാന്‍ കോടതി ഉത്തരവ്</title>
<link>https://worldmalayaleevoice.com/disha</link>
<guid>https://worldmalayaleevoice.com/disha</guid>
<description><![CDATA[  ]]></description>
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<pubDate>Wed, 02 Sep 2026 17:56:15 +0000</pubDate>
<dc:creator>wmvadmin2</dc:creator>
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<title>Jayasurya&#45;starrer Operation Tral’s makers release first single ‘Jai Ho’ from film!</title>
<link>https://worldmalayaleevoice.com/jayasurya-starrer-operation-trals-makers-release-first-single-jai-ho-from-film</link>
<guid>https://worldmalayaleevoice.com/jayasurya-starrer-operation-trals-makers-release-first-single-jai-ho-from-film</guid>
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<pubDate>Sat, 15 Aug 2026 13:45:24 +0000</pubDate>
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<title>ദേശീയ പുരസ്കാരം നാലാം തവണയും  മമ്മൂട്ടിക്ക്; മികച്ച ഗായിക വൈക്കം വിജയലക്ഷ്മി</title>
<link>https://worldmalayaleevoice.com/mammootty</link>
<guid>https://worldmalayaleevoice.com/mammootty</guid>
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<pubDate>Sat, 18 Jul 2026 14:40:59 +0000</pubDate>
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<title>അൻസിബയുടെ പരാതി; ടിനി ടോം മുൻകൂർ ജാമ്യാപേക്ഷ നൽകി</title>
<link>https://worldmalayaleevoice.com/tini</link>
<guid>https://worldmalayaleevoice.com/tini</guid>
<description><![CDATA[  ]]></description>
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<pubDate>Wed, 08 Jul 2026 12:18:50 +0000</pubDate>
<dc:creator>wmvadmin2</dc:creator>
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<title>ആമിർ ഖാൻ വീണ്ടും വിവാഹിതനായി; ഗൗരി സ്പ്രാറ്റിനൊപ്പം പുതിയ ജീവിതത്തിലേക്ക്</title>
<link>https://worldmalayaleevoice.com/aamir</link>
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<pubDate>Sun, 05 Jul 2026 11:00:50 +0000</pubDate>
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