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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>സാമ്പത്തിക തർക്കം; ദിലീപ് നായകനാകുന്ന &amp;apos;നീക്കം&amp;apos; സിനിമയുടെ റിലീസ് തടഞ്ഞ് മദ്രാസ് ഹൈക്കോടതി</title>
<link>https://worldmalayaleevoice.com/neekkam</link>
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<pubDate>Wed, 24 Jun 2026 13:31:30 +0000</pubDate>
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<title>മമ്മൂട്ടിയും വെള്ളാപ്പള്ളിയും കെ ടി തോമസും പി നാരായണനും പത്മ അവാർഡുകൾ രാഷ്ട്രപതിയിൽ നിന്ന് ഏറ്റുവാങ്ങി</title>
<link>https://worldmalayaleevoice.com/padma</link>
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<pubDate>Tue, 23 Jun 2026 20:13:15 +0000</pubDate>
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<title>Every Malayali speaks Salim Kumar: Honouring the actor’s oeuvre</title>
<link>https://worldmalayaleevoice.com/every-malayali-speaks-salim-kumar-honouring-the-actors-oeuvre</link>
<guid>https://worldmalayaleevoice.com/every-malayali-speaks-salim-kumar-honouring-the-actors-oeuvre</guid>
<description><![CDATA[ “Kaanaan oru look illenne ullu, bhayankara buddhiya (I may not look like much, but I am extremely intelligent),” Salim Kumar’s advocate Mukundan Unni says in the 2002 film Meesha Madhavan, having done something even he cannot believe he has pulled off. After successfully spouting law points with the police to get the protagonist released from an illegal arrest, Mukundan Unni takes a moment to appreciate his own brilliance. And then he almost immediately breaks down in tears, confessing that this is the first time he has ever managed to get someone out of a police station. Usually, he says, he is the one who ends up being taken inside.Years later, Malayalis still borrow Mukundan Unni’s confidence for their own tiny victories. Fixed a problem after everyone else gave up? Came up with a surprisingly smart solution at work? Won a completely pointless debate among friends? Out comes a self-satisfied “Kaanaan oru look illenne ullu, bhayankara buddhiya,” usually with the same triumphant seriousness that made the original unforgettable.That was the strange magic of Salim Kumar’s humour. Beyond delivering punchlines that people repeated, he created characters whose reactions became our reactions.Frustrated by that Goa trip that has been planned, cancelled, revived, and cancelled again in a friends’ WhatsApp group? There is always someone ready with a sticker saying, “Enthino vendi thilakkunna sambar (a sambar boiling for no reason).”Need to give a sheepish apology after a silly mistake? There is always, “I am the sorry aliya, I am the sorry.”Someone behaves so out of character that you start questioning reality itself? “Enikku bhranthayathaano, atho naattukaarkku motham bhranthayathaano? (Have I gone mad, or has everyone else gone mad?)”A dance floor opens up at a wedding or a college reunion, and suddenly there is a Dance Master Vikram reminding everyone, “Mudra sradhikkanam, mudra (Pay attention to the gesture, the gesture).”A friend suddenly dresses up so well that you jokingly pretend you don’t recognise them? You might be met with “Ithrakku famous aaya enne manasilaayilleda? (You don’t recognise someone as famous as me?)”Malayalam cinema has a goldmine of actors who have left behind memorable films and characters. But it’s only a rare few who have quietly slipped into everyday conversations, WhatsApp stickers, and the instinctive reactions of generations, becoming a part of how people talk, tease, celebrate, apologise, and laugh. Salim Kumar belonged to that rare group.For Malayalis who grew up in the 1990s and 2000s, his dialogues were as much a part of our everyday life as punctuation marks in a sentence. In fact, often, people remembered the Salim Kumar dialogue before they remembered the film it came from. This was also because even at their most absurd, his characters felt strangely human. They were rarely just people who existed to make the hero look better. They had their own confidence, insecurities, delusions, victories, and heartbreaks.Manavalan from Pulival Kalyanam believed in himself with a confidence the world around him did not share. Pyari from Kalyanaraman had an innocence that made even his foolishness endearing. Kannan Sranku from Mayavi, Dance Master Vikram from Chathikkatha Chanthu, the psychiatric patient in CID Moosa, and countless others became people Malayalis felt they knew, to the end that they escaped the screen and began living their own lives. This is perhaps why Salim Kumar achieved something even many superstars do not — relevance even when he was away from films.After winning the National Film Award for Adaminte Makan Abu in 2011, illness forced him to step back from films for a few years. In an industry where public memory can be unforgivingly short, Salim Kumar did not disappear. A new generation rediscovered him through memes, trolls, and stickers. His expressions became reaction images, and his dialogues found new contexts, sometimes years after they were originally written.He once acknowledged this while speaking to the youngsters behind the popular Facebook page International Chalu Union (ICU), saying Malayali audiences could forget an actor quickly, but meme creators had kept him alive during his absence from cinema.It was fitting because Salim Kumar’s humour had always belonged to the people. He did not need elaborate setups or punch dialogues built around heroism. Sometimes all it took was a look, a pause, a slight change in his voice, or those famously expressive eyes.Long before Malayalam cinema discovered him, mimicry stages had already done so. A serial winner at university-level competitions, Salim Kumar’s talent took him from college stages to the famed Kalabhavan troupe. He was known for his ability to mimic personalities, including political leaders such as KR Gauri and K Karunakaran. That ability travelled with him when he entered cinema in the late 1990s. His early journey, however, was not easy.In 1997, shortly after his debut, Salim Kumar was removed from a ]]></description>
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<pubDate>Mon, 22 Jun 2026 13:25:16 +0000</pubDate>
<dc:creator>WorldMalayalee</dc:creator>
<media:keywords>Every, Malayali, speaks, Salim, Kumar:, Honouring, the, actor’s, oeuvre</media:keywords>
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<item>
<title>താര സംഘടന &amp;apos;അമ്മ&amp;apos;യുടെ ഭരണ സമിതി രാജിവെച്ചു</title>
<link>https://worldmalayaleevoice.com/amma</link>
<guid>https://worldmalayaleevoice.com/amma</guid>
<description><![CDATA[  ]]></description>
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<pubDate>Sun, 21 Jun 2026 12:42:28 +0000</pubDate>
<dc:creator>wmvadmin2</dc:creator>
<media:keywords></media:keywords>
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<title>Ticket to Kerala book review: A love letter to Malayalam cinema, flaws and all</title>
<link>https://worldmalayaleevoice.com/ticket-to-kerala-book-review-a-love-letter-to-malayalam-cinema-flaws-and-all</link>
<guid>https://worldmalayaleevoice.com/ticket-to-kerala-book-review-a-love-letter-to-malayalam-cinema-flaws-and-all</guid>
<description><![CDATA[ Follow TNM&#039;s WhatsApp channel for news updates and story links.In 2016, shortly after I joined the University of Hyderabad for my Masters in Communication, I found myself fiercely arguing with a Telugu friend over Premam. He was convinced that Alphonse Puthren’s 2015 coming-of-age romance was among the greatest films made in recent times. I disagreed.The funny thing is, I loved Premam. I had watched it with the strange intimacy that comes from seeing your own world reflected back at you.But our argument was also the first time I realised how differently the same film could travel. For my friend, Premam was a doorway into a film industry he was just beginning to discover, its humour and rhythms and storytelling carrying the thrill of something new. For me, the film existed within a lifelong relationship with Malayalam cinema, one shaped by years of memories, passionate arguments, comparisons, and debates about the films we loved.At UoH, I was suddenly meeting people who were discovering Malayalam cinema through films like Premam and Bangalore Days (2014), while they introduced me to the depth and diversity of the cinema they had grown up with. Friends from across the country opened up my still surface-level understanding of Indian and world cinema.For the first time, I began looking beyond these broad impressions and thinking seriously about what shapes a film industry — how geography, politics, social movements, audiences, and histories influence the stories that get told.Interestingly, that is also the question at the heart of SR Praveen’s Ticket to Kerala: The Story of Malayalam Cinema. The book attempts something deceptively difficult: examining a cinema culture that many Malayalis have deeply personal relationships with, while also making it accessible to those discovering it from the outside. For many viewers outside Kerala, Malayalam cinema’s rise may appear recent. At least some may view it as a phenomenon accelerated by streaming platforms, subtitles, and the post-pandemic discovery of films from the state. But Ticket to Kerala repeatedly reminds readers that this is not Malayalam cinema’s first “new wave”.The book itself resists a linear history. Instead of beginning with the birth of Malayalam cinema and moving decade by decade, Praveen opens with the contemporary moment, the industry’s latest wave of reinvention, before travelling back to understand the conditions that made it possible. It is an ambitious structure that mirrors the book’s larger argument, which is that Malayalam cinema’s history is less a straight line than a series of overlapping reinventions.Across the book, Praveen traces how Kerala’s social reform movements, Left politics, theatre traditions, literature, and film societies shaped a distinct cinematic language. But he also pays attention to the contradictions that existed from the very beginning. Even the story of Malayalam cinema’s first film, JC Daniel’s Vigathakumaran, is inseparable from the casteist backlash faced by its lead actor PK Rosy, a Dalit woman who was forced away from public life after ‘upper’ caste outrage over her playing a Nair character.From these beginnings to the radical interventions of Adoor Gopalakrishnan, John Abraham, and G Aravindan, and later the middle cinema movement led by KG George, Padmarajan, and Bharathan, the book shows how every generation inherited, questioned, and built upon the previous one.Ticket to Kerala works best when the author moves away from documentation and slips into passionate reflection. These sections almost read like little love letters to films that altered Malayalam cinema’s trajectory. One of the initial chapters on Rajesh Pillai’s 2011 film Traffic, for instance, carries the infectious excitement of a lifelong cinephile tracing not just why a film mattered, but how and why it affected the people and created a cultural moment in Kerala.Praveen does this across the book, examining how filmmakers responded to the politics and cultural shifts of their times — from the literary and psychological depth brought in by writers like MT Vasudevan Nair and the sharp social observations of filmmakers such as KG George and TV Chandran, to contemporary directors experimenting with newer forms and themes. It is in these sections that the book becomes most rewarding.Which is also why there are moments where one wishes the book lingered a little longer. There are a few points where landmark films are listed in quick succession, with limited exploration of what made them culturally or cinematically significant. But in a project attempting to capture the vastness of Malayalam cinema, perhaps some compromises are inevitable.At the same time, the sheer expanse of films that Ticket to Kerala brings together creates its own joy. The book becomes, almost unintentionally, a Malayalam cinema watchlist spanning generations. For a new viewer, it is a map of films waiting to be discovered. For someone who grew up with Malayalam cinema, there is th ]]></description>
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<pubDate>Sun, 21 Jun 2026 07:26:49 +0000</pubDate>
<dc:creator>WorldMalayalee</dc:creator>
<media:keywords>Ticket, Kerala, book, review:, love, letter, Malayalam, cinema, flaws, and, all</media:keywords>
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<title>After CBFC delay, Oscar&#45;nominated Voice of Hind Rajab set for India release on June 19</title>
<link>https://worldmalayaleevoice.com/after-cbfc-delay-oscar-nominated-voice-of-hind-rajab-set-for-india-release-on-june-19</link>
<guid>https://worldmalayaleevoice.com/after-cbfc-delay-oscar-nominated-voice-of-hind-rajab-set-for-india-release-on-june-19</guid>
<description><![CDATA[ After months of delay over certification, Oscar-nominated film The Voice of Hind Rajab is set to be released in India on June 19, with the Central Board of Film Certification (CBFC) clearing the film without cuts.Directed by Tunisian filmmaker Kaouther Ben Hania, the film revisits the final hours  of Hind Rajab, a five-year-old Palestinian girl whose killing became one of the most widely reported cases of civilian deaths during Israel’s ongoing assault on Gaza. In January 2024, Hind was fleeing Gaza City with her relatives when the car they were travelling in came under Israeli fire. For hours, she remained trapped inside the vehicle surrounded by the bodies of her family members, while speaking over the phone with emergency responders from the Palestine Red Crescent Society (PRCS). The ambulance sent to rescue her was later found destroyed, with two PRCS paramedics who had come to rescue her also killed.Israel’s offensive has so far killed tens of thousands of Palestinians, including a large number of children, displaced much of Gaza’s population, and led to what United Nation agencies have described as a humanitarian catastrophe.In March, Variety reported that the film’s India release had been delayed after it failed to receive CBFC clearance. Manoj Nandwana, head of Mumbai-based Jai Viratra Entertainment and the film’s distributor in India, alleged that a CBFC member had told him the film’s release could “break up the India-Israel relationship.”Nandwana said he had submitted the film for certification in February and had initially planned a March 6 release. He questioned the delay, pointing out that the film had already been released in several countries, including the United States, the United Kingdom, Italy, and France. Responding to the delay earlier, director Kaouther Ben Hania had written on Facebook, “Is the honeymoon between the ‘world’s largest democracy’ and the ‘only democracy in the Middle East’ so fragile that a film could break it?”Following the clearance in June, Nandwana thanked the CBFC “for granting certification without any cut to The Voice of Hind Rajab and enabling Indian audiences to engage with this important cinematic work.”The film was nominated under the Best International Feature Film category at the 98th Academy Awards, representing Tunisia. This story was written by a student interning with TNM.  ]]></description>
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<pubDate>Thu, 04 Jun 2026 08:06:19 +0000</pubDate>
<dc:creator>WorldMalayalee</dc:creator>
<media:keywords>After, CBFC, delay, Oscar-nominated, Voice, Hind, Rajab, set, for, India, release, June</media:keywords>
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<title>നടി ട്വിഷ ശര്‍മയുടെ മരണം; ഭർതൃമാതാവ് മുന്‍ ജഡ്ജി ഗിരിബാല സിങ് അറസ്റ്റില്‍</title>
<link>https://worldmalayaleevoice.com/twisha</link>
<guid>https://worldmalayaleevoice.com/twisha</guid>
<description><![CDATA[  ]]></description>
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<pubDate>Thu, 28 May 2026 14:20:59 +0000</pubDate>
<dc:creator>wmvadmin2</dc:creator>
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<title>A.M.M.A mired in controversy: From &amp;apos;jihad&amp;apos; allegations to targeted harassment</title>
<link>https://worldmalayaleevoice.com/amma-mired-in-controversy-from-jihad-allegations-to-targeted-harassment</link>
<guid>https://worldmalayaleevoice.com/amma-mired-in-controversy-from-jihad-allegations-to-targeted-harassment</guid>
<description><![CDATA[ Controversy has been brewing in the Association of Malayalam Movie Actors (A.M.M.A) after actor and former joint secretary Ansiba Hassan stepped down, alleging harassment. Meanwhile, A.M.M.A. President and actor Swetha Menon has reportedly issued a gag order restricting executive committee members from making public statements about the issue.Ansiba, who had submitted a resignation letter on February 21, said she had deferred her resignation till June at the request of another member of the executive committee. But recent developments in the association forced her to resign, she alleged, adding that she has been communally targeted by several committee members.Ansiba told the media that the rift began over a disagreement she raised about religious organisations being the sponsors of A.M.M.A events. When discussions began for a fundraiser event organised in February this year, A.M.M.A Swetha Menon reportedly brought in a sponsorship from a temple, which Ansiba says she opposed.Ansiba told the media that she was not only opposed to one religious institution taking on title sponsorship of an A.M.M.A event, but that she did not agree with any religious organisation doing that. Following this, she was allegedly cornered and targeted by several executives. She also alleged that actor and A.M.M.A executive committee member Tini Tom accused her of “jihad” and attempting “religious conversion of other members of the association”. Tini Tom later denied the allegations, brushing them off as “hearsay”. Meanwhile, on May 25, the controversial agreement signed between A.M.M.A and the Vennala Thykattu Sri Mahadeva Temple Trust surfaced. The said agreement was signed between A.M.M.A general secretary Cuckoo Parameswaran and trust head TG Nandakumar, agreeing to pay Rs 75 lakh for the A.M.M.A reunion event held in February. Nandakumar told the media that they offered to sponsor the event on A.M.M.A’s request, and that so far, only Rs 30 lakh has been transferred to A.M.M.A from the total amount promised.Simultaneously, Ansiba also said that actor and A.M.M.A vice president Lakshmipriya filed a police complaint in January this year, alleging that Ansiba had contributed to her domestic issues. Ansiba alleged that she was harassed over this by the Thrippunithura Hill Palace police station officials, and that she didn’t know why she was summoned by the police. She also claimed that despite Lakshmipriya’s complaint, no FIR was lodged against her husband for allegations of domestic violence.Lakshmipriya also alleged before the media that A.M.M.A is being mismanaged, and questioned why the organisation’s office has CCTV cameras that have voice recording enabled along with video, even at the entrance of the washrooms. In a press meeting, she accused executive committee member Neena Kurup and others of targeting a few individuals and isolating or banning those who raised dissenting opinions.Ansiba alleged that she did not receive any sort of support from the organisation&#039;s executive committee, led by actor Swetha Menon. She also told the media that A.M.M.A office bearers work as a caucus, and that she fears she may be mentally or physically harassed for speaking up. She will be pursuing legal action against Tini Tom and Hill Palace police station SI, she said.When asked if she believes the organisation will give her justice, Ansiba told the media that she does not believe any woman or man would get justice from A.M.M.A, including those woman actors who quit after the organisation sided with actor Dileep, who was accused of orchestrating the sexual assault of a woman actor in 2017.Meanwhile, actor Mala Parvathy said that there is discord in the executive committee, with the general secretary monopolising decisions. She also alleged that many important decisions are not being communicated to other members.However, Swetha Menon said that being a charitable organisation, A.M.M.A cannot refuse to accept sponsorship from donors based on their religious or political affiliations, because the focus of A.M.M.A , she said, is on the welfare of actors. ]]></description>
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<pubDate>Tue, 26 May 2026 13:21:47 +0000</pubDate>
<dc:creator>WorldMalayalee</dc:creator>
<media:keywords>A.M.M.A, mired, controversy:, From, jihad, allegations, targeted, harassment</media:keywords>
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<title>58 മണിക്കൂറിൽ 100 കോടി; ബോക്സ് ഓഫീസ് അടക്കിവാണ് ദൃശ്യം 3</title>
<link>https://worldmalayaleevoice.com/drishyamm</link>
<guid>https://worldmalayaleevoice.com/drishyamm</guid>
<description><![CDATA[  ]]></description>
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<pubDate>Sat, 23 May 2026 19:46:13 +0000</pubDate>
<dc:creator>wmvadmin2</dc:creator>
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<title>&amp;apos;വാഴ 2 &amp;apos; ഒടിടിയിലെത്തി</title>
<link>https://worldmalayaleevoice.com/%E0%B4%B5%E0%B4%BE%E0%B4%B4-2-%E0%B4%92%E0%B4%9F%E0%B4%BF%E0%B4%9F%E0%B4%BF%E0%B4%AF%E0%B4%BF%E0%B4%B2%E0%B5%86%E0%B4%A4%E0%B5%8D%E0%B4%A4%E0%B4%BF</link>
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<pubDate>Fri, 08 May 2026 17:15:32 +0000</pubDate>
<dc:creator>wmvadmin2</dc:creator>
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<title>വേർപിരിഞ്ഞ് 10 വർഷത്തിന് ശേഷം  പ്രിയദർശനും ലിസിയും വീണ്ടും ഒന്നിച്ചു</title>
<link>https://worldmalayaleevoice.com/priyadarsan</link>
<guid>https://worldmalayaleevoice.com/priyadarsan</guid>
<description><![CDATA[  ]]></description>
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<pubDate>Wed, 25 Mar 2026 10:23:11 +0000</pubDate>
<dc:creator>wmvadmin2</dc:creator>
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<title>&amp;apos;Edathody Bhaskaran&amp;apos;, expatriate film producer and actor, enters Malayalam film industry with crime thriller film &amp;apos;KIRATA&amp;apos;</title>
<link>https://worldmalayaleevoice.com/edathody-bhaskaran-expatriate-film-producer-and-actor-enters-malayalam-film-industry-with-crime-thriller-film-kirata</link>
<guid>https://worldmalayaleevoice.com/edathody-bhaskaran-expatriate-film-producer-and-actor-enters-malayalam-film-industry-with-crime-thriller-film-kirata</guid>
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<pubDate>Mon, 16 Feb 2026 07:32:44 +0000</pubDate>
<dc:creator>wmvadmin2</dc:creator>
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<title>&amp;apos;ആട്ടം&amp;apos; മികച്ച ചിത്രം: ആനന്ദ് ഏകർഷിക്കും ടീമിനും അഭിനന്ദനങ്ങൾ; ആരാണീ അഞ്ജലി..? &#45; ഏബ്രഹാം കുര്യൻ</title>
<link>https://worldmalayaleevoice.com/aattam</link>
<guid>https://worldmalayaleevoice.com/aattam</guid>
<description><![CDATA[  ]]></description>
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<pubDate>Fri, 16 Aug 2024 12:32:41 +0000</pubDate>
<dc:creator>wmvadmin2</dc:creator>
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<title>ആടുജീവിതം നോവലും സിനിമയും  : അവലോകനം, സൂസൻ പാലാത്ര</title>
<link>https://worldmalayaleevoice.com/aadu-jeevithm-susan-palathra</link>
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