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For decades, Malayalam cinema ignored the brutal reality of caste (pretending Kerala was a "secular, literate" utopia). Then came Kummatti (The Mask), Biriyani , and especially Nayattu (The Hunt). Nayattu showed how the police system crushes lower-caste men. Jallikattu (2021) turned the OBC/Christian butchering tradition into a metaphor for urban savagery. For the first time, the high-caste Nair and Ezhava audiences were forced to see their own systemic privilege on screen.

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