Jeethu Joseph’s Warning at the Mirage Promo
At a bustling promotional event for his next project, Mirage, veteran director Jeethu Joseph took a moment to address a buzz that’s been swirling through Malayalam cinema ever since superhero trend films exploded at the box office. The catalyst? Lokah: Chapter 1 – Chandra, Dominic Arun’s high‑octane venture starring Kalyani Priyadarshan and Dulquer Salmaan, which turned heads with its combo of massive ticket sales and critical nods.
Joseph, best known for the gritty, plot‑twist‑laden Drishyam series, warned that the industry’s instinct to chase chart‑topping formulas could backfire. “When a genre becomes a hit, everyone jumps in,” he said, eyes scanning a room full of producers, writers and eager young directors. “We risk turning our cinema into a one‑track railroad if we all start churning out superhero movies.”
His words resonated because Malayalam cinema has a history of riding waves—be it the romantic surge after Premam or the wave of indie drama that followed Kumbalangi Nights. Each time, while some filmmakers thrived, many lingered in the shade, producing copycats that diluted the original spark.
Why Variety Matters in Malayalam Filmmaking
Joseph didn’t just sound the alarm; he offered a roadmap for staying vibrant. According to him, the real engine of success is a solid premise paired with authentic execution. He recalled his early struggle with Mummy & Me, a film that took two and a half years to find a backer. “It wasn’t the genre that mattered; it was the story and how we told it,” he reflected.
He went on to list a handful of recent movies that prove diversity can be profitable:
- Jallikattu – a wild, animal‑driven drama that snagged awards both at home and abroad.
- Uyare – a powerful female‑centric narrative about a survivor’s fight to become a pilot.
- Marakkar: Lion of the Arabian Sea – a period epic that blended history with spectacle.
- Helen – a claustrophobic thriller set entirely in a freezer, yet emotionally expansive.
Each of these projects dared to step outside the prevailing commercial formula and still found audience love or critical acclaim. Joseph argues that replicating such bravery is where Malayalam cinema should aim.
Another point Joseph hammered home was the problematic label of “female‑led” films. He dismissed the classification, insisting that a film’s merit hinges on performance and connection, not the gender of its protagonist. “If an actor—man or woman—does a character well and the audience connects, it will succeed,” he asserted, pointing to Lokah as proof that a strong story trumps any tag.
He also highlighted that genres like drama, comedy, or even slice‑of‑life stories can thrive when given the right script and direction. “If you have a drama idea, make it entertaining. That’s all that matters,” Joseph concluded, reminding budding filmmakers that the market rewards depth, not just flash.
As the buzz around Lokah continues to reverberate, Joseph’s caution serves as a timely reminder: the industry’s future isn’t built on copying a single hit but on nurturing a mosaic of stories that reflect the region’s rich cultural tapestry. The challenge now lies in turning that caution into concrete, varied projects that keep audiences curious and engaged.
