From ‘Thalappavu’ to ‘Empuraan’: How the political climate around films has changed

Malayalam filmmakers have long engaged with contemporary socio-political issues, often revisiting historical events through a critical lens. Over the years, these films have opened up fresh dialogues and offered new perspectives. However, in the wake of ‘Empuraan’, a shift appears to be taking place—prompting questions about why political films are now facing heightened backlash from political parties and certain sections of the audience.

Director T VChandran’s trilogy—‘Bhoomiyude Avakashikal’, ‘Vilapangalkkappuram’, and ‘Kathavasheshan’, explored the aftermath of the Gujarat riots. ‘Vilapangalkkappuram’ told the story of a Muslim woman who was gang-raped during the riots and sought refuge in Kerala. Despite the sensitive subject, the film did not face major opposition at the time.

In contrast, ‘Empuraan’, starring Mohanlal, has been criticised by the RSS and BJP for its depiction of the Gujarat riots, with allegations that it contains anti-national elements. The backlash prompted Mohanlal to issue a public apology, stating that the decision to edit the film was made collectively. His statement was later supported by director Prithviraj and producer Antony Perumbavoor.

Veteran film critic V.K. Joseph attributes the strong reactions to a growing tendency among certain groups to suppress discussions on politically sensitive events. “Earlier, backlash of this scale was rare. Today, specific parties are actively trying to erase historical events from public memory. When a film like ‘Empuraan’ revisits these moments, it scares them,” he said.

A prominent film critic, who requested anonymity, pointed out that previous Malayalam films such as ‘Ekalavyan’ and ‘Thankamani’ also addressed controversial themes but did not face protests on the scale of ‘Empuraan’. “The protests against ‘Empuraan’ are happening at a national level. Earlier, successive Kerala governments, regardless of political affiliation, chose to downplay such films rather than escalate them,” the critic said.

Films like ‘Left Right Left’, directed by Arun Kumar Aravind and written by Murali Gopy, drew attention for perceived similarities with real-life political figures in Kerala. Yet, it did not face the kind of backlash ‘Empuraan’ is witnessing.

‘Thalappavu’, directed by Madhupal and starring Prithviraj, portrayed the real-life confession of a police constable who admitted to executing Naxalite leader Arikkad Varghese in a staged encounter in 1970. Despite the sensitive political context, the film was not met with extreme reactions.

Reflecting on the shift, Madhupal noted that the atmosphere was different then. “People were more willing to engage in discussion rather than outright rejection. There were objections, but they were manageable. ‘Empuraan’ references real events, but today’s political climate has made such conversations through cinema more difficult,” he said.

Joseph also observed that younger audiences may be unfamiliar with the events depicted in such films. “Many under the age of 35 may not be fully aware of these incidents. Films like ‘Empuraan’ reintroduce these topics, making them uncomfortable for those who wish to control the narrative,” he said. He added that the film’s widespread marketing and pan-Indian reach may also have contributed to the backlash, something earlier films did not experience.

This trend is not confined to Kerala. Across India, films exploring controversial events have faced similar challenges.

Nandita Das’s ‘Firaaq’, which examined the aftermath of the 2002 Gujarat riots, was criticised by right-wing groups and denied release in Gujarat. Rahul Dholakia’s ‘Parzania’, based on the story of a Parsi family searching for their missing son during the riots, faced similar opposition. Mani Ratnam’s ‘Bombay’, which portrayed a Hindu-Muslim love story set against the backdrop of the 1992–93 riots, sparked protests and was forced to make cuts.

Cinema has long served as a platform for political reflection and dissent. While some filmmakers yield to pressure, others choose to stand by their vision. The controversy surrounding ‘Empuraan’ underscores how political sensitivities around cinema have intensified—and how filmmakers continue to navigate a shrinking space for critique.