Anandu Suresh

As 2024 draws to a close, it's safe to say that this year has been a wake-up call for superstars and makers as audiences have reaffirmed their role as the ultimate judges of a film's success.

Feminichi Fathima movie review: Fasil Muhammed's debut film is a compelling exploration of the struggles endured by stay-at-home wives and mothers, exposing the casual inhumanity they face daily.

Pattth movie review: From the outset, the Jithin Issac Thomas directorial strikes the right tone, drawing viewers into its world with meticulously crafted and well-staged moments.

Made on a nominal budget of about Rs 12 lakh, director Prasanth Eezhavan raised Rs 6 lakh for Oru Jaathi Pillerishtta through crowdfunding.

Angammal movie review: The Vipin Radhakrishnan directorial addresses topics such as women’s bodily autonomy, freedom of choice, caste, class, urban chauvinism, male hypocrisy, and more.

Angammal movie review: The Vipin Radhakrishnan directorial addresses topics such as women's bodily autonomy, freedom of choice, caste, class, urban chauvinism, male hypocrisy, and more.

IFFK 2024: While the Suvarna Chakoram for Best Film went to director Pedro Freire's Brazilian drama Malu, Iranian filmmaker Farshad Hashemi was awarded the Rajata Chakoram for Best Director for his drama Me, Maryam, the children and 26 others.

In a year widely regarded as one of the worst for industries like Hindi and Tamil — with several films failing to meet expectations — the Malayalam industry delivered a series of exceptional works.

Barroz movie review: While the Mohanlal directorial might captivate infants who are just beginning to distinguish shapes and objects, expecting older children to be similarly enthralled by what Barroz has offered is unrealistic.

As much of a doyen of Malayalam literature as he was, MT Vasudevan Nair was also one of the path-breaking figures in the cinematic landscape, redefining the grammar of the medium.