Kerala News

Cultural resistance required to protect Constitution and democracy: Kerala CM

The Citizenship Amendment Act and the idea of One Nation, One Election are attempts to destroy federalism, the Chief Minister alleges in his inaugural address at the Indian Cultural Congress 2025, organised by the Department of Culture, in Kochi

Qadir Ali Baig Theatre Festival was a melange of cultures and artistes

Hyderabad: Picture actors from Norway and Malaysia mingling with performers from Assam, Maharashtra and Kerala. Add playwrights from France and Telangana, musicians from West Bengal and Karnataka, all converging on a single platform in Hyderabad. That was the Qadir Ali Baig Theatre Festival. Now in its 20th year, Telanganas annual theatre festival continues to captivate Get the latest updates in Hyderabad City News , Technology , Entertainment , Sports , Politics and Top Stories on WhatsApp & Telegram by subscribing to our channels. You can also download our app for Android and iOS .

Thrissur to host 64th Kerala School Arts Festival

Five-day extravaganza to be held from January 14 to 18 across 25 venues with competitions in 239 items

Majority and minority communalism have to be resisted, says Kerala CM

He spoke at a reception organised for Samastha Shatabdi Sandesh Yatra, led by Samastha Kerala Jamiyyathul Ulama president Syed Muhammad Jifri Muthukoya Thangal, at Putharikandam Maithanam in Thiruvananthapuram

Kerala local body polls: LDF leads in vote share of fronts in Thiruvananthapuram district

The LDF received 37.27% of the votes in panchayats, compared to the UDFs 35.30%, while the BJP-led NDA got 21.59%. In the Thiruvananthapuram Corporation, the NDA won 34.52% of the votes and 50 seats, but the LDF captured a marginally higher vote share of 34.65%.

Kerala CM, Mammootty, Mohanlal, Rajinikanth, Kamal Haasan Pay Glowing Tributes To Sreenivasan

Chief Minister Pinrayi Vijayan said the passing of Sreenivasan is an irreplaceable loss for Malayalam cinema: Reports

Cop who slapped pregnant woman suspended a year after the incident

A police inspector in Kerala was suspended a year after he pushed and slapped a pregnant woman inside a police station in Kochi, an incident that highlights police brutality and violence against women. Closer circuit television (CCTV) footage released online showed Inspector KG Prathap Chandra assaulting a pregnant woman inside the Ernakulam North police station Get the latest updates in Hyderabad City News , Technology , Entertainment , Sports , Politics and Top Stories on WhatsApp & Telegram by subscribing to our channels. You can also download our app for Android and iOS .

Fresh PIL in SC seeks law on menstrual pain leave for women

NEW DELHI: A fresh Public Interest Litigation (PIL) has been filed in the Supreme Court seeking directions to the Union of India, States and Union Territories to frame laws or policies recognising the problems faced by women during menstrual pain and to provide necessary relief, including the grant of leave, in consonance with Articles 14 and 21 of the Constitution. The PIL has been filed by lawyer Shailendra Mani Tripathi, who has urged the apex court to intervene and address what he described as a legislative and policy vacuum affecting working women and female students. Issue directions to fill in the lacunae that exists regarding grant of relief in the nature of leave etc, to the working women & female students under exercise of power under Article 32 read with Articles 14, 21 and Articles 141 and 142 of the Indian Constitution, the PIL said. Tripathi highlighted in his plea that several private Indian companies have already introduced paid menstrual leave for their female employees. These include Ivipanan, Zomato, Byjus, Swiggy, Mathrubhumi, Magzter, Industry ARC, FlyMyBiz and Gozoop. He also pointed out that the Kerala government has granted menstrual leave to students in State universities, allowing them up to 60 days in a year. The prestigious institutions like NLIU Bhopal and MNLU Aurangabad have implemented menstrual leave policies. Punjab University has also approved and granted menstrual leave to the students, Tripathi said in the PIL. The petitioner further submitted that the menstrual status of a woman is a personal matter intrinsic to her privacy and must be treated with dignity and without discrimination. He argued that this requires the State to introduce measures that provide appropriate relief to women during menstrual pain so that they are able to cope with the suffering and protect their personal rights with dignity under Article 21 of the Constitution. The petition, filed under Article 32 of the Constitution, sought directions to all States to frame a policy for menstrual pain leave for female students and working women under the provisions of the Maternity Benefit Act, 1961. Earlier, Tripathi had filed a similar plea before the Supreme Court seeking directions on the issue. However, the court had asked him to approach the Ministry of Women and Child Development (WCD), which could take an appropriate decision in the matter. After complying with the courts order, Tripathi submitted a representation to the WCD but did not receive any relief, following which he approached the Supreme Court again seeking redressal of his prayers. The petitioner has sought directions that during the menstrual period, if a woman suffers pain or other physical discomfort that makes it difficult for her to continue with her normal activities at the workplace, her request for leave or other suitable relief should be considered without discrimination, subject to reasonable and dignified conditions, keeping in mind that the issue concerns womens privacy. He also stressed that India has signed and ratified the Convention on the Elimination of All Forms of Discrimination against Women (CEDAW), which recognises the need for non-discriminatory practices and for treating women with dignity. Spain has recently enacted a law to introduce menstrual leave, thereby addressing the problem of menstrual pain. Vietnam has also enacted and implemented menstrual leave policies. Countries like the United Kingdom, Wales, China, Japan, Taiwan, Indonesia, South Korea and Zambia have different policies or laws on the grant of menstrual leave, he added in his PIL.

Bombay team revisits Bekal to mark 30 years of the classic

Director Mani Ratnam, Manisha Koirala and cinematographer Rajiv Menon arrived at Bekal Fort on Saturday morning to mark 30 years of the 1995 film Bombay

I want to challenge myself across genres and spaces, says filmmaker Nishant Kalidindi

After the outlandish energy and cult success of Kadaseela Biriyani (2021), filmmaker Nishant Kalidindi returns with Theatre, a quieter and deeply observant second feature that marks a shift in both form and temperament. Premiering at the International Film Festival of Kerala in the Indian Cinema Now section, the film was screened to packed audiences, once again underscoring Nishanths assured craft. Set in the traditional urban quarters of Puducherry the filmmakers hometown Theatre unfolds within a local theatre troupe. Shot in Tamil and Malayalam, the film follows Das, a cowherd who leads a double life as an actor, and traces the fragile dynamics of a close-knit group as personal histories and unspoken tensions begin to surface. Rooted in Nishanths close observation of the Indianostrum Theatre group in Puducherry and made within spaces he knows intimately, Theatre emerges as an unassuming yet precise portrait of artists, labour, and the conflicts that shape the act of creation. Nishanth opens up about his journey in a chat with TNIE. Excerpts: After the success of Kadaseela Biriyani, why did it take so long for your next film to come out? The film was actually ready about two years ago. But we wanted it to have a proper festival journey. This year, we had the opportunity to premiere it in Rotterdam, but that process takes time. Also, it was not conceived as a mainstream follow-up to Kadaseela Biriyani, but as an act of self-expression, a way of documenting my journey and memories with a group of artists I deeply admire. It didnt come from a logical plan, but from an emotional need to get something out of my system. The shift from a raw thriller to this film feels drastic. How did you grow personally through this journey? I didnt look at it as growth in that sense. I was excited to do something completely different, put myself in a vulnerable space. This film was made through an improvisational process inspired by theatre practices I observed, where characters are shaped through conversations with actors rather than a fixed script. You know the structure, but you dont know exactly what the scene will become. That uncertainty was exciting. I wanted to dare myself, to find the edges of my abilities. I wasnt trying to be unconventional. I just didnt want to be overly organised. You have said you were ready to shelve the film if it didnt work for you. Why take that risk? It was simple if I wasnt happy with the expression, I would not release it. I didnt want the film to be judged on a measuring scale of good or bad. I wanted people to see it as an observation, something that might reflect their own lives. The film is about stepping outside yourself and looking at yourself from a third-person perspective. Because I wasnt chasing reception, I didnt feel fear. It became a beautiful experience. The film treats everyday labour and theatrical performance with equal weight. What drew you to that? I come from a documentary background, so observation is central to my practice. While spending time with theatre artists, I saw how physical their work is. They literally build their stages; they become masons before they become artists. That fascinated me. This workers life, before being validated as an artist, is their reality. The film mirrors that journey. Thats why theres very little narrative push. I wanted to mimic life. Life doesnt resolve itself in two or three days. Conflicts dont neatly conclude. Hope in the film comes from small validations, the director finding confidence, not a dramatic transformation. The background score and the yellow colour palette feel like characters themselves It came from the space itself. We didnt impose much production design. We just captured what was already there in the streets of Puducherry. I wanted to show it not as a tourist space, but as a lived-in town. Our aim was fidelity to the space, not stylisation. The colours and sound already existed; our job was to record them honestly. Was there pressure to create aesthetically pleasing frames? No. In fact, we tried to avoid aesthetics that felt imposed. In Kadaseela Biriyani, everything was planned and composed. Here, we did the opposite. We followed actors for kilometres, filming events as they unfolded. Instead of creating scenes, we captured situations. Cinema entered reality, but reality was not forced to behave like cinema. Tamil cinema is often seen as highly commercial now. Where do you place yourself within that space? I want to exist in multiple film spaces. Kadaseela Biriyani was a mainstream cinema. Theatre exists in a parallel stream. I dont like strict labels. I want to challenge myself across genres and spaces mainstream, parallel, arthouse and see if I can stand in all of them. As a filmmaker in a neighbouring industry, how do you perceive Malayalam cinema? Malayalam cinema has laid a strong foundation for Indian audiences to engage with layered, thoughtful films. They dont serve the audience; they invite them to think. That has benefited filmmakers like me. Because audiences are already trained to engage deeply, I can push subtlety further into confusion, into multiple emotions at once. As a filmmaker, what is the biggest challenge today? Self-sustainability. A filmmaker must create an ecosystem where they can keep making films without depending entirely on cinema for survival. When you are dependent, you are only surviving, not enriching yourself. Freedom, whether it is financial, emotional, or mental, is important. Cinema comes much later. First, you need the freedom to think. Only then can cinema become a true reflection of life. Theatre premiered at IFFK. How was the audiences response? What I felt most strongly was silence. People stayed with the film even after it ended. That silence felt like a privilege. What that silence reflects to me thats something Im still thinking about.

Sreenivasan death: Veteran actor to receive Police honours by Kerala Government

Sreenivasan, a veteran Malayalam actor, playwright, and filmmaker, died at 69. The Kerala government has promised police honours, including a bugle salute, for his funeral on December 21. A public homage will be held in Town Hall.

Kerala SIR: large number of ASD entries in some polling booths spark concern

Formal publication of the draft electoral rolls under the ongoing SIR will be on December 23

Merry Merry Markets

The season of choosing a star for the home, checking whether a string of lights glows white, yellow or multi-coloured, and decking up a Christmas tree is here. With just four days left for Christmas Eve, Thiruvananthapurams markets are preparing to see a heavy rush over the coming weekend. The market comes alive mainly in the evenings, once offices close, and schools let out. Families arrive together, taking their time to walk through the rows of shops. White Christmas trees continue to be popular this year as well, replacing the traditional green in many shops. Tree decorations come in all kinds of styles and sizes. Bright baubles in red, green, gold and silver share space with ornaments shaped like angels, bells, stars and small Santa figurines. There are also strings of LED lights, which are meant to be wrapped around the branches or hung loosely like garlands. Sellers pull out bundles of these lights from boxes and sacks, test them for a moment, and pack them back. By evening, these lights brighten the streets in a mix of colours. Cribs assembled locally are displayed alongside factory-made decorations. Many designs look familiar but appear with small changes in colour, finish or size. Prices vary depending on the quality and size of the items. Simple wooden cribs start at around 500, while cane ones cost a little more. Demand, however, remains steady as Christmas approaches. Handmade items are easy to spot this season, with Christmas-themed tablecloths, runners and cushion covers on display, along with macram pieces that many shoppers are picking up. Curated Christmas hampers are also visible across the market, including in small stores, making gifting easier. As the festival draws nearer and schools and colleges close for vacation, the market is entering its busiest days. So its better to run out now and get the right pieces before the shelves start to empty, and make the home all Christmasy.

Bollywood actor-director Tannishtha Chatterjee on cancer, creativity and female solidarity

After Busan and IFFK Kerala, Full Plate director Chatterjee on fighting cancer armed with her Bollywood sisterhood and art

'No pretence, no restraint...': Maniyanpilla Raju remembers his friend and colleague Sreenivasan

My journey in cinema began almost at the same time as Sreenivasans. I passed out from the Adyar Film Institute in 1975, while he completed his training at the Film Chamber, nearly simultaneously. From the very beginning, our lives ran parallel shaped by struggle, persistence, and an unshakeable love for cinema. Those early days were not easy. Survival itself was a challenge. I can still see him coming for dubbing work for just Rs 50, while I would take acting assignments for about Rs 100. That was how our cinematic lives beganwith Rs 50 and Rs 100 in our pockets, but with dreams far bigger than we could imagine. We both struggled, stumbled, and fought our way forward, and today, looking back, I marvel at how far we came. Sreenivasan was extraordinary, irreplaceable. He was more than a colleague; he was a guiding force in my life. He wrote scripts for some of my most important films Vellanakalude Naadu and Orunaal Varum . He also acted in Aye Auto and Hello My Dear Wrong Number . Later, he directed Akkare Ninnoru Maaran and cast me as the hero. That was Sreenivasan confident, generous, and committed not just to cinema but to the people he believed in. When aspiring writers come to me with their scripts, I often tell them that something is missing. I tell them to study three masters closely MT Vasudevan Nair, Padmarajan, and Sreenivasan. They had a rare clarity in writing. They would leave small, invaluable notes alongside dialogues. A simple dialogue like, Where are you going? would carry a side note: Concealing an old resentment, he casually asks where he is going. Those notes tell actors exactly how to perform a scene. Sreenivasans attention to such emotional detail was unparalleled, and it is a lesson for the next generation. I have never met anyone with such a fine, natural sense of humour. If he heard a genuinely good joke, he would laugh wholeheartedly, with no pretence, no restraint. That honesty in life, in humour, in cinema defined him. The same clarity shone through his writing, acting, and direction. His scripts were sharp, witty, and deeply satirical. Even today, Sandesham feels as relevant as ever, its political satire cutting through the noise of our times. Sreenivasan was a man of deep political awareness, yet he never preached or imposed. His insight was quiet, intelligent, and always humane. But beyond cinema, he was a remarkable human being a true friend, a committed farmer, and a man of integrity. Above all the roles he played actor, writer, director he was simply good. We shared a friendship spanning nearly five decades. We spoke often, laughed often, and shared countless small moments that I will treasure forever. When I heard about a minor fall he had in the toilet, I had planned to visit him the very next day. That visit never happened. For the next generation of filmmakers and writers, Sreenivasan should be a textbook. He, like MT and Padmarajan, understood that cinema is about more than dialogue its about emotion, subtext, and the honesty of performance. I will never forget that Vellanakalude Naadu was rewritten entirely in just three days at the shooting locationa testament to his brilliance, dedication, and love for cinema. An actor, a director, a writer and above all, a good human being. Malayalam cinema has lost one of its finest minds. And I have lost one of my closest friends. (As told to Jose K Joseph)

Sreenivasan's 'Sandesam': I have lost hope that satires will improve politicians

Sreenivasan - the name evokes laughter and contemplation at the same time. The multifaceted actor, screenwriter and director is no longer with us. But he has left behind his works for us to remember him forever. He was a complex character, unlike many of his movies. On April 2023, he sat with team TNIE for an interview. Excerpts from the interview is reproduced below. Your films, for example Sandesham , lampoon politicians of all parties. Are all politicians to be made fun of? Isnt that wrong? Can you point out one good politician? How about our first Prime Minister Jawaharlal Nehru? Good that you mentioned his name Nehru scuttled the chances of Sardar Vallabhbhai Patel becoming the PM though the latter had more votes. Political cheating started there. How about Achutha Menon? He was good. V S Achuthanandan? He was better. Oommen Chandy? I still like him. Narendra Modi? Its too early to say(chuckles) Modi is into his second term as PM. So you have had enough time to assess him... Havent you heard of the Modi-Adani nexus? Will any political party oppose Adani? Which political party hasnt received money from Adani? Political satires like Sandesham are not made these days What could be the reason? Now politics has gone beyond all theseI have lost hope that satires will improve politicians. Dialogues of Sandesham are still very popular. Had you expected this kind of success then? Not at all... We just wanted to do a political satire. In fact, we had sat on that script for many years and we decided to do it after Lohithadas insisted. How did the idea of Sandesham come to you? That came from my own life (chuckles) My brother was a hardcore communist. When I joined ABVP, I started criticising CPM. Our fights became a regular thing at home. Whatever you saw in the film has happened in my home. You enjoyed a good equation with CM Pinarayi Vijayan once. But you are a staunch critic now I first met him while travelling in a train. Someone approached me and asked whether I was free. When I said yes, he told me that Pinarayi Vijayan is in the next compartment and wanted to come over to meet me. He was an MLA then. I told him that I will go to his compartment. When I met him, he talked about my father with lots of warmth. I became emotional. That warmth connected us for some time. Then what happened? I realised that all politicians are the same That power corrupts everyone. Coming back to the cinema, when did you decide to enter the film industry? Actually, cinema was never in my scheme of things. I always wanted to do theatre. I wanted to join the National School of Drama. But I could not. Then I saw an ad of a film institute in Chennai. I decided to give it a try as it also involves acting. Actor, screenwriter, and filmmaker Sreenivasan who made Keralites laugh and reflect passes away How was the experience there? Ramu Kariat was on the interview panel. The moment he saw me during the interview, he laughed out loud. I understood the meaning of that laugh. He must have laughed thinking how someone who looks like me can even think of acting in films (laughs). Then? He tried his best to dissuade me saying the film world will be very tough for a person like me. But when they realised my passion for theatre, they somehow selected me. Years later, I received the Ramu Kariat memorial award for my film Chinthavishtayaya Syamala . Then also Ramu Kariat must have laughed looking at me from above (chuckles). Do you believe in fate? Regardless of whether I believe it or not, things will happen as per fate. I am not a man of God. You are not a believer? No God worthy of being believed has not appeared before me. (Laughs out) Actor Rajinikanth was your senior at the institute He was my super senior. I have seen his struggle and his spectacular rise. You have acted in the films of many masters. How was that experience? G Aravindan is someone I respect the most. He was a rare human being. so down to earth. So was K G George. How has your appearance played a role in your acting career? My deprived look has helped me in getting roles, initially (laughs out). It means you will get chances in movies even if you look horrible (laughs again). Many out there are waiting for your new movie I am also waiting (chuckles) Rajinikanth got a chance in films because of Kamal Haasan: Actor Sreenivasan

Malayalis saw themselves, their emotions through Sreenivasans characters on screen, says Mohanlal

Who else other than Sreenivasan can recreate the dreams and disillusionments of the middle class on screen? said Mohanlal

Sreenivasan needed just two films to cement his legacy as a director

The renowned actor and scenarist solidified his legacy in Malayalam cinema with just two influential films that he directed Vadakkunokkiyantram (1989) and Chinthavishtayaya Shyamala (1998) which garnered six State awards between them, showcasing his unique blend of humour and social commentary

Kerala local body polls: BJP-led NDAs footprint expands in Alappuzha district

NDA increases its ward tally to 240 from 181 in 2020 and registers gains in long-held Left strongholds such as Punnapra and Neelamperoor

Laughing through life: The enduring bond of Mohanlal and Sreenivasan

KOCHI: Vijaya, eda namukkentha ee budhi nerathe thonnathathu? The conversation between Dasan and Vijayan, played by Mohanlal and Sreenivasan in Nadodikkattu , remains popular and deeply relatable among Malayalee youngsters even after more than three decades. The line is so familiar to Malayalees that it invariably brings a smile. Through characters like Dasan and Vijayan, Mohanlal and Sreenivasan became the faces of a generation grappling with unemployment, migration dreams, and middle-class aspirations. The duo redefined male friendship on screen not as idealised camaraderie, but as something imperfect, marked by arguments, mistakes, and affection, much like real life. Their films made people laugh and think at the same time, which is why their bond continues to live on in the hearts of Malayali audiences. Off-screen too, Mohanlal and Sreenivasan shared a strong camaraderie. In the late 1980s and 1990s, they appeared together in several Malayalam films as friends, colleagues, and even employer and employee. Dasan and Vijayan of the Nadodikkattu trilogy Nadodikkattu (1987), Pattanapravesham (1988), and Akkare, Akkare, Akkare (1990) made audiences laugh while holding up a mirror to society. However, the actor-screenwriter was also a firm critic of Mohanlal, which eventually led to friction in their relationship. Earlier, while speaking to TNIE , Sreenivasan had said, Mohanlal is a complete actor. When asked about how the 2012 film Padmasree Bharat Dr Saroj Kumar affected their friendship, he replied, Even otherwise, our relationship was not that great. EXPRESS DIALOGUES | Todays politics has gone beyond satire:Sreenivasan Recently, at a private event organised by the Association of Malayalam Movie Artists (AMMA), the duo reunited on stage when Mohanlal presented Sreenivasan with an Ultimate Entertainer Award. Mohanlal embraced his old friend and kissed him, a moment that moved many in the audience. Sreenivasans son, Dhyan Sreenivasan, later acknowledged that there were issues in their friendship and that the split occurred after Saroj Kumar. He also said the differences intensified following the death of Prem Nazir when Sreenivasan planned to make a film with Mohanlal. Paying tribute to Sreenivasan, Mohanlal wrote on Facebook that he could not put their bond into words. Sreeni returned without saying goodbye. I dont know how to explain our bond. It was far beyond the definition of working together in films. On screen and in life, we travelled forever laughing, having fun, quarrelling, and reconciling just like Dasan and Vijayan, he wrote. The duo later appeared together again as friends in Chandralekha (1997), playing Appukuttan (Mohanlal) and Nooruddeen (Sreenivasan). Every Malayali shared the same bond with Sreeni. Every Malayali saw their own face in the characters he created. He portrayed pain, joy, and deprivation with rare honesty. Who else could express the dreams and broken dreams of the middle class like Sreeni? The characters we played together will live forever because of the magic of his writing. Dasan and Vijayan became real people for Malayalees because of Sreenis blessed talent. His creations reflected society a beloved soul who captured pain through laughter, Mohanlal wrote, remembering Sreenivasans immense contribution to Malayalam cinema. Together, the duo worked in more than 20 films, including Chitram (1988), Varavelpu (1989), Mukunthetta Sumitra Vilikkunnu (1988), Mithunam (1993), Kilichundan Mambazham (2003), and Udayananu Tharam (2005). Kerala CM Pinarayi Vijayan, LoP VD Satheesan pay tributes to actor-filmmaker Sreenivasan

Mohanlal effect strikes again: How unpaid cameo powers strong opening for Dileeps Bha. Bha. Ba at Kerala Box Office

Mohanlal did not charge any fee for his cameo performance in Dileep starrer 'Bha. Bha. Ba' which has received good response at the Kerala Box Office. It is the Mohanlal's cameo that is pulling audience to the theatres, early reviews suggest, thus increasing the films promotions and box office appeal.

Kerala SIR: Citing inaccuracies in ASD list, political parties demand extension of SIR schedule

Demand comes on the heels of Supreme Court asking ECI to take a sympathetic view of representations seeking more time

Tributes pour in for actor Sreenivasan

Sreenivasans scripts were milestones of Malayalam cinema; his style was to force one to think through humour

Farewell, Sreenivasan: The Man Who Made Kerala Laugh At Itself

He was a chronicler of the Malayali middle class, its anxieties, hypocrisies and quiet resilience

From Poland to Pavanayi: How Sreenivasans dialogues became Keralas meme currency

There are countless dialogues from films written by Sreenivasan that have become a rage on social media decades after their release

Sreenivasan, a scriptwriter like no other

Sreenivasan was a fabulous actor. But he was even more fabulous as a scriptwriter.

Kerala CM Pinarayi Vijayan, LoP VD Satheesan pay tributes to actor-filmmaker Sreenivasan

THIRUVANANTHAPURAM: Chief Minister Pinarayi Vijayan and Opposition Leader V D Satheesan on Saturday expressed deep sorrow over the passing of veteran filmmaker, actor and screenwriter Sreenivasan, describing his death as an irreparable loss to Malayalam cinema and Keralas cultural life. In a condolence message, Chief Minister Pinarayi Vijayan said Sreenivasan was a rare, multifaceted talent who left an indelible mark on every sphere of filmmaking, including story, screenplay, direction and acting. He noted that very few filmmakers had succeeded like Sreenivasan in authentically portraying the life of the common man on the silver screen and in leading audiences to deeper levels of social awareness through humour and thought-provoking narratives. The Chief Minister said Sreenivasan broke several long-standing cinematic conventions and possessed the courage to articulate his ideas with wit and clarity, even when he knew these would invite sharp criticism. Even those who strongly disagreed with his views acknowledged and respected his extraordinary talent, he said. Pinarayi Vijayan added that Sreenivasan played a significant role in reshaping the aesthetic sensibility of Malayalam cinema and was particularly effective in expressing his social perspectives through satire. Many of the characters he created and portrayed, the Chief Minister said, would remain etched in the collective memory of Malayalis for generations. Recalling his personal association with the filmmaker, the Chief Minister described Sreenivasans demise as a personal loss as well. He fondly remembered sharing warm and humourous conversations with him during an interview and said Sreenivasan stood as a symbol of love and friendship. Born and brought up in Pattiam in the Kannur district, Sreenivasans life, he noted, was a lesson in perseverance, having transformed his passion for cinema into reality through sheer self-effort. EXPRESS DIALOGUES | Todays politics has gone beyond satire:Sreenivasan Opposition leader V D Satheesan, in his condolence message, described Sreenivasan as an extraordinary artist who, in a unique style, captured the lives of small people in a vast world and great people in a small world. A multifaceted genius of Malayalam cinema, Satheesan said, Sreenivasan turned everything he touched into gold, and his five-decade-long cinematic journey concluded with achievements that few could ever hope to match. Satheesan highlighted the depth of Sreenivasans writing and the breadth of his acting, recalling the filmmakers oft-repeated, humorous remark that it was Priyadarshans trick that made him a screenwriterwhich time proved to be Malayalam cinemas great fortune. Most of the characters he wrote and portrayed, Satheesan said, were deeply familiar figures, rooted in the Malayali collective psyche, and they dismantled conventional notions of heroism, making them timeless. He said classics such as Thalayana Manthram, Vadakkunokkiyantram and Chinthavishtayaya Shyamala exemplified Sreenivasans ability to blend realism, satire and social critique. Calling him a symbol of extraordinary mental strength and fighting spirit, the Opposition Leader said Sreenivasan portrayed, with rare sensitivity, the many layers of an average Malayalis lifeits love and longing, helplessness and innocence, friendship and bitterness, biting satire and uncomfortable truths. There would hardly be a Malayali who does not recall, at least once a day, something Sreenivasan wrote, said or showed on screen, Satheesan said, noting that his legacy transcended boundaries of age, caste, religion and politics. Recalling a recent interaction in Thiruvananthapuram, he said he had hoped to meet Sreenivasan again on his return to Ernakulam, but fate did not allow it. Both leaders joined the people of Kerala in bidding farewell to Sreenivasanan unparalleled talent, a humane voice of cinema, and a cherished presence who reshaped Malayalam films and society alike.

Mani Ratnam, Manisha Koirala visit 'Bombay' location; to attend Bekal International Beach Festival

KASARAGOD: Director Mani Ratnam, actress Manisha Koirala and cinematographer Rajiv Menon, the crew of the movie Bombay , visited the Bekal fort on Saturday morning and lived through their Bekal experience once again. The song Uyire in Bombay movie, released in 1995, has put the historic Bekal fort on the tourism map. Rajiv Menon has captured the beautiful fort in its monsoon glory for the film. Incidentally, the Kerala government established the Bekal Resort Development Corporation (BRDC) in 1995 to promote fort-based tourism, and the timing of the film greatly aided in promoting the fort. So, the BRDC has decided to host the Bombay reunion for this year's Bekal International Beach Festival . Mani Ratnam, Manisha Koirala and Rajiv Menon, accompanied by Tourism Minister Mohammed Riyas, visited the fort and went around. Actress Manisha Koirala wondered how much the fort had developed, and it is now very beautiful, she said. Rajiv Menon captured Mani Ratnam and Manisha Koirala in his camera once more. The crew will participate in the inaugural of the Beach Festival later in the evening.

Sreenivasan gave me my best characters, Urvashi reminisces

Urvashi had once named Sreenivasan as the best male protagonist with whom she acted

We shared a strong bond: Filmmaker Sathyan Anthikad remembers his longtime friend and collaborator Sreenivasan

Sathyan Anthikad expresses profound sorrow following the passing of Sreenivasan and reflects on their partnership that shaped Malayalam cinema. Anthikad describes their relationship as special

Veteran Malayalam actor and director Sreenivasan passes away at 69

Born on April 6, 1956, in Patyam near Thalassery in Kerala's Kannur district, Sreenivasan emerged as one of the most influential voices in Malayalam cinema, known for blending sharp social satire with accessible storytelling.

Sreenivasan: the satirist who made Kerala laugh, think, and remember

Known for his sharp political commentary and memorable characters, Sreenivasans work, including collaborations with notable filmmakers like Priyadarshan and Sathyan Anthikkad, has left an indelible mark on Malayalam film industry

Renowned Malayalam actor-filmmaker Sreenivasan, passes away | LIVE Updates

He had been ailing for some time owing to cardiac and other ailments

Actor, screenwriter, and filmmaker Sreenivasan who made Keralites laugh and reflect passes away

KOCHI: Veteran Malayalam actor, screenwriter, and filmmaker Sreenivasan passed away on Saturday at the Tripunithura Taluk Hospital in Kochi. He was 69. Suffering from prolonged health issues, Sreenivasan was being taken to Amrita Hospital for dialysis when his condition deteriorated on the way. He was rushed to the Tripunithura hospital, where he breathed his last. Sreenivasans death marks the end of an era in Malayalam cinema. Over a career spanning nearly 48 years, he emerged as one of the most influential creative voices in the industry, shaping popular cinema through sharp satire, humane storytelling, and socially rooted humour. He acted in more than 200 films and wrote screenplays for several landmark works that continue to define Malayalam cinemas golden years. Born on April 6, 1956, in Patyam near Thalassery in Kannur district, Sreenivasan grew up in a modest household. His father was a schoolteacher, and his mother was a homemaker. After completing his schooling in Kuthuparamba and Kadirur, he graduated in economics from PRNSS College, Mattanur, before pursuing formal film education at the Film and Television Institute of Tamil Nadu, Chennai. He made his acting debut in Manimuzhakkam (1976), directed by P A Backer, and went on to play his first lead role in Sanghaganam (1979). However, it was as a writer that he truly left his mark. His first screenplay, Odaruthammava Aalariyam (1984), announced a new voice in Malayalam cinemairreverent, observant, and unapologetically critical of social hypocrisy. EXPRESS DIALOGUES | Todays politics has gone beyond satire:Sreenivasan The mid-1980s to early 1990s saw Sreenivasan at the peak of his creative powers. Films such as Gandhinagar 2nd Street, Sanmanassullavarkku Samadhanam, Varavelpu, and, most notably, Nadodikkattu , transformed everyday middle-class anxieties into enduring cinematic narratives. Nadodikkattu and its sequels became cult classics, with dialogues and characters entering popular culture and remaining relevant decades later. Sreenivasan frequently collaborated with leading directors such as Priyadarshan, Sathyan Anthikad and Kamal, forming a creative axis that defined mainstream Malayalam cinema. His writing blended humour with political and social critique, most powerfully seen in Sandesam (1991), a biting satire on political opportunism that earned him a Kerala State Film Award. As a director, Sreenivasan proved equally accomplished. Vadakkunokkiyanthram , which he scripted and directed, explored male insecurity and patriarchal attitudes with rare sensitivity and won the Kerala State Film Award for Best Film. Nearly a decade later, Chinthavishtayaya Shyamala (1998) addressed marital alienation and emotional conflict, winning the National Film Award for Best Film on Other Social Issues. In later years, Sreenivasan remained a significant presence, adapting to changing times without losing his edge. Films such as Udayananu Tharam , Katha Parayumpol and Njan Prakashan reaffirmed his relevance. Njan Prakashan went on to become one of the highest-grossing Malayalam films of all time, introducing his brand of social satire to a new generation of viewers. His contributions were recognised with numerous honours, including a National Film Award, multiple Kerala State Film Awards, Filmfare Awards South, Asianet Film Awards and lifetime achievement honours from film bodies and cultural organisations. As an actor, Sreenivasan was known for his understated performances, often portraying the flawed common man with authenticity and restraint. His screen presence complemented his writing, lending credibility and emotional depth to characters rooted in everyday life. Sreenivasan is survived by his sons Vineeth Sreenivasan and Dhyan Sreenivasan, both established figures in the Malayalam film industry. With his passing, Malayalam cinema loses not just a prolific artist but a conscience keeperone who consistently used humour and storytelling to question society, politics and human relationships.

Kerala Animal Welfare Board floats action plan to address stray issue

THIRUVANANTHAPURAM: Mandatory licensing of pets and microchipping for vaccine compliance were among the proposals mooted by the State Animal Welfare Board in its first meeting on Friday, as it set in motion a comprehensive action plan to address the stray dog issue, strengthen animal welfare and improve shelter infrastructure across the state. Chaired by Minister J Chinchu Rani, who is also the board chairperson, the meeting also proposed stricter penalties for abandoning pets and establishment and upgradation of animal shelters in the backdrop of recent Supreme Court directions. To curb abandoning of pet dogs, the board recommended mandatory licensing for all pet canines, simplification of the licensing process via K-SMART, and the introduction of microchipping to ensure vaccine compliance. The meeting also decided to amend the Panchayati Raj and Municipal laws to impose stricter penalties on those abandoning their pets. The board decided to decentralise the handling of complaints related to animal cruelty, and pet shop and breeder registrations. Such cases will be examined at the district level by chief veterinary officers and matters requiring higher intervention will be referred to the state board with specific recommendations.

Thiruvananthapuram: Kovalam eyeing tourism revival with beach dining

THIRUVANANTHAPURAM: In a bid to restore its lost charm and revive tourism at Kovalam, which was once Keralas most sought-after beach destination, tourism stakeholders including resort owners and hoteliers have launched a beach dining initiative at the iconic Lighthouse Beach. The move comes following prolonged apathy from the tourism department and the state government that has left the destination in a state of neglect. Poor infrastructure, lack of street lighting, police-imposed time restrictions, and dilapidated tourism amenities have turned Kovalam into a major disappointment for both foreign and domestic tourists. Although the tourism department announced a comprehensive Rs 95-crore master plan a couple of years ago to restore Kovalams lost glory, little has materialised on the ground. With yet another tourism season under way and no visible efforts from the department to either improve infrastructure or enhance visitor experience, the Kerala Tourism Protection and Development Council (KTPDC) -- a collective of resort and hotel operators and tourism workers -- has decided to take the initiative by reintroducing beach dining, reminiscent of Kovalams golden days. T N Suresh, patron of KTPDC, said beach dining was a key attraction at Kovalam nearly two decades ago. We had to stop the beach dining culture after the government constructed the walkway. The past few years have been extremely tough. The destination has steadily degraded, and guests are increasingly dissatisfied, opting for other tourist spots instead. We approached the port department and obtained permission to conduct beach dining from 7 pm to 11.30 pm, said Suresh, who owns a 50-year-old property at Lighthouse Beach. To attract both foreign and domestic tourists, the stakeholders are also planning to organise live music events, campfires and beach games in the coming days. Rohan Krishnan, a hotelier and member of KTPDC, said the lack of street lighting remains one of the biggest challenges. Guests want to stay back and enjoy the beach, but the authorities do not allow it. We intervened and fixed the street lights ourselves so that we could introduce beach dining. Our aim is to bring nightlife back to the destination so that people choose to stay longer, he said. Krishnan also pointed out that waste management continues to be a pressing issue. We have instructed restaurant owners to ensure that all litter is cleared immediately after service, and we will make sure the beach remains clean, he added. Meanwhile, a tourism department official said Keltron has been entrusted with the maintenance of street lights. There were issues with the previous contractor. The street lights will be restored shortly. Fresh tenders have also been invited for cleaning and maintenance of the destination, the official said. Spot plan Poor infrastructure, lack of street lighting, police-imposed time restrictions, and dilapidated tourism amenities have turned Kovalam into a major disappointment To attract both foreign and domestic tourists, the stakeholders are also planning to organise live music events, campfires and beach games in the coming days

Dont hide behind National Herald case: Congress to CPM

THIRUVANANTHAPURAM: Drawing a clear line between central agencies probe against Congress leaders and those involving CPM leaders, AICC Media and Publicity Department chairman Pawan Khera on Friday said that catching the ED and CBI red-handed in the National Herald case against Congress leaders does not mean that every investigation conducted by agencies can be dismissed or used as a shield by others. Khera was responding to Chief Minister Pinarayi Vijayans allegation that Congress was adopting double standard while reacting to central agency cases against ministers of non-Congress ruled states. There must be a case by case investigation. You cannot conveniently apply the same logic to every case being probed by central agencies. That is not a fair way of judging things, he said. Hiding behind what the ED did in the National Herald case is only a convenient way to cover your own worries. In the case, a Delhi court dismissed EDs charges. Just because one has been found innocent doesnt mean everyone else is also innocent. Others too must face investigation, he added.

Kerala raises objections to VB-G RAM G Bill

THIRUVANANTHAPURAM: Expressing strong objection to the VB-G RAM G Bill, brought in by the Union government to replace MGNREGA, Chief Minister Pinarayi Vijayan has urged the Centre to refrain from implementing the new legislation in its current form. Going by the current proposal, Kerala would incur annual fiscal loss of about Rs 3,500 crore due to the new provisions, the CM pointed out in a letter to Prime Minister Narendra Modi on Friday. Terming the proposed bill regressive and counter to the spirit of the Constitution, Pinarayi said many provisions in the legislation raise serious concern, as they will limit the states fiscal space. While in the present MGNREGS the wage component is borne by the Union government, the new legislation proposes to put the burden on states, as central assistance for wages would be only 60 per cent. The proposed legislation transforms the project into a central scheme, he said, adding that such dilutions in the decentralised character of the scheme would place many states at a disadvantageous position. Kerala also expressed its strong objection to the renaming of the legislation.

Kerala: Five arrested for lynching migrant worker on theft suspicion

The accused have been booked for the offence of murder under the Bharatiya Nyaya Sanhita, an officer of Walayar police station said. They were produced before a court here and remanded to judicial custody on Friday, the officer said

Kerala local body poll results: Polarisation helped UDF surge, says Congress core panel

THIRUVANANTHAPURAM: The state Congress Core Committee, the highest decision making body constituted by the AICC, has assessed that while strong anti-incumbency against the state government benefited the UDF in the recent local body elections, two key factors, significantly enhanced its performance- the polarisation of Hindu votes in the old Travancore region and Muslim votes in Malabar region. This helped the UDF surpass the LDF after over a decade, it said. According to party leaders, the Sabarimala gold panel theft case played a decisive role in consolidating the Hindu support for the UDF in Travancore. In Malabar, there was a massive polarization of Muslim minority votes in favour of the UDF. However, Leader of Opposition V D Satheesan cautioned party leaders against complacency, pointing out that that despite the victory, the UDFs failure to capture power in district panchayats and block panchayats in Thiruvananthapuram, Kollam, Alappuzha and Thrissur remained a serious setback. AICC general secretary (organisation) and MP K C Venugopal reportedly told the meeting that trends in local body elections would not necessarily be replicated in the next assembly election. The Congress cannot approach the assembly election with overconfidence. It will be entirely different in nature. We must intensify our effort in the Special Intensive Revision (SIR) process, he said. The meeting decided to organise a Chinthan Shivir in Sultan Batheri as part of the preparations for the assembly election. Meanwhile, in view of the strong resistance from the Kerala Congress (J), the Congress core committee resolved to take a cautious approach towards Kerala Congress (M), currently with the LDF. Leaders shared the sentiment that KCMs exit from the UDF was unfortunate, but agreed to take a wait-and-watch policy. Let them take their position first. We will decide accordingly, especially in the backdrop of their serious setbacks. In Kattappana, which is Minister Roshi Augustines stronghold, the KCM faced a major blow, and in Idukki district, they failed to come to power in any panchayat, a leader said. CWC member Kodikkunnil Suresh urged the leadership to adopt effective social engineering strategies in the 2026 assembly election. Though many community organisations supported us in the local body elections, we must reach out to communities that did not support us, he said. KPCC president Sunny Joseph credited the success to united efforts by leaders and workers. Senior leader Ramesh Chennithala also attributed the UDFs performance to collective action and organisational unity.

Kerala HC quashes government order granting permission for Elappully brewery

KOCHI: The Kerala High Court on Friday quashed the preliminary sanction given to Oasis Commercial Private Ltd to establish an ethanol unit in Kanjikode, Palakkad, to produce extra neutral alcohol and other liquor products. However, this will not preclude a fresh consideration of any application, by the government, if made, said Justice Sathish Ninan and Justice P Krishna Kumar. Various factors which weighed with the government while issuingthe order, are not factually correct in its entirety. Therefore, theorder...is liable to bequashed, said the court. The court issued the order on a batch of PILs challenging the preliminary sanction granted to the company to establish an ethanol plant, multi-feed distillation unit, Indian-made foreign liquor bottling unit, a brewery, a malt spirit plant and brandy/winery plant at Elappully panchayat in Kanjikode. The petitioners said the government order has no legal backing, and preempts the statutory authorities and the local self-government institutions from exercising their powers. The issue assumes significance as Palakkad is a dry area. The court said the petitioners allegation that establishment of the unit will aggravate water scarcity, is a matter of serious concern in Palakkad. The unit would require 5000 KL of water per day. Extraction of such a quantity of water would have serious consequences on the life ofresidents. On the source of water, the government order referred to the sanction given by the Kerala Water Authority agreeing to provide requiredquantities of water, and also the rain water harvesting projectproposed by the company. The government order observes that theexploitation of ground water would be avoided. However, the KWAs affidavit stated no binding or conclusive consent was given to the petitioner. The court said while it noticed that explicit consent was given under the letter dated June 16, 2023, the attempt in the counter affidavit is to shrug off the commitment.

No freedom to celebrate: Samastha's stand puts IUML women in crossfire

MALAPPURAM: For many women in the Indian Union Muslim League (IUML), the recent local body elections marked a long-awaited moment of political visibility and recognition. Hundreds of women particularly from the Youth League and Haritha secured victories across local bodies, signalling a historic expansion of female representation within the party. However, the celebratory mood was short-lived, as the milestone coincided with a deepening internal crisis triggered by both AP and EK factions of Samastha Kerala Jamiyyathul Ulamas strong opposition to Muslim women participating in post-election victory celebrations. In a recent joint statement, AP Samastha president E Sulaiman Musliyar and general secretary Kanthapuram A P Aboobacker Musliyar took a clear stand against what they described as the IUMLs increasingly liberal approach to womens public participation. The statement said it was unacceptable for men and women to come together, hug, clap, demonstrate on the streets, roam freely, and engage in obscenities not permitted by religion in the name of election victory celebrations organised in the name of the Muslim community. The statement added that Islam had granted women dignity and freedom, and that disregarding religious values and human ethics was protestable. It further urged those concerned to remain vigilant in preventing such practices in the future and called upon leaders to respect religious symbols, customs and cultural traditions. Women leaders within the IUML, however, say the objections initially voiced by individual leaders including E K Samastha faction leader Nazar Faizi Koodathayi, AP Samastha faction leader Rahmathullah Saquafi Elamaram and later formalised through an official statement from Sunni Yuvajana Sangam (SYS) have cast a shadow over what was meant to be a historic moment. What began as scholarly opinion, they argue, has now taken the shape of institutional pressure, raising questions about the political space available to women within the party. The youth wing of the IUML has taken a firm stand, asserting that while Samastha has the right to offer religious criticism, it should not dictate the partys political trajectory or womens participation. IUML Youth League secretary Fathima Thahiliya told TNIE that women in the League were currently experiencing a glorious phase that could not be affected by remarks from religious quarters. What Samastha reflects are religious interpretations. They have their right to say their opinion. But as a political party, the League has responsibilities to society. The League has always given importance to women. In this local body election, women in the party have achieved historic representation. We have the sensibility to understand these criticisms and accept whatever suits, she said. Youth League national secretary Najma Thabsheera said the issue went beyond interpretation and struck at womens right to political expression, visibility and equal participation. Samastha is a group of religious scholars and they have the right to express their views. I dont think they interfere with IUMLs political decisions. Some scholars with vested interests are trying to harm the party. This is the Gen Z era. More young women are joining the party, and I dont think they will be deterred by such remarks, she said. However, dissenting voices have also emerged from within the IUML. Party secretary Shafi Chaliyam, in a Facebook post, criticised what he termed the excessive public involvement of women in celebrations. This is not like any other political party. The League leadership must recognise that there is a clear section within the community that feels hurt when women dance publicly alongside men, he wrote. A comment under Shafi Chaliyams post went further, accusing the party leadership of embracing excessive liberalism. A liberal stand is visible on all League platforms now. There are League events where men and women dance together to music. We can no longer differentiate the League from SFI, the comment read. Meanwhile, Islamic scholar Mustafa Moulavi offered a sharply different perspective, alleging that male leaders within the IUML were using Samastha as a tool to control womens political rise.

Attempts to kill film fest resisted, says CM Pinarayi Vijayan

THIRUVANANTHAPURAM: Taking a swipe at the Union Ministry of Information and Broadcasting, Chief Minister Pinarayi Vijayan on Friday said attempts to kill the film festival through censorship were countered by the decision to screen the films in question. He was speaking at the closing ceremony of the 30th International Film Festival of Kerala (IFFK) at the Nishagandhi Auditorium in Thiruvananthapuram. The chief minister said the state government, through that particular decision, ensured it stood with the rights of delegates to watch critically acclaimed films screened and awarded at major international festivals. IFFK will remain here, confronting any fascist action against democratic rights. It will not bend its knees before intrusions into freedom of expression, Pinarayi said. The chief minister alleged that even artists invited to the festival were being monitored by the Union government. He pointed out that artists are required to be cleared through the political clearance section of the I&B ministrys portal and that visas were being denied after assessing their political leanings. Calling the practice unacceptable, he said three artists were denied visas -- the director and producer of a Turkish film in the competition section and a jury member from Azerbaijan. They asked whether it was because of them or because of their country. Such actions of the central government bring shame to the nation and must be condemned, chief minister said. Stressing the need to reclaim cultural spaces from communalism and narrow-mindedness, he said the state government would continue to work with the public towards that goal. Cultural Affairs Minister Saji Cherian said that despite the state government and the Kerala State Chalachitra Academy making all arrangements to screen the best films from across the world, there were conspiracies to censor selected films. He also reiterated that the state government stood firmly with the survivor in the actor assault case and would protect her to the fullest extent. He said these positions defined the identity of the 30th IFFK. Under the leadership of Chief Minister Pinarayi Vijayan, we decided to face these challenges head-on. We do not have a history of backing away when films are denied censor certificates. Thirteen such films received approval. We will neither retreat nor yield to threats, Cherian said. Chalachitra Academy Chairperson Resul Pookutty spoke about the pressures cinema is facing today, saying films were confronting challenges beyond the screen. Wall of fame Suvarna Chakoram Best Film Two Seasons, Two Strangers - Sh Miyake Rajata Chakoram Best Director: Carina Piazza & Luca Bracelis (Before the Body) Best Debut Director: Tanushree Das & Saumyananda Sahi (Shadowbox) Audience Poll Award Thanthapperu - Unnikrishnan Avala FFSI KR Mohanan Award: Best Debut Director from India Shadowbox by Tanushree Das & Saumyananda Sahi NETPAC Awards Best Malayalam Film: If On a Winters Night / Khidki Gaav - Sanju Surendran Best Malayalam Film: Thanthapperu - Unnikrishnan Avala Best Asian Film in Competition: Cinema Jazireh - Gzde Kural FIPRESCI Awards Best Malayalam Film by a Debut Director: Desire / Moham - Fazil Razak Best Film in International Competition: If On a Winters Night / Khidki Gaav - Sanju Surendran International Competition Awards Special Jury Mention - Performance: Tillotama Shome (Shadowbox ) Special Jury Mention - Technical Excellence: Black Rabbit, White Rabbit - Shahram Mokri Jury Prize: Thanthapperu - Unnikrishnan Avala LIFETIME ACHIEVEMENT AWARD FOR ABDERRAHMANE SISSAKO At the valedictory function, Mauritanian-born Malian filmmaker Abderrahmane Sissako was conferred with the Lifetime Achievement Award which carries a cash prize of Rs 10 lakh, a statuette and a citation. Sissako termed it one of the most significant moments of his life. Recalling his long association with Kerala, he said filmmaker Shaji N Karun, who passed away earlier this year, introduced him to the state and had stood by him like a brother in cinema. Reflecting on the India-Africa connection, he said both regions shared deep and meaningful cultural ties. Filmmaker and chairperson of the K R Narayanan National Institute of Visual Science and Arts, Saeed Mirza, who has completed 50 years in cinema, and Iranian filmmaker Mohammad Rasoulof, who was the jury chairperson, too were honoured by the chief minister. A DELIBERATE MOVE The chief minister said the decision to deny censorship exemptions to 19 films scheduled for screening at IFFK was not merely a technical error resulting from the ignorance of officials, but a deliberate authoritarian move. By completely cancelling the films in the Palestine package, the Central Government has clearly revealed its stance on the Palestine issue, the chief minister added. He pointed out that the cancellation of a Spanish film Beef proves that the Centre perceives only one meaning for the word beef. He also expressed strong protest over the banning of the all-time classic film Battleship Potemkin.

Japanese film Two Seasons, Two Strangers bags Golden Crow Pheasant at IFFK

THIRUVANANTHAPURAM: Japanese film Two Seasons, Two Strangers bagged the Suvarna Chakoram (Golden Crow Pheasant Award) for Best Film at the 30th International Film Festival of Kerala. Chief Minister Pinarayi Vijayan presented the award along with a trophy and a cash prize of Rs 20 lakh at the closing ceremony of IFFK at Nishangandhi on Friday. Directed by Sho Miyake and adapted from Yoshiharu Tsuges Manga, the film follows a scriptwriter named Lee as she moves through two seasons of emotional change while trying to understand her life. The jury noted the films restrained storytelling and its portrayal of loneliness and human connection. The Rajata Chakoram (Silver Crow Pheasant) for Best Director was awarded to Carina Piazza and Lucia Bracelis for Before the Body. The Silver Crow Pheasant for Best Debut Director was won by Tanushree Das and Saumyananda Sahi for Shadowbox. The film also bagged the K R Mohanan Award for Best Debut Indian Directors. The FIPRESCI Award for Best Film in the International Competition section went to Khidki Gaav, directed by Sanju Surendran. Fazil Razak won the FIPRESCI Award for Best Debut Malayalam Director for Moham. Thanthapperu (Life of a Phallus), directed by Unnikrishnan Avala, bagged the Special Jury Award and also won the Audience Poll Award for the most popular film at the festival. In the NETPAC awards, Cinema Jazira was selected as the Best Asian Film. In the Malayalam cinema section, Khidki Gaav and Thanthapperu received recognition, while Black Rabbit White Rabbit bagged a Special Jury Mention for technical excellence. Actor Tilottama Shome received a Special Jury Mention for Acting for her performance in Shadowbox.

Mani Ratnam, Manisha Koirala to attend Kasaragod's Bekal International Beach Festival

KASARAGOD: The 12-day Bekal International Beach Festival will commence from Saturday. Tourism Minister Mohamed Riyas will inaugurate the event at Bekal Beach Park at 4pm. The ceremony will be presided over by Udma MLA C H Kunhambu, the organising committee chairman. Director Mani Ratnam, actor Manisha Koirala and cinematographer Rajiv Menon, the crew of Bombay, the film that featured Bekal fort in the song Uyire (Tu Hi Re in Hindi), putting the spot on the cinema tourism map. The festival is organised by Bekal Resorts Development Corporation and tourism department to mark the 30 years of BRDC. Incidentally, it is also the 30th anniversary of Bombay. The festival is promoted to boost the comprehensive development of the district. In view of the festival, the district police has announced extensive parking arrangements for visitors. Vehicles can be parked at Pallikara PHC and Pallikara GHSS premises. At the north side, Bekal mini stadium and Bekal Fort parking area could be utilised while at the south side, the private lands adjacent to the park and old Red Moon beach area can be used for parking.

Adaptability lands Kottayam man farming 'Oscar

KOTTAYAM: At the age of 25, when Mathewkutty Tom decided to defy conventional wisdom by leaving his high-paying job for a calling in farming, many advised him against doing so. For him, quitting a career with a luxury automobile brand, trading it for an uncertain path in agriculture, was not at all an easy decision. However, his passion for farming compelled him to embrace the unknown. Fast forward a decade, and Mathewkutty has not only boosted his annual income around 150 times but also placed his village of Marangattupilly, in Kottayam, in the national limelight, by winning the prestigious Millionaire Farmer of India (MFOI) Awards 2025 -- widely recognised as the Oscars of Indian Agriculture. The 36-year-old with an MBA is now a trailblazer, demonstrating through his integrated methods that agriculture, when approached with a business acumen, is a highly profitable venture. Transforming his 20-acre property into a modern agricultural ecosystem, Mathewkutty now generates an annual income of `22 crore, which earned him the Richest Farmer in India (RFOI) second runner-up title at the MFOI Awards, organised by Krishi Jagran and Indian Council of Agricultural Research (ICAR) last week, for his success with a balanced model of crops and animal husbandry. His TJT Farms engages in a wide range of activities from growing paddy, seasonal vegetables and fruits to animal husbandry and meat processing. It was not an overnight success, but the result of hard work and adaptability, says Mathewkutty. Agriculture is profitable if approached as a business venture and one can introduce changes in keeping with viability and market demand. I began in 2015 with plantain and tapioca cultivation, but dropped it when market prices softened and middlemen took a significant share. Similarly, I concentrated on ornamental fish farming, when demand was high during the Covid pandemic, he said. In the realm of animal husbandry, he manages farms with buffaloes, pigs, goats, chickens, quails, and ducks. District animal husbandry officer Dr P K Manoj Kumar said Mathewkutty has demonstrated the profitability of agriculture and animal husbandry, inspiring more young people to follow suit.

Pope Leo XIV plans to visit India by 2027; Kerala likely on itinerary

KOCHI: Pope Leo XIV is likely to visit India by the end of 2026 or in 2027. Interacting with a delegation of the Syro-Malabar Church led by Major Archbishop Raphael Thattil on December 15, Pope Leo, who was elected the head of the Catholic Church eight months ago, expressed his willingness to visit India. The Pope has conveyed that he is eagerly waiting for his visit to India. Now, the Union government will have to take the initiative. If the visit happens, we are optimistic that Pope Leo XIV will include Kerala in his itinerary, said Thalassery Archbishop Joseph Pamplany, who was part of the delegation that met Pope. The Indian government will have to forward a formal invitation to confirm the papal visit. As the head of the Vatican, protocol requires that the Pope be extended an invitation by a head of a state. Pope has emotional connect with Kerala Prime Minister Narendra Modi had invited Pope Francis, Pope Leos predecessor, to India on the sidelines of the G7 summit in Italy in June 2024. This followed an invitation that Modi extended during his visit to the Vatican in 2021. However, since a new Pope has assumed office, the Centre will have to send a formal invitation now. I dont think a Pope visiting India can avoid Kerala, as the state has been the cradle of Christianity in the country. Before assuming the role of the pontiff, Pope Leo XIV visited Kerala thrice, said Pamplany, who is also the secretary of the Syro Malabar Synod of Bishops. He has an emotional connection with this land, he said. Normally, the Vatican avoids papal visits to friendly nations during an election year. As the next general election in India is due in 2029, the Vatican feels 2027 will be ideal. The first Pope to visit India was Pope Paul VI, who came to Mumbai in 1964 to attend the International Eucharistic Congress. Pope John Paul II visited India in February 1986, during which he visited Kerala and attended the beatification of Sister Alphonsa and Fr Kuriakose Elias Chavara. In 1999, he visited India again in November to meet Indian leaders and conclude the Special Assembly of the Synod of Bishops for Asia.

Learning Malayalam, Priyanka tells Modi at Speakers chai pe charcha

NEW DELHI: A light-hearted exchange over Wayanad turmeric and Prime Minister Narendra Modis recent Ethiopia visit figured in the friendly conversation between Congress leader Priyanka Gandhi Vadra and the PM at the customary tea hosted by Lok Sabha Speaker Om Birla on Friday, after the conclusion of the Winter Session of Parliament. Priyanka, the Congress MP from Keralas Wayanad, is understood to have told Modi that she is learning Malayalam so that it helps while conversing with her constituents. She also asked the PM about his recent three-nation trip to Africa and the Middle East. Modi is learnt to have said that the impression many people have in India about Ethiopia is quite different from the actual position of that country, which is progressing very well socially and economically. The tea party is a customary meeting hosted by the Speaker with leaders of different parties after every session. The Opposition had stayed away from the meeting since the 2024 Monsoon Session alleging that its members were not allowed to speak during debates. Congress sources said the party decided to attend it this time around following a decision by AICC chief Mallikarjun Kharge. While the Opposition remains opposed to the bills, they felt the Chair was relatively fair during this session. This, they said, was in contrast to the previous session, when they were not allowed to speak. When SP leader Dharmendra Yadav observed that the Winter Session was one of the shortest, the PM told him in a friendly manner that it was good for his throat as he didnt have to shout for too many days, inviting laughter from those present, sources said. RSPs N K Premachandran too complained about the short session, with Speaker Birla reminding him that he had given him ample opportunities to speak on any subject. Priyanka joined in, saying that many MPs like her always look at Premachandrans conduct in the House and try to learn various aspects of parliamentary proceedings, sources said. Those who attended the tea party included Manickam Tagore, Kumari Selja, Supriya Sule, A Raja, Ram Mohan Naidu, Rajiv Ranjan Singh and Chirag Paswan.

Kolam: Art rooted in ritual

Even before the crack of dawn, Chennaiites wake up to the musical notes of birds, the winter wind so chilly that it demands a woolen armour to brave the streets that stir to life as the day progresses. Men, women, and children gather to sweep their respective thresholds and sprinkle water as a ritual and then create pattern of curves, grids, dots, lines, and loops. This art form kolam holds a special significance during the Tamil month of Margazhi , which falls in December. Traditionally, kolam is believed to symbolise prosperity, good luck, and welcome goddess Lakshmi into homes. It is also said that kolam wards off evil energies and spirits. Kolams are practised differently in different parts of the country: Pookalam in Kerala, Muggulu in Andhra Pradesh and Telangana, Alpana in West Bengal, Rangoli in Karnataka, and Sathiya in Gujarat. Mention of this practice in Tamil lit can be traced back to Sangam literature, dating from the third century BCE to third century CE. In this literature, the description of drawing kolam s exactly matches the visuals seen on the streets of Chennai today. This shows how age-old the practice of kolam is, shares historian Meenakshi Devaraj. The 15th verse of the second chapter, 518th verse overall, in revered poet and saint Andals Nachiyar Thirumozhi reads, Vellai nunmanal kondu sittril visiththirapada , which roughly translates to: using fine white sand, we carefully draw beautiful kolams on the streets. There are also literary sources that show men indulging in this exercise. A 12th century poem mentions a ghost, presumably male, making decorative patterns from pearl dust. According to Meenakshi, The practice of drawing kolam has evolved over centuries. This shows the dynamic nature of this custom. The other characteristics include constantly changing in terms of its designs and colours. Adding to the list, Meenakshi notes, It is therapeutic. It brought some healing in me. Sacred patterns on streets This ever-evolving art form finds its expression during Margazhi as this Tamil month brings with it positivity and happiness. Vardhani KL, a software analyst (@kolamveri on Instagram), shares, I always look forward to Margazhi . It is one of my favourite months because it is winter. When you wake up, you see how beautiful the climate is. It is also the season of bhajans and keerthans . And when you do the kolam , you hear them. She describes kolams as a habit of decorating our homes. It is an extension to the decoration we do inside. Vardhani urges that everyone should come forward and take up this habit and it shouldnt be restricted to a particular religion or region. Meenakshi echoes the same thoughts. Schools should recognise this practice and encourage kids to take it up. Kolam shouldnt be shrunk to a particular religion, and to women, she says. Usually there is a gender restriction that it should be done only by ladies in the family but the case is not like that for us because its just an art form. The main point here is that tradition should not be lost, says Jayashankar Sreenivasan (@mrsandmrkolam on Instagram). Jayashankar learnt this skill from his chithi (aunt) and his mother. He shares, Every morning, they put kolam on the threshold. Sitting there and watching them raised an interest in me. I thought this form should not be restricted only to the female community. Why should girls have all the fun? His family was supportive and encouraged him in building this talent and excelling. With respect to my wife, she has the leverage of doing it. Nobody is going to stop her, he remarked. His wife keeps the dots and he continues the kolam , he says, adding, We discuss what kind of designs to draw the next day. It brought a uniqueness in our collaborative creativity. Visual grammar In any pattern, keeping a symmetric dot is pivotal. If the dots are haywire, your design goes haywire, points out Jayashankar. The dots are then followed by designs and patterns. I bring geometry into my designs. Celtic designs are popular in foreign countries especially in Europe and the UK. Its looked upon as a symbol of oneness. Our temple carvings have celtic designs. We brought such kinds into our kolam designs, he shares. Once the intricate designs are outlined, it is then filled with colours, not every but a select few, each carrying a symbolic meaning. The popular kaavi (red) colour represents auspiciousness. When added with white, it brings in the value of Shiva and Shakti. The white is Shiva and the red is the Shakti, explains Jayashankar. Additionally, manjal (yellow) adds a devotional aspect to the kolam . To please the eyes, green and blue colours are included. Green is pasumai . Blue is water, neer . It is also associated with agayam, he says. Nowadays using grey and black has become a common practice. The 2025 Margazhi This Margazhi season, while Meenakshi will follow her tradition of showing the verses of Thiruppavai in her kolams , Varadhini is excited about her chikku kolams , Jayashankar and his wife are are working on a series of new designs, something on aspects of Andal Pasurams . We want to depict it in the chikku kolam and padi kolam . Ensuring we keep it traditional rather than trying something with the latest trend, he concludes.

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