From Kerala Crime Files 2 to Azadi to Prince and Family: Check out the latest Malayalam OTTs on Netflix, Prime Video, JioHotstar
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Kerala Crime Files 2 – Streaming from June 20 on JioHotstar
Prince and Family – Streaming from June 20 on Zee5
Azadi – Streaming from June 27 on ManoramaMAX
Aap Kaise Ho – Streaming from June 20 on SunNXT
Maharani – Streaming in early July on ManoramaMAX
June is shaping up to be a treat for Malayalam cinema lovers, with a diverse slate of films and web series making their way to streaming platforms. From heartwarming village dramas to gritty thrillers and prison break adventures, there's something for every kind of viewer. Whether you missed these titles in theatres or prefer to binge-watch from home, here's a roundup of the most anticipated Malayalam releases arriving on OTT—packed with comedy, suspense, social commentary, and emotional depth.The gripping sequel to Kerala Crime Files dives into darker territory with the sudden disappearance of CPO Ambili Raju, setting off a chain of disturbing revelations. This season doesn't just focus on solving a crime—it explores complex issues like systemic decay, police brutality, and moral grey zones. The trailer's haunting visuals and layered voice-overs hint at a story that's more psychological than procedural. With a strong emphasis on mood and mystery, Kerala Crime Files 2 promises a slow-burn investigation where nothing is as it seems, and no character is beyond suspicion.Set in the heart of rural Kerala, Prince and Family follows the unlikely marriage between a reserved bridal boutique owner and a woman completely opposite in personality. Played by Dhyan Sreenivasan, Prince is the town's most eligible bachelor, whose quiet life spirals into chaos after marriage. The narrative blends humour, family drama, and cultural quirks with a rustic charm. The film also features veteran stars like Siddique, Bindu Panicker, Johny Antony, Manju Pillai, and Raniya. With its mix of generational conflicts and comedic tension, the film offers a wholesome look at love and relationships in small-town India.Azadi marks the return of Sreenath Bhasi in a gripping prison-break drama with emotional stakes. The film tells the story of a man attempting to free his loved one from prison, a speech-impaired woman jailed for murder, played by Raveena Ravi. Vani Viswanath, seen in a comeback role, plays a senior cop with grit. Directed by debutant Jo George and written by Sagar of Veekam fame, the film mixes thriller elements with raw emotional undertones. With Lal and T.G. Ravi in key roles, Azadi explores justice, love, and defiance in a tightly paced narrative.Released in theatres earlier this year, Aap Kaise Ho stars Dhyan Sreenivasan as Christy, a soon-to-be groom who decides to go all out with a bachelor party before his big day. What follows is a series of light-hearted misadventures laced with humour and chaos. The film weaves together friendship, pre-wedding jitters, and unexpected drama. Alongside Dhyan, the film features a stellar supporting cast including Aju Varghese, Sreenivasan, Ramesh Pisharody, Sudheesh, Jeeva Joseph, and Tanvi Ram. A relatable, feel-good watch that explores celebration, confusion, and friendship in equal parts.After months of delay, Maharani is finally set to premiere online. Starring Roshan Mathew and Shine Tom Chacko, the family entertainer is set in the fictional village of Kinassery in Alappuzha. The plot kicks off with a minor disagreement that escalates into a full-blown feud between two families, turning local tensions into a riotous spiral. Playing brothers caught in the chaos, Roshan and Shine navigate love, marriage, and pride, with Nisha Sarang and Johny Antony bringing warmth as their parents. The film is an engaging mix of satire, sentiment, and village politics—one that fans have eagerly awaited.
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The dance moves were performed on a treadmill for Kamal Haasan's iconic track "Annatha Adurar" from Apoorva Sagodharargal. Ashwin never failed to stay in the limelight with his talent in mimicry, dancing, and content creation. Ashwin revealed how he entered the industry in 2016 with his Malayalam movie, 'I was doing a lot of short films because I had to make an opportunity to work for myself. When there are people like us who have no background at all and no connections or network at all in the industry, then it is very important that we establish what our talent is and what our potential is through some way or the other. And our generation, especially right since 2007 onwards, I used to make a lot of videos, short films. So one of my short films is what brought me a very small role in Jacobinte Swargarajyam. So that one small scene was with Nivin Pauly and Lakshmi Ramakrishnan. I was really happy to have got an opportunity to work in one scene. 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So this was all something like a very universal message or magic, I would say—something much more beyond human control. There's nothing that is under our control—you just get it when you get it. The Ranam actor further shared his views about how the industry has evolved in terms of inclusivity in casting compared to earlier times. 'One thing is it's very diverse now. The casting happens through many ways. It's not just casting companies alone, but casting companies have come out in a very major way now because it's a little more organised. Basically, before there used to be a casting director for a film—and still we have, we do have casting directors. But now what happens is it is more streamlined, where you have online media which also helps in boosting new talents and putting them across different teams. Second, there is so much content out there that whether it's a series or films or whatever it is, you always have easier access now to so many contacts and networks. You have easier access to talents. You have easier access to a lot of—let's say—when you have casting companies, the casting companies go through a lot of workshops and they try to build a lot of database for the industry. When you keep working on yourself, what happens is through some or the other way, you try your best that you are somehow reaching out to the people who need to be seeing you, who need to be recognising you back, who need to observe you basically. So only when somebody of a particular power or a particular position—either in the casting company or through the casting company into the direction department or the film itself, the production team—you need to be reaching out to them. So how to reach out to them—there are a lot of channels nowadays. So that is what I meant by saying it's a lot more accessible.' He continued, 'So, basically the access—ever since I came into the industry, for example, I complete 10 years in 2025—10 years in the industry and in Tamil, Malayalam and Hindi, three languages. So the thing is, I basically feel that before, it used to be a lot of direct calls—like either the production manager or the production executive would call us, would call the talents, get our contact and somehow call the talent either through our profile or through some other team. Or it could be directly from the direction department—on a one-to-one basis, an associate would call based on the director's instructions and how much they observe. And the associate—sometimes what happens is an AD or an associate or a director will give them a list of talents, because they are the closest to the story, they are the closest to the makers. So it used to be like that before. It used to be more of a one-to-one thing. 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When asked about starting with smaller roles or off-screen work before transitioning into acting, he said it basically depends on how well you've prepared yourself. 'What you do before you bag a role—or you somehow land a role in a film, whether it is big, medium, small, whatever it is—regardless of the importance of the role, how much you have prepared yourself is something that is very, very important. You need to prepare yourself. The waiting time is actually the working time as well. It's not like when you wait for one film and then another. The time taken between films—or even to land your first film—you should have prepared yourself to an extent where you look like you're meant to do this. This is what my take is. That you are cut out for cinema. You have to understand the craft and how much you have understood the medium. The legends say—including Mr Kamal Haasan—that cinema is a language nowadays. What effort do you take in understanding and delivering that same language is very important. Your understanding of cinema is of utmost importance because your approach towards cinema is only going to land you up in the kind of path that probably you think of something but end up somewhere else. Why? Because you do not have a clear vision about what cinema really is. So you really need to have a basic practice, knowledge about what cinema is—and more than anything else—the talent and the passion. Basically, nowadays, how much time, patience, hard work, and passion you have has become a lesser priority. This is a fact. What happens before that is how are you visible in something that you need to be visible in. The talent and the passion, dedication and hard work, are always going to be permanent—whether you are a nobody or a somebody or someone very big. It doesn't matter. Talent, hard work, dedication, passion, perseverance—all this has to be constantly there, no matter what status you're in. How you need to understand cinema is also how you need to understand the industry—the psychology in the industry of how people work and how it works in cinema. The psychology, the kind of understanding people have about you as a talent—or talents in general—and how they land up on a road. And more than that, I think it's about good timing and luck. So basically, you cannot wait till luck strikes you or knocks at your door. You have to keep working on yourself until that luck happens to you. What happens is, when suddenly one day luck comes to your doorstep, you suddenly feel you're not prepared. 'Oh, I should have prepared myself. I've missed out on so much time.' So time is really, really important—how much you can work on yourself.' Ashwin recently shared his experience dubbing for Jackie Shroff for the Tamil version of Singham Again, and the actor reacted to the question about how he, as an actor and as a dubbing artist, strikes a balance between the two. 'Basically, Ashwin is not at all there when I'm doing either of them because I'm either doing a role. Dubbing is nothing but voice acting. So basically, I am either in front of the camera or behind the mic. But at the end of the day, what I'm doing is the same thing, which is acting—performing and being a character, being in a role. So, actually, there is no Ashwin there at all. The other times, apart from these two moments, is when I'm Ashwin. Either when I'm before the camera or behind the mic, there is no Ashwin there. There is only a character. So, dubbing actually helps me indirectly. Yes, it is an income for me. At the same time, it helps me not deviate too much from what I'm good at—what my speciality is—which is acting. When I am acting over there, behind the mic, it gives me more of a detailed perspective on how I can deliver dialogues and a particular performance. It helps me with my breath—because breath is the start of any kind of performance. Whether you have a dialogue or you don't, maintaining a particular breath for a character—that breath saves the psychology of the character. The pattern in which we breathe—whoever it is. So that helps me actually become a better actor by being a dubbing artist.' He is now lending his voice for actor Javier Bardem in the much-awaited F1 series. 'My latest release that I'm looking forward to is a very big one that I did for dubbing. Brad Pitt's film is releasing on 27th June. So I have dubbed in Tamil for an actor called Javier Bardem. I dubbed for Mr Harrison Ford in Captain America. I dubbed for Mr Tinnu Anand in Lucky Baskhar. I'm a part of a web series called Akka. It is my Hindi debut. It's a web series by Yash Raj Productions. 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