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India Today
3 days ago
- Entertainment
- India Today
Malayalam director Jeo Baby questions National Film Award for The Kerala Story
Director Jeo Baby, who has helmed films like 'Kaathal - The Core' and 'The Great Indian Kitchen', recently reacted to the 71st National Awards winners. While mentioning 'The Kerala Story', he emphasised how National Awards have lost their value over the in a recent interview with Hindustan Times, stated that films that "back the agenda of the ruling parties", are given preference at the National Film Awards. He said, "For the past 10 years or so we have seen this pattern. Movies that seem to back the agenda of the ruling parties have won awards at the national level. These awards seem to have no significance now, as they are encouraging plots and scripts that only the people in power believe in. Why have these awards when the movies cannot be treated on merit? What's the value of these awards?"advertisementThe 'Kaathal - The Core' director also stated that 'The Kerala Story' not just misrepresented facts, but also its "script, direction and acting" were not at par with National Film Awards standards. "No. Personally, I've no such disappointment. But the awards given to 'The Kerala Story', a movie that misrepresented facts, is hugely disappointing. Not only was the movie full of lies, it was also shoddily made. The script, direction and acting were below par. Such misrepresentation of facts is quite scary," he added. Recently, Kerala Chief Minister Pinarayi Vijayan also criticised the National Award win for 'The Kerala Story'. The Kerala CM in his X post wrote, "By honouring a film that spreads blatant misinformation with the clear intent of tarnishing Kerala's image and sowing seeds of communal hatred, the jury of the #National FilmAwards has lent legitimacy to a narrative rooted in the divisive ideology of the Sangh Parivar (sic)."He further wrote, "Kerala, a land that has always stood as a beacon of harmony and resistance against communal forces, has been gravely insulted by this decision. It is not just Malayalis, but everyone who believes in democracy, must raise their voice in defence of truth and the constitutional values we hold dear. (sic)"The film's director, Sudipto Sen, in an interview with India Today said, "I have, I have a mixed bag reaction. Number one, I'm sure he did not see the film. I would request, he's a very, very senior politician and a very, very revered politician, so I would request him to watch the film."'The Kerala Story' won two awards at the 71st National Film Awards - Best Direction, and Best Cinematography. The film follows a group of Kerala women who are coerced into embracing Islam, sexually abused and are eventually made to join from 'The Kerala Story', there were also mixed reactions to actor Shah Rukh Khan winning Best Actor for 'Jawan'. Director Blessy also expressed disappointment over 'The Goat Life' being snubbed by the 71st National Film Awards were announced on August 1, 2025.- EndsMust Watch
The Hindu
25-07-2025
- Entertainment
- The Hindu
Director-actor Jeo Baby talks about his outing as an actor in ‘Meesha' and being an actor in other directors' films
It is tempting to ask multi-hyphenate Jeo Baby about the role he prefers — director or actor. He is also a writer, but we will stick to these two. The man behind movies such as The Great Indian Kitchen and Kaathal - The Core, apart from others, does not bat an eyelid, 'I find acting comfortable but I like filmmaking (directing) the most. Acting is a luxurious job — you have all the time in the world. You can make friends, catch up on gossip, read… unlike a director who carries the weight and responsibilities of making a film!' For someone who came to make films, Jeo has taken a detour to acting like Vineeth Sreenivasan and Basil Joseph. His latest film is Emcy Joseph's Meesha, which hits theatres on August 1. 'Meesha is a male-oriented story about masculinity and male friendships, portrayed positively. Not that there is no toxicity. It is politically relevant, progressive and if it clicks, it will be one of those films that would be spoken about in the future,' Jeo says. He is excited about the film and more by the fact that he now gets to act in films made by people outside his circle of friends. 'I was excited when Emcy, the maker of Vikruthi, called me. Meesha explores the 'wildness' in man. Emcy's one line struck a chord — there is a hunter in all of us. And it is so true, we 'hunt' at our workplaces, families…' A lot has changed for Jeo since the last time we met, in 2017, on the eve of the release of his Kunju Daivam, his sophomore film. Incidentally it was also the first film he acted in. 'It was purely to save money on hiring an actor. Some of my friends and I produced the film, and this was one way of cutting costs. Friends like Siddharth Siva noticed that and got me to act in their projects. At the time it was mostly in films by friends, and then it extended to those outside that circle of friends. Emcy and I were not friends before.' Acting, for Jeo, is a way of being part of films he otherwise, as a director or writer, may not make. 'This way I can be around cinema, work with directors whose style of working or sensibility is completely different and understand how such films are or can be made. As an actor I get to be in films that I am probably never going to make or could not make. I get to see how it is made, and be exposed to the performance of different actors, various departments and their approach to cinema. Also, I feel a sense of community!' From making indie films, his first film was 2 Penkuttikal (2016), to Kaathal - The Core, he has come a long way. Today, those following Malayalam cinema look forward to a Jeo Baby film, making him a pan-Indian phenomenon. 'My films got me to where I am. 2 Penkuttikal, though not a commercial success, did well in the festival circuit. That led to the next and next…' It was during that film that he became acquainted with Tovino Thomas, not yet the name he is today. That led to Tovino expressing a desire to act in Jeo's future projects and Kilometres and Kilometres coming up for discussion. While waiting for the project to materialise, Kunju Daivam got made, which was followed by Kilometres and Kilometres, produced by Tovino and a friend. Attributing interconnectedness to his films, he says, 'So, whatever success there is, it is because of the movies that came before. Why Kaathal? Because of The Great Indian Kitchen. Mammootty saw that film and texted that he liked it. I replied that I was happy and proud that he felt that way.' The Great Indian Kitchen got him noticed by Mammootty. But before Kaathal - The Core, there were films like Freedom Fight and Sree Dhanya Catering. Speaking to Jeo and Kaathal - The Core not coming up is impossible. It is possibly one of those rare mainstream Malayalam or Indian films for that matter that attempted a sensitive portrayal of homosexuality without the stereotypical tropes. Mammootty as Mathew Devassy was a casting coup. Jeo explains how that came about. 'I liked the script by Adarsh Sukumaran and Paulson Skaria. But the big question was 'who will be the actor?' Mammootty would be ideal, in our minds. If it was not Mammootty, we may or may not have done the film.' While talking about how Mammootty came on board Kaathal, without too much of a delay and the film getting made one cannot help but wonder about the role of luck. Jeo disagrees, 'No, luck is not a factor in any of this. Luck, if you want to call it that, is the reward of our efforts. Winning a lottery is luck, getting decent food in a restaurant…call that luck. But I don't think it applies to work.' He uses Mammootty coming on board Kaathal to illustrate his point. 'I told Anto Joseph about the film. Within a week the project was on, with Mammootty. It was not luck. He is an actor who does things differently. When I met him, he knew I made The Great Indian Kitchen and would possibly have something [a film] of interest for him. It is not luck, it is the result of the work put in. We reached the film organically.' Making 'The Great Indian Kitchen' A conversation with Jeo is incomplete without referencing The Great Indian Kitchen. The film resonated deeply with women across demographics and geography, making him a feminist icon of sorts for 'seeing' and 'showing' women. The Hindi remake Mrs. resonated similarly and provoked discussions like the original. When I congratulate him for having made the film, he says, 'I am Nimisha Sajayan's character. I have always shared chores with my partner, I did not think of it as a burden. However, when a time came that my partner's schedule was packed I took over the role. I always thought of my 'helping' at home with a dash of pride. But, after a week, I gained new appreciation for my mother, partner, sister and all women! I was losing my mind with the relentlessness of household chores. Nimisha's character's experiences are mine. That is when you understand the womenfolk and the work they do for us. The Great Indian Kitchen was not planned, it was based on something that happened to me in my life and I made a film out of it.' Circling back to what he said about his role in Meesha and the role with its negative shades and being guided by Emcy to essay the stylised character, I ask if he is a director's actor. 'Absolutely. I aspire to be a director's actor. In most of the roles I have done, as an actor, I cannot bring in anything from my experiences. I have to depend on the director. Also, an actor stands to gain immensely from the director's inputs,' he adds. Working in the second season of the JioHotstar series Kerala Crime Files was one such experience. 'As director Ahammed [Khabeer] had a very clear idea of what he wanted from his actors and for that there were multiple takes. That kind of clarity helps an actor immensely, making you a better actor and director too.' So, as a director, what does he prefer? He replies unequivocally, 'A director's actor. It gives an actor the space to grow. With Nimisha [Sajayan], for instance, we discussed her role [in The Great Indian Kitchen] at length. So she understood where the character was coming from. The actor understands the trajectory of that person and that happens only when both stakeholders, the actor and director, discuss the role.' He adds how Nimisha and Suraj Venjaramoodu grew their characters way beyond how he envisioned them, likewise Mammootty and Sudhi Kozhikode in Kaathal - the Core. 'When actors do that it is grace. Not everyone can do that. Joju [George] also can. He contributes immensely and is interested and invested. I know from Kunju Daivam and the anthology Freedom Fight (Old Age Home). One of the films that got him the State Award for best actor (2021).' Jeo has a bunch of films he has committed to, and is in the process of writing his next film, 'an entertainer', he underlines. The question of pressure is inevitable, the pressure of having a The Great Indian Kitchen and Kaathal - The Core under his belt. He laughs, 'No! I don't feel any pressure. I do have high blood pressure though. My doctor tells me it could be because of work stress and I refuse. I am one of those people who does not get angry or get worked up even on the sets. Possibly because I have a good team or, maybe, I am plain lucky!'
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First Post
15-06-2025
- Entertainment
- First Post
Actress-filmmaker Renuka Shahane: 'There are so many situations where casual misogyny and toxic behaviour is normalized'
In an exclusive interview with Firstpost, the actress spoke about the idea of her animated short film 'Loop Line,' her excitement as the film gears up for its screening at New York Film Festival, and cinema celebrating misogyny on celluloid in the name of heroism. read more Actor and filmmaker Renuka Shahane has made her third directorial feature that is titled Loop Line. It's a short animated film in Marathi that will be screened at the New York Indian Film Festival on June 21. It's a disturbing subject on the monotony of a married woman, the same discomforting subject that was tackled in films like The Great Indian Kitchen and its remake Mrs. In an exclusive interview with Firstpost, the actress spoke about the idea of the story, her excitement as the film gears up for its screening, and cinema celebrating misogyny on celluloid in the name of heroism. STORY CONTINUES BELOW THIS AD Edited excerpts from the interview What is the excitement like because the film has made it to the New York Film Festival? I am extremely excited not only because it's something that I have done for the time. Being from live action and coming to animation, making an animation short has been a very, very exciting learning experience for me. And then for it to be selected in film festivals that matter so much, for me as well as my team, I think it's, an incredible honour. What is the meaning of the title? Loop line, if you can explain it. Well, the film talks about, sort of, the relentlessness of domestic duties that a housewife has to do. She's almost on auto mode, you know. And her life, I have compared, parallelly with the Mumbai local train that runs on a track right next to her house. And it's about the same thing that you know, she's constantly being overloaded by people and responsibilities. And, there is no scope for delay. She has to run day in and day out, and yet she's not really regarded, with great admiration. So it's basically a thankless job, and that's why it's called Loop Line because it keeps happening again and again. And that's the central theme that it is, you know, a day in her life which is representative of, many, many, many days in her life or in the life of many millions of housewives who are in the same situation. India has not properly utilized the animation format. So was this the reason you and your entire team chose the animated format for this? I, as a writer, imagined the story that I was writing in animation. A, because it has a lot of imagination in it, and the housewife deals with the drudgery of her life and her loveless marriage by, you know, imagining things that she finds beautiful that takes her away from that drudgery and also as an expression of her emotions. So when I was writing it itself, I felt that it takes to animation rather than live action. STORY CONTINUES BELOW THIS AD And, there is a certain quality in the script which I wanted, which was of being involved with the characters and not completely, like, you know. So animation gives that scope for the audience to be involved, but at the same time, be dissociated because you're not looking at your flesh and blood people. You know? So I think it was the demand of the script that I chose animation and, of course, because I love animation. And it's something that I have loved watching, you know, through my childhood, and I feel that it is such a compelling format to tell stories. So that was something, and, also, it excited me that I would get to learn something new, you know, to go into another direction. So all these were the, you know, points of view that I had. When I took it, I had already decided to make it an animation film before I took it to Paperboard Design Studio. STORY CONTINUES BELOW THIS AD Where did the idea of the story come from? This is a germ let me say, as a writer, the evolution of making, the three films that I have made till now. Like, my directorial debut was the Marathi film Rita, which was based on my mother's novel. So it was like her perception. It was my mother's novel that I was kind of adapting into a screenplay. The second was Tribhanga. It was a gut level reflection of what I had observed around me perhaps, what I had imagined, and it was like me throughout. And Loop Line is something that I have not experienced ever. Like, it's not my life, and yet I have observed many such lives. So in that sense, it's an evolution for me because now I'm writing about things that, maybe don't come from a lived experience, let's say. So, you know and, of course, it's about a theme that is very close to my heart because it's about women's lives, women's journeys, women's everyday lives. STORY CONTINUES BELOW THIS AD So I think that, of course, has always been of interest to me. And, so it all came together in this, you know, in a succinct way in this story. What does it take for women to finally speak up, to break that loop, to muster up the courage and walk away from any relationship that turns toxic or abusive? What a lovely question that is. I think that in most films that you see and, you expect that women will finally take either a small or a big step to break out of this, you know, sort of toxic marriage or toxic situation of any kind. And, my Loop Line talks about those women who really don't have that kind of power to do that. They don't give themselves that option. And, I know that the option that many people take of stepping out or doing something different or rebelling is extremely tough. It's a very, very difficult, decision to make. STORY CONTINUES BELOW THIS AD And yet, even living in a situation like this is also extremely difficult and requires a lot of strength. So I think we talk less about stories where women find ways to deal with their own situation and deal with the toxicity of their lives, in ways which might not, seem rebellious in terms of what society expects. But, at the same time, I feel that these little things that they are doing with their own selves, like, in their own minds, is a rebellion in a way, and that's what keeps their sanity. It takes incredible amount of strength for women to kind of speak up. You must be aware. All of us know that on social media, there is a difference between the trolling that women face and the trolling that men face. So I think that, basically, traditional societies would rather that women, you know, kind of sit at home and and not open their mouths, basically. So, that that is, still ongoing, you know, in a very insidious way. So the women who speak up, they are really, really, you know, brave, and I feel it takes a lot of courage to, even stick with your lives, against incredible odds. STORY CONTINUES BELOW THIS AD We have seen women characters in movies who have been submissive, who have given it to toxic people. So when you watch these movies, is there a sense of discomfort you feel? Yes. That is the idea that, you know, out of that discomfort, you start thinking and you start wondering whether this is the right way of behaving. You've seen this happening enough in families, and one never actually steps in and says that, oh, why are you behaving like this with your wife, your sister, your maid, whatever, whichever woman character there is in your house. There are so many situations where casual misogyny and toxic behaviour is normalized. There is no physical harm, isn't there? But sometimes the mental scars are even worse, especially if they continue over a very long period of time. So I think it takes a lot of courage to speak up, to change your situation because, the rest of your life might not be that happy ending that you thought of. STORY CONTINUES BELOW THIS AD So, it's a difficult thing. And today, what has happened is, unfortunately, there is such an imbalance that there are a lot of empowered women who are, you know, kind of, breaking glass ceilings everywhere. And yet, the set of values or moral values that are attached to women have not changed that much. And, the traditional roles of men have also not changed. I mean, they are also not given a chance to do something different.
Mint
28-05-2025
- General
- Mint
Marriage changes women's lives—men's, not so much. The data shows it.
For 28-year-old Reena Khoda, a mother of three, the day kicks off at 4 am. Before heading out for her house-help job, she has to ensure all the day's cooking and cleaning is done. Tamanna Setia, 33, a cabin crew member with an Indian airline and a mother of two, usually starts her day by 6 am, or earlier if her job demands. As she flies to different cities and countries, she juggles everything at home - from house help and nannies to the endless needs of her four- and two-year-olds. Khoda and Setia, and several Indian women, would have seen parts of their lives play out in the recent Hindi film Mrs. and its 2021 Malayalam original, the critically acclaimed The Great Indian Kitchen. The remake was an internet sensation, particularly among women, for its rather intense take on the realities of household management. Both Khoda and Setia acknowledge that their husbands and in-laws provide necessary help, yet both feel managing the home remains primarily their responsibility. For Khoda, her job is a financial necessity; for Setia, it's about independence. Both worry for their kids when away; both feel somewhat overwhelmed. This is not just the story of two young married women with kids. It is a reality shared by millions of Indian women, as revealed in the Time Use Survey, a nationally representative government study that covered over 167,000 respondents. The data shows how marriage, motherhood, and household responsibilities reshape a woman's daily life -- dramatically and disproportionately -- compared to men. It helps sketch what a day in the life of the average Indian looks like, and why, despite greater educational access, women still struggle to translate learning into earning. Part 1: The unpaid burden: For Indian women, degrees don't ease household chores Post-marriage, her world shifts A Mint analysis of the survey's data shows that marriage changes a woman's life drastically, saddling her with unpaid household work. She spends about a fourth of her day on domestic duties - cooking, cleaning, caregiving, and more. That's a striking contrast from the lives of unmarried girls and women, who spend only 6% of their time on such activities. Now compare this with men. Unmarried boys and men spend 1% of their time on household work, which rises to just 3% after marriage. Read this | Where are the women? Why India's trading floors remain a male domain While unmarried women spend a significant share of time (23%) on 'employment' or 'learning' (i.e. earning and preparing to earn, respectively), this effort doesn't translate into time spent on actual formal work after marriage. For men, the total time spent on employment and learning remains unchanged before and after marriage. For married women who do go out to work, their 'double shift"—one at work and then at home—is unmissable. All kinds of work—paid (employment and related activities) and unpaid (domestic labour for family)—together take men roughly 7 hours and 15 minutes in a day, while women spend 7 hours and 48 minutes. Remember, paid work usually comes with weekly offs and vacation time, while domestic chores can be a daily task without breaks. Another shift happens if a marriage ends, through widowhood, divorce, or separation. While married women spend 388 minutes (6 hours and 28 minutes) on unpaid household chores, it comes down to half for widowed/divorced/separated women. For men, the opposite is true—as household burden strikes, the time spent on such tasks rises from 47 minutes to 79 minutes on average. The kitchen's gender gap The old saying 'The way to a man's heart is through his stomach" is seared in reality, underlining how women can earn appreciation or love by cooking delicious meals, something both the films mentioned above highlighted. As it turns out, women do dedicate the maximum of their waking-up hours to food management and preparation. (The first part of the story covered this; read here.) Married women spend 219 minutes (3 hours and 39 minutes) on this; men spend just 4 minutes. The gender gap also exists for other activities under the 'unpaid domestic and caregiving work' category. On 'childcare and instruction', a major task, married women spend 66 minutes a day and married men 19 minutes. Read this | On the gender scale, business schools still don't measure up Employment is a significant activity where women lag men in time spent. The gap is 307 minutes. But if traditional gender roles require women's work at home to balance men's earning endeavours outside, it doesn't play out that way: for the broad category of unpaid domestic and caregiving services, the gender gap is higher, tilted towards (rather, against) women (340 minutes). Learning paradox: from studies to domestic chores All figures in this analysis are averages covering all individuals, including those who do not engage in the said activity at all. When we zero in on only those who actually engage in these tasks, the story gets starker. About 82% of women engage in domestic chores, and about a fourth in caregiving work at home. This, of course, is higher for married women, with a 98% and nearly 50% participation rate, respectively. In comparison, only a third of married men participate in either of these activity categories. The participation rate in domestic chores is high (46%) even among single women and girls—for such boys and men, it's 18%. Also read | This women farmers' network envisions a feminist future for agriculture But here's where the break happens. Among unmarried girls and women, the participation rate in learning or studying is quite high (73%), even higher than such males (58%). However, this does not translate into a higher participation rate in employment post-marriage: 25% for women, against 82% for men. To sum up, married women show near-universal participation in unpaid domestic work, and their early investments in learning rarely translate into earning opportunities. This underscores how women are yet to break many barriers—or rather, how they still lack a conducive environment to bridge the gap between education and the labour market. Shuja Asrar contributed to this story.
Deccan Herald
12-05-2025
- Entertainment
- Deccan Herald
Tovino Thomas-starrer 'Narivetta' to hit big screen on May 23
Written by Abin Joseph, 'Narivetta' is directed by Anuraj Manohar. The film also stars Suraj Venjaramoodu of 'The Great Indian Kitchen' fame.
