Why a female-led Ullozhukku's National Award win feels personal

India Today

2 hours ago

In a landscape where Indian cinema has often been questioned for its representation of women, 'Ullozhukku' stands as a powerful counter-narrative. Featuring Parvathy Thiruvothu and Urvashi in the lead roles, directed by Christo Tomy, this emotionally charged film was a character study of morally flawed characters and their difficult choices. 'Ullozhukku' won Best Malayalam film, while Urvashi bagged Best Supporting Actress at the 71st National Film Awards.advertisementWhile the film is viewed as one that highlights patriarchal conditioning and women claiming agency, for me, it was an empowering film that promotes the strength of sisterhood. Director Christo Tomy crafted a powerful climax featuring the brilliant Urvashi and Parvathy, who remind us that the ultimate power a woman can hold is the power of decision-making.While there is chatter surrounding certain undeserving films and artistes winning National Awards, 'Ullozhukku' stood out as a deserving winner. The film released in theatres in June 2024 to an overwhelming positive response, garnering praise for the direction and performances of the lead cast.
'Ullozhukku', translated into English as undercurrent, revolves around three characters - Leelamma (Urvashi), her son Thomas Kutty (Prasant Murali), and daughter-in-law Anju (Parvathy Thiruvothu). Leelamma is constantly worried about Thomas Kutty, who suffers from a life-threatening disease. Anju dutifully takes good care of him. The narrative takes a twisted turn when Thomaskutty dies, and secrets begin to emerge alongside the rising floodwaters in Alappuzha, Kerala. 'Ullozhukku' talks about the complex relationship between a daughter-in-law, her mother-in-law and the underlying secrets between them. What sets 'Ullozhukku' apart is how it breaks all the stereotypes. A film that revolves around a mother-in-law and a daughter-in-law almost never shows them bickering. Christo's mother-in-law character, Urvashi's Leelamma, is not the typical villainous mother-in-law but a mother who selfishly hides her son Thomaskutty's health issues to see him married. Leelamma even openly admits to Sister Aunty that she was not trying to deceive Anju or her parents.Similarly, Parvathy's Anju is not entirely innocent. She is a woman in an unhappy marriage who has an affair, all while taking care of her terminally ill husband. This nuanced characterisation and the conflicts that arise elevate the film beyond conventional melodrama, presenting morally complex characters whose actions stem from deeply human motivations. The film never judges the two characters and their hidden motives. Instead, it shows how they are trapped in their lives.'Ullozhukku' is an exploration of unexpected solidarity between the two women who might otherwise be positioned as adversaries. Despite their differences, Leelamma and Anju share a deep sense of orphanhood - both were brought into this house through marriages that turned them into caregivers, stripped them of their individuality and confined them within four walls.For audiences who have long craved meaningful female representation in cinema, 'Ullozhukku's National Award win feels like a personal win. The film's success proves that stories centred on women's experiences - especially the often-overlooked dynamics between women in traditional family structures - can succeed and how!advertisement'Ullozhukku's win is a reminder and proof that quality filmmaking with realistic storytelling can still triumph in a landscape often dominated by commercial entertainers. The film suggests that in times of crisis - both personal and societal - it is not your family, not your in-law's family, but often the connections between women that provide stability and hope.The sisterhood that emerges in 'Ullozhukku' is not forced. It's rooted in shared experiences of displacement, duty, and the quiet sacrifices that women make.- Ends