Malayalam cinema has long shaken off those popular binarist stereotypes that defined its oeuvre as Janus-faced, caught between esoteric arthouse and sleazy grindhouse. Trailblazing craftsmen of cinema like Adoor Gopalakrishnan, G. Aravindan, K.G. George, Bharathan, P. Padmarajan and many others created a niche of excellence and cemented Malayalam cinema’s status as one of the leading lights of Indian cinema. A host of contemporary filmmakers like Shyamaprasad, Biju, Sanal Kumar Sasidharan, Lijo Jose Pellissery, among a galaxy of others, have perfected the craft in order to rise up to this cinematic past. Malayalam cinema has delivered new promises in the new millennium, however, with a radically altered technique, style and content to suit the exigencies of a new era and new modes and technologies of film-making. It has almost been a decade since the cult popularity of Traffic (2011), which many believe heralded a ‘new generation’ in Malayalam, ushering in a new aesthetics in both crafting and consumption, creating in its wake movies like Chappa Kurishu, 22 Female Kottayam, Ee Adutha Kalathu, Diamond Necklace, among others. This turn brought a new zest to a flagging industry, reviving it with the middle-class aspirations of a generation that had hitched their wagons to the offers of liberalisation, while imbibing the visual iconographies of the satellite revolution. Many of them were schooled in the new terrains of digital cultures, and found fresh possibilities of an advertising and marketing economy on social media platforms. But what it most crucially enabled was a veering away from a male/stale superstardom, the bane of Malayalam cinema. Larger-than-life star icons whose oomph defined hegemonic masculinity—not content with huge cutouts, spectacles of fandom or pompous prefixes to their names—had monopolised the industry, creating ‘star-mafiadoms’ that owned everything from production houses to cinema halls to distributing agencies. The ‘new gen’ movies brought back ordinary men and women to the plotlines, their little worlds and fractured time, mapped on split screens, and punctuated through non-linear, disrupted narratives. These films were also tuned to the exigencies of a more universal ‘multiplex’ culture that loved sanitised viewings, as also radical chic posturings. Thus, Traffic was remade in multiple languages, as Chennaiyil Oru Naal in Tamil, as Crazy Star in Kannada, and under the same name and by the same director, Rajesh Pillai, in Hindi, starring Manoj Bajpayee. 22 Female Kottayam was remade in Tamil and Telugu simultaneously as Malini 22 Palayamkottai and Malini 22 Vijayawada. Thus, the circuits these new avatars of Malayalam cinema chart also create a new Indian league, a resurgence of the regional penetrating the hegemony of Hindi. Nevertheless, many of these films remained strategically silent around key national-political issues, veering towards moral ambivalence. Thus, they remained regional without being grounded in the earthy or instituting the politics of regionalism, without speaking of the specificity of caste or gender that constitute the regional in a particular manner, as movies like Paruthiveeran or Subramaniapuram had done in Tamil by unfolding a visual cartography of Dravidian sub-nationalism.