In a way, perhaps, this attentiveness to other life forms ties in with the broader theme of otherness—the many ways of being different, and of assimilating different-seeming things. And this theme can extend beyond the natural world, even to the use of a non-living thing as a metaphor. I am thinking of the 2019 comedy-drama-fantasy Android Kunjappan Version 5.25, in which the wonderful actor Suraj Venjaramoodu plays a man nearly twice his age—the crabby Bhaskaran, who finds himself saddled with a robot as nurse and house help. The idea of a sentient humanoid waddling around making tea, chattering away, and even having a mundu draped around it, can be jarring if you love Malayalam films for their grounded, naturalistic treatment. But Android Kunjappan Ver 5.25 has some wonderfully observed moments enroute to becoming a story about insularity and outsider-ness. While other recent films like the excellent Nayattu or Unda (both about cops in peril) or Sudani from Nigeria (about an African footballer adrift in Kerala when his passport goes missing) deal in direct and “realistic” ways with caste or class prejudice, this one does so tangentially, starting with facile humour—including a joke about the android being an “upper-caste Japanese”—but building up to something more thoughtful. This machine will bring disgrace to the temple, a haughty priest says, barring the robot’s way, much as religious leaders do to lower-caste people or to menstruating women.