In many ways, Fahadh embodies the new cinema. His father Fazil, a veteran who introduced Mohanlal to cinema as a villain in Manjil Virinja Pookkal (1980), specialised in lavish romantic musicals. But when he launched a 19-year-old Fahadh in that same mould in Kaiyethum Doorathu (2002), the film bombed. Fahadh knew he was not cut out to be a dancing, singing romantic hero, and went off to the US to do a film course. His next role came after a five-year hiatus. In 2011, he attracted serious attention with the slick thriller Chappa Kurishu. A series of top-notch offbeat winners flowed thereafter—22 Female Kottayam, Diamond Necklace, Annayum Rasoolum et al. Fahadh was seen as an actor with a difference, willing to experiment and do characters that his contemporaries wouldn’t touch with a 10-foot barge pole. (Which hero would agree to be bobbitised on screen…a la 22FK?) A teeming crowd of writers, editors and cinematographers cohered around his figure. Directors like Aashiq Abu and Rajeev Ravi had already set up an enabling ecosystem. The new set soon counted in its ranks talented writers and directors like Syam Pushkaran, Dileesh Pothan and Mahesh Narayanan. Ideas had primacy in this new ethos—the script was the central protagonist, not stars with huge fan clubs. Commercial success blended with critical acclaim to create a further impetus for this script-centred approach. Pothan, at an online interaction during the promotion of Joji, had put his finger on the nub: “We work on the basic script first, then do the casting.” In Pothan’s films, you often see unknown or minor actors shining. “A lot of original ideas and styles of filmmaking not seen before have emerged,’’ says movie critic and writer Pramod Kumar. “The newness gives a sense of immersiveness, in terms of content, treatment and performance.”