Ullozhukku (or Undercurrent) directs us toward scattered specks of female friendships and new-found identities that must be read as foundational pillars of a society that has lost all its moorings.

What we need, and what is gradually emerging, is cinema that is both regional and inclusive. It is grounded in the ethno-specific public and the geopolitical surroundings and resists the constant shelling of fake news and propaganda.