In a scenario where Indian cinema is often questioned for representing women, ‘Ulozukuku’ stands as a powerful counter-story. Characteristic of Parvati Thiruvothu and Urvashi in the lead roles directed by Christo Tommy, it was a characteristic study of emotionally charged film morally defective characters and their difficult options. ‘Ulojuku’ won the Best Malayalam film, while Urvashi won the Best Supporting Actress at the 71st National Film Awards.

While the film is seen as one that exposes patriarchal conditioning and women claiming women, for me, it was a strong film that promotes the strength of sister -in -law. Director Christo Tommy designed a powerful climax with brilliant Urvashi and Parvati, who reminds us that a woman whom a woman can catch is the power to decide.

While the nonsense around some undesirable films and actors who won the National Award, ‘Ulozukuku’ stood out as a worthy winner. The film was released in June 2024 for a huge positive response to theaters, which praises the direction and performance of the lead cast.

‘Owlzuku’, translated as an undercontinent in English, revolves around three characters-Lilamma (Urvashi), his son Thomas Kutti (Maternity Murali), and Bahu Anju (Parvathi Thiruvothu). Lilamma is constantly concerned about Thomas Kutti, who is suffering from life-threatening disease. Anju took good care of him. When Thomcutty dies, the story takes a twisted turn, and secrets begin to emerge with growing flood waters in Alappuzha, Kerala. ‘Ulojuku’ talks about the complex relationship between a daughter -in -law, her mother -in -law and the underlying mysteries between them.

https://www.youtube.com/watch?v=zg39srqyjug

What set ‘ullozhukku’ is different how it breaks all stereotypes. A film that revolves around a mother-in-law and a daughter-in-law never shows her almost never. Christo’s mother -in -law, Urvashi’s leelamma, is not a specific villain mother -in -law, but a mother who selfishly hides the health issues of her son Thomcutty, to marry her. Lilamma also openly admitted to sister aunt that she was not trying to cheat Anju or her parents.

Similarly, Parvati’s Anju is not completely innocent. She is a woman in a sad wedding, with one affair, all taking care of her sick husband. This fine character and conflicts are raised by the traditional melodrama, raising the film, morally introduced complex characters, whose actions steal from deep human motivations. The film never judges two characters and their hidden objectives. Instead, it shows how they are stuck in their lives.

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‘Ulojuku’ is a discovery of unexpected solidarity between two women that can be otherwise deployed as opponents. Despite their differences, Leelamma and Anju share a deep sense of orphanage – both were brought to this house through marriage that turned them into careful, snatched their personality and limited them within four walls.

For those audiences who have long been sighted by a long -standing female representation in cinema, ‘Ujjuku’s National Award win feels like a personal victory. The success of the film proves that stories focused on women’s experiences – especially in traditional family structures, often ignored dynamics – can be successful and how!

‘Owljuku’s victory is a reminder and evidence that a quality film production with a realistic story can still win in a scenario that often dominates by commercial recreation. The film shows that in the time of crisis – both personal and social – this is not your family, not your in -laws’ family, but often the relationship between women who provide stability and hope.

The emerging sisterhood in ‘Ulojuku’ is not forced. It lies in displacement, duties and shared experiences of those calm sacrifices that make women.