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The tourism slogan ‘God’s Own Country’ has been violently deconstructed. In Lijo Jose Pellissery’s Jallikattu (2019), a buffalo escapes in a Kerala village, and the entire community descends into a feral, carnivalesque chaos. The film is a 90-minute metaphor: the polished, ‘peaceful’ Kerala is a thin veneer over a primal hunger for meat, honor, and dominance. It’s not a village; it’s a hunger machine. Similarly, Nanpakal Nerathu Mayakkam (2022) uses the thin border between Kerala and Tamil Nadu to explore fractured identity, memory, and the absurdity of linguistic nationalism.

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