Actor Unni Mukundan defends his controversial hit 'Marco' and its extreme violence

Maybe for the last two or three weeks, I’ve felt like that! Thank you for saying so. The success of Marco is the result of immense effort from everyone involved — the director, writer, producer, and myself as one of the co-producers. It’s also a proud moment for the Malayalam film industry.

The Hindi version’s success has been groundbreaking. It started with just 30 shows, earning about ₹30,000 on its first day, and now we’re running over 3,000 shows in Hindi! This proves Malayalam cinema can resonate nationwide, with contributions from a pan-Indian team, including talents from Kannada, Tamil, and Bollywood. I don’t mind being called a pan-Indian star if it signifies that collaborative spirit.

A sense of accomplishment? Not yet. I’m a deeply dissatisfied person when it comes to my work; I always feel it could be better. While I’m thankful for the film’s success and the audience’s love, I see cinema as both art and business. Balancing the two is crucial. At the end of the day, numbers matter — they ensure your work is talked about.

That said, Marco has been special. It’s an aesthetically violent film with a rebellious character that resonates with audiences who feel constrained by societal rules. Knowing the risks we took, especially with the film’s ₹30 crore budget, its success is rewarding. It’s also the first A-certified Malayalam film to cross ₹100 crores. But let’s be clear — this is a wacky, over-the-top film.

A lot of people might hate it, and that’s fine. The key was to make something unapologetically raw and different, and I think we succeeded.

Absolutely! Sandeep Reddy Vanga’s cinema has a unique narrative style, and to be compared to Animal is an honor. However, Marco is very different. While both films are intense, ours is more unflinchingly brutal and raw, and I’m thrilled it’s being recognized for that.

We’ve been upfront about Marco being the most violent film in Malayalam cinema. We’re even planning to release it in South Korea, where audiences are used to graphic storytelling. Still, I’ve read the polarizing reviews. Some people love it and watch it repeatedly; others find it too extreme. That’s okay. Cinema should provoke conversations, and Marco does that. But let me be clear: this isn’t violence for the sake of it. It’s about reflecting the raw intensity of Marco’s character and his world.

Cinema gives you freedom of expression, and no filmmaker should be pressured to hold back creatively. That said, we’ve been careful with censorship. The scene you mentioned had significant cuts. But yes, this film pushes boundaries. Some sequences are designed to make audiences uncomfortable, and I don’t apologize for that. The rebellion in Marco’s character reflects a frustration many feel but can’t express. Let’s be honest, though: cinema is not reality. A scene like that is meant to be provocative. If it’s shocking, it’s because it’s meant to mirror extreme emotions and situations. We don’t expect people to replicate what they see on screen.

I don’t believe cinema needs to teach or influence people. It’s primarily entertainment. Society reflects on cinema, not the other way around. I trust the audience’s intelligence to differentiate between fiction and reality.

For instance, my earlier film Malikappuram, which had a spiritual theme, didn’t suddenly make people more religious. Similarly, Marco isn’t going to inspire violence. At its core, it’s about the journey of a fearless, rebellious character. And let’s not forget: this level of violence has existed in world cinema for decades. We’re not doing anything new here; we’re just contextualizing it in our own way.

Cinema, for me, is all about the theatrical experience. The magic of watching a film on a big screen with an audience — sharing emotions, cheering, crying — is irreplaceable. That’s why I’m not inclined toward OTT or web series. I want my films to create that communal, transformative atmosphere only theaters can provide.

When I see people cheering or crying in a theater, it validates the effort we’ve put into the film. Watching on a phone or laptop just doesn’t have the same impact. For me, cinema has always been about creating an immersive experience.

A safe and inclusive environment is non-negotiable, and we ensure our sets are respectful for everyone. While Marco had fewer female cast members due to its nature, I’m keen to see more female-driven action films succeed. Action is not gender-specific, and I’d love to see strong female characters in lead roles. However, the reality is that female-driven action films have struggled commercially in India. If that changes, we’ll see more of them.

Marco is male-driven because of its central character’s nature, but I’m open to producing female-led action films. The industry needs a successful example to set the precedent. For now, I’m focused on characters and stories that resonate with audiences. Gender is irrelevant when it comes to action.

Let’s also not forget: action films are expensive. They require a level of investment that makes producers cautious. If a female-led action film finds massive success, it will open the floodgates for more. I’m optimistic about this, but it needs a breakthrough moment.

My journey has been about learning and evolving. I’ve made mistakes, but I’ve grown through them. I want Malayalam cinema to embrace all genres and styles. My dream is for our industry to be known for both its rich storytelling and its ability to create spectacles. Success fuels that drive, but failure teaches resilience. Either way, I’m in it for the long haul.

At the end of the day, I take pride in the fact that I’ve carved my own path. I didn’t come from a film dynasty or have godfathers. Everything I’ve achieved is through trial, error, and hard work. And I wouldn’t have it any other way.