Dubai: In 2017, the Malayalam film industry was rocked by a horrific sexual assault involving a popular actress and actor Dileep, who was identified as one of the masterminds behind the heinous crime. Frustrated by the apathy of the male-dominated Kerala film body, the Association of Malayalam Movie Artists (AMMA), a group of women actors—including Rima Kallingal, Parvathy Thiruvothu, and Revathy—banded together to form a parallel organisation called the Women in Cinema Collective (WCC). Their bold move made them instant pariahs in the industry, and they were labeled “feminichis,” a derogatory term for feminists among Malayalis. As a result, their professional careers suffered due to an unofficial boycott in this male-dominated film industry.
However, Rima Kallingal recalls an uplifting moment during this challenging period in the UAE when hundreds of Malayalam movie-mad fans showed them unwavering support.
“When the WCC was formed in 2017, we were heavily trolled and questioned. But I remember attending the Sharjah International Book Fair and witnessing a full house cheering and clapping for us. I called up the WCC members immediately and told them that we were doing something right,” said Kallingal, in an exclusive interview with Gulf News.
Fast forward to 2024, and the WCC continues to spearhead efforts to reform the Malayalam film industry, which has been plagued by accusations of rampant sexual abuse and toxic working conditions, such as inadequate changing rooms and toilets on film sets.
On August 19, the Hema Committee report revealed deep systemic issues within the industry like the existence of male-led "powerful cliques" dictating casting calls and boycotts against women. A widespread #MeToo movement is now gathering steam and changes like Mohanlal-led AMMA being dissolved due to their perceived in-action towards sexual harrassment claims.
Veteran actors like Siddique, Mukesh, Jayasurya, and director Ranjith have been accused of varying degrees of sexual misconduct since the Hema report was released. Survivors, ranging from junior artists to retired actresses, are now speaking out about their traumatic experiences.
Kallingal, known for her roles in films like '22 Female Kottayam' and 'Indian Rupee', emphasised the ongoing challenges faced by survivors.
“If a woman steps up to talk about it [sexual misconduct], she is trolled regardless of whether she has proof. They face so much negativity and are accused of seeking quick publicity. But what kind of publicity can you get out of such an incident? I do not understand that. What kind of publicity can you possibly gain from talking about being violated?” she questioned.
Excerpts from our interview with Kallingal:
You've been at the forefront of the fight for change in Malayalam cinema with the Women in Cinema Collective. It's a big win for women. As someone who has been following this movement closely, do you feel optimistic about the future?
Yes, I do really feel optimistic. From the very beginning, even though we were all so angry about what happened to one of our colleagues, we did have faith in Kerala, in our people, and we knew it was time to speak up. When we came together as women in the industry, we realized we all had common concerns and wanted to voice them. That, in itself, was such a discovery for us. We realized that if we all started speaking, more people would understand where we came from and why we were asking for what we were asking. As people working in this film industry and as a state governed by Marxian principles and left ideals, it made sense for us to talk about workplace rights. We've seen these ideals all around us, and we hoped the government would understand what we wanted. That's why we decided to talk to the CM at that point. After seven and a half years, we are indeed disappointed it took four and a half years for this report to come out, because we all lost four and a half years of our lives. I wish that hadn't happened. If this report had come out four and a half years ago, whatever is happening today could have happened all those years back. Yes, we are disappointed about the lost time, because everything else—our careers, the money—we maybe can work back into that space, but time, we have lost. But at least it's out today, and we have people talking about it and believing in what we started. We are in a much more positive space right now.
Do you feel that the resignation of the AMMA's executive members, including Mohanlal and other male members, represents a hostile takeover by WCC? It seems like their departure shifts the responsibility back to the women, almost as if they're avoiding speaking up and leaving the ball in the women’s court again. Is this fair, or does it create additional challenges for you?
It shouldn’t work like that, right? We all have to stand together, and that’s the direction in which WCC wants to steer this movement next. Everybody are stakeholders—from FEFKA [Film Employees Federation of Kerala], AMMA, the Kalachitra Academy, the government, and civil society. I look at the cinema industry as an art industry, and every person who has purchased a ticket, watched a movie, and felt better for those two and a half hours is a stakeholder in this movement. The stories that we talk about reflect this society, and this is our story. This is our movement. This is the Kerala model that we want to put out to the world. Nobody can run away from this responsibility of being a stakeholder. And remember, Kerala is one of the states in India that questions its politicians and its celebrities. We have always been held responsible, and that’s why our cinema is the way it is.
I remember speaking to superstar and then-AMMA president Mohanlal in 2019, two years after an actress was allegedly sexually assaulted in a moving vehicle in Kerala, and he dismissed it as a trend and a fad. It was reductive, but in some weird, dysfunctional way, do you think he was right since the #MeToo movement lost steam after 2017?
This is not the first time I have seen a woman speak up and lodge a complaint. There have been instances before, but do you know what is different this time? This time, there’s a group of women around her who have stood up with her and said, “We are also going to break our silence.” Their stand: “We are going to stand up because this matters to all of us.” In the last ten years, we have seen many protests around these issues in Kerala, but I feel it’s different this time. We are talking about a state like Kerala, where we have a program like Kudumbashree [a women empowerment program implemented by the Kerala government] and 50 percent representation at the Panchayat level. This time it’s different because you sense fear now amid reluctance to accept change. Remember, a lot of privileges are going to be taken away [from male actors in Malayalam cinema], and freebies are going to be taken away. Ultimately, this power is going to be taken away from them, and democracy is going to replace such power-play. The new order means you will have to respect the person you are working with. You will have to talk, figure out problems, and invest in other people. It’s not just about power resting with just 15 people anymore.
So you are hoping for the power groups that reportedly rule Malayalam cinema to be dismantled…
There’s going to be more changes. It’s going to be about more than a few people who are going to gain from this industry. We are talking about dismantling that notion of power and giving dignity to all those people who unite to create cinema. And when a lot of privileges are withdrawn, there will be unrest. But progress is only going to happen if you bring about positive changes in this industry. I am 100 percent sure that this crisis is going towards that moment.
The majority of the male actors that dominate Malayalam cinema are silent. Fahadh Faasil, Dulquer Salmaan, Jayaram, Suresh Gopi haven’t spoken, and that’s disheartening. Even powerful female actors are yet to speak up. Your thoughts…
I don’t know. I wonder, how much does it take for you to look around you and see the people who are suffering? They are your comrades, but there’s so much disparity staring at you. It feels really, really sad. I have worked with so many actors [Fahadh Faasil], and I wish they would come, stand up, and talk. They should talk for all of us and talk for this industry. It is only going to get better if everybody working on a set unites with all their heart and feels safe and secure on a movie set. Their voices of support are only going to help this industry get better. I can’t believe they can be so myopic.
Myopic and selfish, right? It’s about economics because many fear work being denied if they make any public statement…
I can understand why women are scared about that. I understand because the industry functions on those lines. I see a lot of women who are silent, but I also clearly see women mustering the courage. The scenario has changed over the last seven years. Weirdly, I never blame any woman because I believe the whole system is against them, and they are fighting for survival. At some level, I'm ready to give a woman ten chances, but I’m ready to give a man just one chance, considering they have everything going for them. This whole world and its system have everything designed for men to succeed and designed for women to fail. So I am asking all the men of my industry to stand and speak up.
In Hollywood, alleged predators like Harvey Weinstein, Kevin Spacey, and Armie Hammer have been canceled following sexual harassment claims. They are not getting work. But India seems to work differently as we tend to rehabilitate those who have been accused of such heinous crimes. Shouldn’t that change?
I don’t think this world, this society, or the men understand the kind of trauma a woman goes through when her body and space are violated. I don’t think they have really understood what happens to a person because most of the women who have spoken during this new #MeToo wave are women who are extremely triggered by what is happening. For once, they want to voice what happened to them. I am 100 percent sure they don't think anything is going to come out of it. Look at the survivor of the case involving Dileep—she’s still fighting after seven and a half years for justice. I don’t think anybody is expecting instant justice to be served to them. If a woman steps up to talk about it [sexual misconduct], she is trolled irrespective of whether she has proof or not. They go through so much negativity and are accused of trying to grab quick publicity. But what kind of publicity can you get out of such an incident? I do not understand that. What kind of publicity can you possibly get out of talking about being violated?
Yes, the math makes no sense…
The math is definitely not adding up. These women just want to be heard and get some kind of closure. I remember speaking to Divya Gopinath, who had accused actor Alencier [of sexual misconduct]. She was so heartbroken when she spoke up about Alencier, and he was given a state award afterward. It all gets forgotten. Or look at how Shaji N Karun became the Chalachitra Academy chairman despite so many allegations from men and women about difficulty in getting funds allotted to them after they submitted their scripts under his governance. They went through such traumatic experiences and are constantly talking about it. But the system ends up giving him more power. I implore everyone to at least study what’s happening around them. Silencing the victims and making them feel irrelevant is very sad. The government should ideally sit up and take notice of this, right?
AMMA has been dissolved with its executive members like Mohanlal and 17 others stepping down. As a WCC founding member, if you could elect a new board, what kind of representation are you looking at?
We are talking about gender here, and we are talking about a space where we want at least 50 percent women on the AMMA committee. If the government is looking for a Chalachitra Film Academy chairman now, why not consider Beena Paul? She’s someone who has proved her mettle, but I remember her being unceremoniously removed from the Academy because she reportedly stood with WCC. The festivals around the world are lapping her up, but it’s sad that Kerala can’t own up and utilize her experience and talent. There are so many women who have stood up and are talking—give them more power. Our next step is to meet the Chief Minister, the government, and understand how we can take the Malayalam film industry forward. We are rebuilding the industry, not destroying it. We are going to reconstruct our workplace where everybody can come to work safely with dignity. There’s this huge shift from us being labeled troublemakers to change makers. And we take that as a huge compliment.
Have you faced boycotts in your career?
All kinds of boycotts. I began my career with Shyama Prasad’s Ritu, and he had created such a safe and beautiful set. I thought, ‘Wow, this is cinema.’ I felt privileged to work in such an industry. But since then, I faced issues regarding payments, and when I asked for fair compensation, they sidelined me. When I did a television show as a movie actress, I faced a ban saying that movie actors cannot do TV shows. My experiences have taught me that we need to change this system and create a new one where everybody has a voice and there’s dignity of labor.
Are you surprised by the actors who have been accused of sexual misconduct?
It’s not about the names; it’s about believing those survivors. I really wish this had not happened to those women. I really wish they didn't have to go through what they went through. It’s not about the men for me; it's about the women. I'm not happy that all these names are being ousted or that our film industry has been tarnished. But it all happened because so many women had to go through this trauma. There’s major class hierarchy in our films, and we have to change that. We have to break this down and rebuild our Kerala film industry. Now, you even hear other film industries in Bengal and Kannada calling for changes and committees like the Hema Committee to be formed. In some ways, we are the torchbearers, but we also bear the brunt. But the change has begun; there’s no going back from this.
