‘Kerala Story 2 Goes Beyond’: Why hate breeds only more hate for the movie | Review

Remember 'Shalini Unnikrishnan from Diruandhapuram,' the widely trolled character in 'The Kerala Story'? In 'The Kerala Story 2 Goes Beyond,' the filmmakers introduce a new Malayali character, Surekha Nair, from Kochi. However, their attempt to link the film to Kerala falls flat when the opening shots, showing Surekha and her family driving through sprawling paddy fields, make Kochi known for its city landscape look indistinguishable from Alappuzha.

This oversight marks the first of many missteps for the movie, setting the tone for a film more interested in pushing an ideology than crafting an authentic narrative. While the makers of the first 'Kerala Story' aimed to introduce the concept of ‘love jihad’ and explore its roots through a college setting, the creators of 'The Kerala Story 2 Goes Beyond' skip this contextual foundation. They assume that the audience is already familiar with the film's 'purpose'— that is to ‘misinform’— forced religious conversions are happening behind the walls of every Muslim home.

At the core of the film are three girls, all of whom we know from the outset will fall victim to ‘love jihad,’ with the only suspense being how they will be ensnared. The first film explored brainwashing within a college setting, where the victims are manipulated by a fellow Muslim roommate into joining the ISIS. In the sequel, directed by Kamakhya Narayan Singh, each victim’s story unfolds separately. The girls come from Kochi, Gwalior, and Jodhpur, cities the film portrays as breeding grounds for fear rather than celebration.

This is precisely why the sequel feels far more controversial than its predecessor, which equally vilified the Muslim community. While depicting harrowing realities—such as young girls being lured into prostitution or subjected to violence under the pretext of marriage (reminiscent of the film ‘Calcutta News’)—is valid, the problem arises when these crimes are attributed exclusively to one community. To assume that this is an everyday tale in India is itself dangerous and ‘The Kerala Story 2’ director Kamakhya Singh takes it to that extreme.

There are no kind Muslims in the film- Everyone is angry, cunning, dangerous and devoid of any moral values and the only purpose they live by is to convert young girls. There is no iota of love in their eyes, only propaganda. The cleric is a rapist, and the mothers are heartless. To fixate on such a narrow lens is to ignore the millions of Muslims who define their lives through kindness and integrity. Furthermore, attaching this brand of extremism to an entire population through the title ‘The Kerala Story’ feels deeply insensitive; it unfairly malpractices the character and social fabric of the state itself.

The only relationship that feels authentic in the film is the bond between the young girls and their parents. It's true that, for most girls, their parents provide the safest environment and exploring such a dynamic, is the only relatable aspect of the film. Another redeeming moment comes when one of the victims tries to rationalise the existence of good and secular Muslims, referencing well-known figures like the Khans. However, in a film that has largely been fueled by anti-Muslim sentiment, this inclusion feels more like a reluctant concession, likely added in response to the protests surrounding the movie.

Despite the film's troubling narrative, the performances in 'The Kerala Story 2' are noticeably stronger and more convincing than in the previous installment. Ulka Gupta, who has appeared in Hindi and Telugu serials and movies, plays the Malayali protagonist Surekha Nair in the movie. Just like her counterpart Shalini, her Malayali dialogues are limited to greetings or statements like ‘Entha Pappa?’. Aditya Bhatia plays Divja, a teenager who is obsessed with dance and Instagram reels. Neha played by Aishwarya Ojha does a fine job portraying a talented athlete who has a bright future in sports.

The background score by Mannan Shah during the climax is just as over-the-top and ridiculous as the force-feeding beef scene, which is inserted into a pivotal moment of the film. Ultimately, the filmmakers need to understand that hate only breeds more hate, and it's high time they stop.