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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. Over the last few years, the demand for

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