Malayalam cinema has always been known for its nuanced storytelling and realistic portrayals of society. However, in recent years, a disturbing trend has emerged—one that systematically paints Christians in a negative light while subtly promoting a specific ideological agenda. A closer look at films like Annayum Rasoolum, Big B, Trance, Kaathal – The Core, Sookshmadarshi and the latest in this series, Officer on Duty, reveals a pattern of propaganda designed to vilify Christians and reshape public perception.
The Pattern: Christians as Criminals, Delinquents, and Addicts
A noticeable trend in several Malayalam films is the deliberate portrayal of Christian characters as criminals, drug addicts, and morally corrupt individuals. This is not a coincidence but a calculated effort to subtly program audiences into associating Christianity with negative traits.
Love Stories with an Agenda
Annayum Rasoolum (2013): The film tells the story of a Muslim man falling in love with a Christian woman, Anna. While it may seem like a simple love story, the underlying message reinforces the idea that Christian women must submit to Muslim men, furthering a narrative that supports conversions through romance.
Kaathal – The Core (2023): While marketed as a progressive film exploring LGBTQ+ themes, it subtly undermines Christian familial structures and traditions, portraying them as regressive and oppressive.
Sookshmadarshi (2023): The film manipulates the narrative by portraying a Christian lesbian character, subtly pushing the idea that Christianity is oppressive and outdated.
Christianity and Crime
Big B (2007): Amal Neerad’s film presents a group of Christian brothers entangled in the criminal underworld. While crime thrillers are not unusual, the repeated association of Christian identities with violence and lawlessness creates a subconscious stereotype.
Trance (2020): Anwar Rasheed’s film is one of the most blatant examples of Christian defamation. The story revolves around a fraudulent Christian pastor who manipulates people for personal gain. While corruption exists in all communities, the singular focus on a Christian preacher while ignoring other religious frauds suggests an intentional bias.
The Trojan Horse: Christians in the Industry Used to Push the Narrative
While the directors and writers behind these films often belong to the Muslim community, they strategically employ Christian actors, producers, or technicians as a shield against criticism. This tactic allows them to deflect accusations of bias while continuing their agenda unhindered.
Officer on Duty (2025): The Latest in the Series
Officer on Duty, directed by Jithu Ashraf and written by Shahi Kabir, takes this propaganda to a new level. The film revolves around a crime investigation but features Christian characters heavily involved in narcotics, sex rackets, and counterfeit trading. The subtle messaging aligns perfectly with the Islamization propaganda being pushed in recent years, where Christian communities are painted as morally bankrupt while Islamic characters are presented as righteous and disciplined.
Who is Funding These Films?
A deeper dive into the production teams behind these movies often reveals financial backing from individuals or groups with vested ideological interests. Many of these filmmakers and production houses have ties to entities that promote Islamic supremacy, and the repeated targeting of Christian narratives in their films is not a coincidence but a coordinated effort.
Conclusion: A Call for Awareness
The influence of cinema on public perception cannot be underestimated. The repeated negative portrayal of Christians in Malayalam films is a deliberate attempt to manipulate societal views, subtly programming viewers to distrust the community. Officer on Duty is a prime example of this deception—what is commonly called Love Jihad, Narcotics Jihad, and grooming gangs in the West, which are associated with Islam, is conveniently framed as something Christians are responsible for, diverting attention from real concerns.
It is time for Christian filmmakers and audiences to recognize this pattern, question the narratives being presented, and counteract this agenda with stories that represent their community fairly and truthfully.
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