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The migratory experience has been documented since the late 1980s. Classics like Nadodikkattu treated the desperate urge to migrate with satirical humor, while films like Pathemari and Aadujeevitham (The Goat Life) painted harrowing, realistic portraits of the sacrifices, loneliness, and survival of Malayali laborers in the Middle East.

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In the iconic film Vanaprastham (1999), Mohanlal plays a Kathakali artist trapped by the rigid caste system; his mask allows him to be divine on stage, but his reality is brutal. This juxtaposition—the divine face and the broken man—is the quintessential Malayalam tragedy.

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