Violence is not the issue: Jeo Baby on masculinity, new thriller plans and exploring wider audiences beyond The Great Indian Kitchen
Malayalam filmmaker, screenwriter and actor Jeo Baby has built a body of work that turns its gaze towards the ordinary — domestic spaces, intimate relationships and routines that often go unquestioned. His films explore questions of gender, labour, sexuality and power, using recognisable settings to reveal the hierarchies embedded within everyday life. Meaning surfaces through small yet significant gestures and silences, allowing tension to accumulate gradually. The storytelling is measured and contemplative, creating room for introspection and sustained engagement long after the film ends.
Last weekend, the filmmaker was in Bengaluru for the CALORIE Film Festival, organised by the Science Gallery Bengaluru at the Bangalore International Centre , where his 2021 film The Great Indian Kitchen was screened to a packed audience, followed by an interactive session. The discussion saw viewers engage closely with the film’s themes and process. After the session, we caught up with the director for a quick chat about the city, the continued relevance of his film and what lies ahead.
You’ve just wrapped your session at The CALORIE Film Festival, how was the experience?
It was very nice. It has been five years since The Great Indian Kitchen released and the film is still being celebrated; it is still relevant. That is the happiest thing for any director.
You’ve been coming to Bengaluru quite often, what is your relationship with the city like?
What attracts me most to Bengaluru is its weather. Around 15 years ago, after college, some of my friends moved here and I would visit them often. Over time, I grew to love the city.
Your films often look at everyday life but deal with themes like gender and relationships very directly. How do you approach telling these stories?
I try to connect with the audience through the ideas I choose. I focus on subjects I understand well and can relate to personally, which makes it easier for me to work on them. I usually pick stories that are close to my own surroundings because I have clarity and familiarity with those subjects — that is why I choose these kinds of stories.
Do you feel any pressure to make a certain kind of film now that you are more well-known and relevant? Do you feel the need to go more commercial?
Yes, I have to move towards commercial cinema; otherwise, it is difficult to survive. For me, commercial cinema means connecting with the audience. That is the basic idea — people should like the film. Only then can I sustain myself at the box office. So, I am trying to explore new kinds of stories that can reach a wider audience.
There’s been a rise in more hyper-masculine films in India recently. How do you see this trend, especially since your films look at masculinity very differently?
I am not someone who enjoys violence. I cannot watch too much violence on screen. I liked Aavesham, though. It has violence and action, but the overall story is positive and that is important to me. Violence itself is not the issue — it is how it is treated in the film that matters.
Do you think these hyper-masculine films shape masculinity or reflect it?
Maybe not purposefully, but accidentally it works.
We heard that you’re currently working on a film, can you tell us something about it?
I am currently in the writing stage. We will start shooting in maybe two or three months. I am planning a thriller without any big names.
Will this film draw from your own experiences as well?
Very little, not as much!
Looking ahead, what kind of stories are you interested in exploring next?
I’m not sure yet. I want to explore different genres — human stories, thrillers, even chase-driven cinema. I am still searching for stories, observing people and exploring different ideas.
Written by Anoushka Kundu
Email: indulge@newindianexpress.com
X: @indulgexpress