Similarly, Minnaram (1994) normalized a man (Mohanlal) ruining his ex-lover's (Shobana) marriage prospects by showing up unannounced, claiming undying love. These films reflected a societal truth: Malayali men (like many others) viewed romance as a battlefield where persistence, even bordering on harassment, was considered heroic.

Contemporary Malayalam cinema is increasingly focused on the agency of women within romantic storylines. We are seeing a shift away from the "persistent stalker" trope (which was prevalent in the 90s) toward narratives rooted in mutual respect and consent.