Dileep’s ‘Bha Bha Ba’ releases across Kerala amid protests and organised boycott calls, as public anger over the sexual assault case verdict refuses to fade. The film’s opening has reopened difficult questions about accountability, survivor solidarity and what audiences choose to endorse.
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The lights are ready to switch on in theatres across Kerala. Posters are up. Fan shows are planned from early morning. But outside cinema halls, the mood is far from celebratory. As Dileep’s new film ‘Bha Bha Ba’ releases, it is not excitement that is growing louder. It is anger.
This is not just about a movie. For many people, this release feels like an insult dressed up as entertainment.
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‘Bha Bha Ba’ hits theatres on December 18, but Kerala is already witnessing protests, boycott calls and public resistance. Even though Dileep was acquitted in the high-profile sexual assault case involving a Malayalam actress survivor, a large section of the public believes the verdict failed her.
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For them, the case never ended in court. It lives on in memory, pain and unanswered questions.
Calling this film “just another release” misses the point entirely.
This anger is not limited to online hashtags. It has spilled into everyday spaces. Last week, a long-distance bus running from Thiruvananthapuram to Kalpetta became the site of a powerful protest. A group of women passengers objected to a screening of ‘Bha Bha Ba’ inside the bus.
That moment said more than any box office prediction ever could. It showed how deeply uncomfortable many people still feel seeing Dileep’s face celebrated on screen.
Several organisations across Kerala have openly called for a boycott of the film. Their message is clear. Supporting ‘Bha Bha Ba’ means ignoring the survivor and rewarding a man whose actions, legal outcome aside, shook the conscience of the industry.
Many are asking a simple question. Why is Malayalam cinema in such a hurry to move on, when justice itself feels unfinished?
Directed by debutant Dhananjay Shankar, ‘Bha Bha Ba’ stars Dileep alongside Vineeth Sreenivasan and Dhyan Sreenivasan. The film promises action, comedy, songs and thrills, proudly calling itself a “World of Madness.”
The title stands for ‘Bhayam, Bhakthi, Bahumanam’ i.e fear, devotion and respect.
Ironically, these words have become part of the criticism. Many ask: respect for whom?
The makers are banking on fan shows, a festive release and even a Mohanlal cameo to pull audiences in. But star power cannot erase moral discomfort.
At the time of writing, the film’s box office collection stands at ₹0.37 crore. Whether that number grows or collapses, the larger debate will not disappear.
Critics argue that celebrating Dileep on screen sends a dangerous message that fame can outlive accountability, and that survivors can be sidelined once the cameras roll again.
This is no longer just about one actor. It is about what audiences choose to endorse.
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