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Kerala BJP Councillor Accuses Malayalam Filmmakers of Plagiarism Over Dridam and Bhoothakalam
On June 16, 2026, former Kerala Director‑General of Police and current BJP councillor R. Sreelekha burst onto the social‑media scene with a sharp claim: the makers of two recent Malayalam hits—Dridam and Bhoothakalam—had lifted core ideas from her own stories.
Sreelekha’s Facebook post, released the same day the films were still fresh on screens and streaming platforms, alleges that the police‑thriller Dridam borrows its premise from her short story Karingudi Police Station. The tale first appeared in Mathrubhumi magazine and was later narrated as an audio story on her YouTube channel. She further contends that the 2022 horror Bhoothakalam, directed by Rahul Sadasivan and starring Revathy and Shane Nigam, was modeled after an experience she shared on her channel three years earlier. The title similarity—she titled her story Bhootha Bhavanam—she says, further corroborates her claim.
The director of Dridam, Martin Joseph, denied the allegations in an interview with local media. He insisted that the film was an original creation, noting that screenwriters Jomon John and Linto Devasia had not seen Sreelekha’s video before the script was written. Joseph added that viewers would find no resemblance between the film and the alleged source material.
Dridam follows a rookie officer, played by Shane Nigam, as he probes a string of violent incidents in a rural outpost. Produced by Mukesh R. Mehta and C. V. Sarathi under the banner E4 Entertainment and presented by acclaimed filmmaker Jeethu Joseph, the film opened in theatres on May 8, 2026 and landed on the streaming platform Jio Hotstar in mid‑June. While critics have offered mixed reviews, the movie has yet to attract legal scrutiny.
Bhoothakalam, released in 2022, is a psychological horror that delves into the mental health struggles of a mother and son living in a rented house. The film was written and directed by Rahul Sadasivan, produced by Anwar Rasheed of Plan T Films, and features Revathy—who won the Kerala State Film Award for Best Actress for her performance.
Sreelekha, the first woman to hold the DGP post in Kerala, has not indicated that she has filed a formal complaint, nor has any court considered her allegations. Production houses for either film have issued no statements, and no legal action has been reported in the media. The accusations remain a social‑media claim without accompanying evidence or an official investigation.
The dispute shines a light on the broader issue of content ownership in the Malayalam film industry, where writers, directors, and producers often draw from a wide range of inspirations. While mechanisms exist to protect intellectual property, disputes over similarity and originality frequently surface on public platforms.
As of now, the allegations have not impacted the distribution or viewership of Dridam or Bhoothakalam. Both films remain available in theatres and on streaming services, and no injunction or court order has been issued. The situation remains unresolved, with no further statements from the filmmakers or from Sreelekha beyond her initial Facebook post.
The case underscores the need for clear documentation of creative sources and the importance of formal channels for addressing plagiarism claims within the entertainment sector.
Sreelekha’s Facebook post, released the same day the films were still fresh on screens and streaming platforms, alleges that the police‑thriller Dridam borrows its premise from her short story Karingudi Police Station. The tale first appeared in Mathrubhumi magazine and was later narrated as an audio story on her YouTube channel. She further contends that the 2022 horror Bhoothakalam, directed by Rahul Sadasivan and starring Revathy and Shane Nigam, was modeled after an experience she shared on her channel three years earlier. The title similarity—she titled her story Bhootha Bhavanam—she says, further corroborates her claim.
The director of Dridam, Martin Joseph, denied the allegations in an interview with local media. He insisted that the film was an original creation, noting that screenwriters Jomon John and Linto Devasia had not seen Sreelekha’s video before the script was written. Joseph added that viewers would find no resemblance between the film and the alleged source material.
Dridam follows a rookie officer, played by Shane Nigam, as he probes a string of violent incidents in a rural outpost. Produced by Mukesh R. Mehta and C. V. Sarathi under the banner E4 Entertainment and presented by acclaimed filmmaker Jeethu Joseph, the film opened in theatres on May 8, 2026 and landed on the streaming platform Jio Hotstar in mid‑June. While critics have offered mixed reviews, the movie has yet to attract legal scrutiny.
Bhoothakalam, released in 2022, is a psychological horror that delves into the mental health struggles of a mother and son living in a rented house. The film was written and directed by Rahul Sadasivan, produced by Anwar Rasheed of Plan T Films, and features Revathy—who won the Kerala State Film Award for Best Actress for her performance.
Sreelekha, the first woman to hold the DGP post in Kerala, has not indicated that she has filed a formal complaint, nor has any court considered her allegations. Production houses for either film have issued no statements, and no legal action has been reported in the media. The accusations remain a social‑media claim without accompanying evidence or an official investigation.
The dispute shines a light on the broader issue of content ownership in the Malayalam film industry, where writers, directors, and producers often draw from a wide range of inspirations. While mechanisms exist to protect intellectual property, disputes over similarity and originality frequently surface on public platforms.
As of now, the allegations have not impacted the distribution or viewership of Dridam or Bhoothakalam. Both films remain available in theatres and on streaming services, and no injunction or court order has been issued. The situation remains unresolved, with no further statements from the filmmakers or from Sreelekha beyond her initial Facebook post.
The case underscores the need for clear documentation of creative sources and the importance of formal channels for addressing plagiarism claims within the entertainment sector.
