This article discusses two Romeo and Juliet adaptations from Kerala, Annayum Rasoolum (dir. Rajeev Ravi, 2013) and Eeda (dir. B. Ajithkumar, 2018). Both films situate the lovers in a regional milieu which challenges notions of progress, as representations of political and religious contest suggest. Taking Ratheesh Radhakrishnan’s claim that the Malayalam film prioritises Keraliyatha or ‘Kerala-ness’, I suggest that songs and rituals are crucial to the films’ imagining of the lovers in relation to local cultures. Annayum Rasoolum and Eeda hold out the prospect of different futures, yet, ultimately, fall back on ambiguated conclusions and spectacles of separation and precarity.

本文讨论了喀拉拉邦的两个罗密欧与朱丽叶改编作品：Annayum Rasoolum（目录：拉杰夫·拉维，2013年）和Eeda（目录：B。Ajithkumar，2018年）。正如政治和宗教竞赛的表现所暗示的那样，这两部电影都将情人置于一个区域环境中，该环境挑战了进步的观念。考虑到拉西什·拉达克里希南（Ratheesh Radhakrishnan）的主张，马拉雅拉姆语电影优先考虑喀拉里亚塔或“喀拉拉邦”，我认为歌曲和仪式对于电影对恋人与当地文化的想象至关重要。Annayum Rasoolum和Eeda提出了不同期货的前景，但最终归结于模棱两可的结论以及分离和pre可危的景象。