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Remya first appeared as a child artiste in the critically acclaimed drama film Sayahnam in 2000, directed by R. Sarath. She further essayed minor supporting roles in the following years in films including Sathyan Anthikad's satire film Narendran Makan Jayakanthan Vaka (2001), the art film Sthithi (2002), under R. Sarath's direction again, and Gramaphone (2003) and Perumazhakkalam (2004), both directed by Kamal.[1] She collaborated a third time with Sarath for the short film Bhoomikkoru Charamageetham (2006), a cinematic version of a poem by O. N. V. Kurup.

She played her first leading role, as a bold dance teacher, in the 2006 film Aanachandam; it was a highly unsuccessful venture, which went unnoticed soon after its release. Regarding to her performance in the film, a critic from Rediff noted that she was "refreshing in bits", while another reviewer cited that she was "refreshing enough for a village based flick". Her subsequent projects, Changathipoocha (2007) and Panthaya Kozhi (2007) released to mixed reviews and offered hardly any scope for her, failing to propel her career. The next release, Chocolate (2007), which featured Remya as one of three leading females, gained her considerable attention, after the film went on to become a high commercial success. In 2008, she accepted her first non-Malayalam project, Andamaina Mansulo in Telugu, which was followed by her first Tamil film, the romantic drama Raman Thediya Seethai. Anthiponvettam was her only Malayalam film of 2008, which opened to largely negative reviews, while Remya received positive feedbacks on her performance, with a critic from IndiaGlitz describing her as "a saving grace in the entire movie". In the following two years, she appeared in just three films. She played the female lead in Saarai Veerraju (2009; Telugu) and Aattanayagann (2010; Tamil) and essayed a minor supporting role in Nammal Thammil (2009; Malayalam)—all of which proved critically and commercially unsuccessful, although her performance in the former was lauded. IndiaGlitz claimed that she was the "best performer" in the film, further adding that she had "raised to the occasion and carried the deglamorised role perfectly".