Why a New Bollywood Spy Thriller Triggered Political Backlash in India and Pakistan – Obnews

A recently released Bollywood spy film has become both a box office hit and a political lightning rod, reigniting debate in India and Pakistan over how cinema portrays their long and often hostile relationship. The film, Dhurandharstars Ranveer Singh and has drawn sharp reactions for its depiction of cross border tensions, intelligence operations, and Pakistan’s urban landscape.

Set against a dark, stylized backdrop, the three and a half hour spy drama follows an Indian intelligence operative operating inside Pakistan. The story unfolds amid violence, covert missions, and political intrigue, arriving only months after renewed hostilities between India and Pakistan following an attack in Indian administered Kashmir. While the filmmakers describe the story as fictional, critics argue that its timing and narrative choices blur the line between entertainment and political messaging.

Directed by Aditya Dhar, the film centers on a covert mission by India’s external intelligence agency and portrays Singh’s character infiltrating networks described as terrorists and gangsters in Karachi. The cast includes Sanjay Dutt as a powerful antagonist linked to the Pakistani establishment, with Akshaye Khanna and R Madhavan playing key roles tied to criminal and intelligence networks. While the film follows a familiar cat and mouse spy thriller structure, its interpretation of real world history has sparked controversy.

In Pakistan, the strongest criticism has focused on the film’s depiction of Karachi, particularly the Lyari neighbourhood. Scholars and commentators there argue the city is presented as a lawless, violent space disconnected from reality. Critics say the portrayal reduces a complex megacity to a fantasy of perpetual chaos, misrepresenting its culture, language, and infrastructure. Legal action has also been initiated by a Pakistani political party over the alleged unauthorized use of imagery connected to former prime minister Benazir Bhutto and the suggestion that political leaders supported militant activity.

Indian critics have also raised concerns, though the film has enjoyed major commercial success domestically and among the diaspora. The family of a decorated Indian Army officer has challenged the film in court, alleging it draws heavily from his life without consent. The filmmakers deny this, maintaining the story is entirely fictional. Analysts have noted, however, that the film incorporates real news footage and audio related to past attacks, which adds to the perception that it is grounded in recent political events.

The debate around Dhurandhar has revived a broader conversation about trends in mainstream Bollywood. Film analysts point out that nationalist spy thrillers are not new, but argue that recent years have seen an increase in films that depict Pakistan and Muslim characters almost exclusively through the lens of terrorism. Critics warn that such portrayals risk reinforcing stereotypes and deepening social divisions, especially when released during periods of heightened political tension.

The controversy has also spilled into the media space. Some reviewers who offered critical assessments of the film have faced online harassment, and at least one high profile review was taken down following backlash. India’s Film Critics Guild has condemned what it described as coordinated campaigns to intimidate critics and influence editorial independence, warning that such pressure undermines open cultural debate.

As Dhurandhar continues its theatrical run, it stands as another example of how popular cinema in South Asia can quickly intersect with politics, diplomacy, and national identity. While audiences may embrace the film for its spectacle and performances, its reception underscores how storytelling in the region often carries consequences far beyond the screen.