Political propaganda turning Indian cinema theatres into battlegrounds

Producers eye profits by politicising silverscreen dramas

In the recent years, Indian cinema, that has long been a hotbed of political, religious, and ideological debate, has seen many more films sparking legal battles, protests, and censorship, reflecting the growing clash between storytelling and heightened societal sensitivities.

Indian cinema has emerged as a battleground for political, religious, and ideological conflicts. Increasingly, films face court petitions, censorship delays, online campaigns, and calls for bans even before release highlighting how storytelling is scrutinised, contested and politicised. This period underscores cinema’s shift from pure entertainment to a platform where societal tensions, narratives and public opinion collide and clash.

There have been several high-profile films at the centre of controversies, sparking national debates over history, religion, politics, and social issues. Titles such as Hamare Baarah, The Kerala Story, Article 370, JNU: Jahangir National University, and Emergency drew widespread attention, facing petitions, protests, and censorship demands. These cases illustrate how cinema has become a powerful, yet polarising, platform shaping public discourse in India.

Hamare Baarah (Our Twelve)

Hamare Baarah (Our Twelve) relased in 2024 and  directed by Kamal Chandra which came under fire almost immediately after its trailer released in June. Several Muslim organisations in Maharashtra and Karnataka accused the film of misrepresenting Quranic verses and portraying the community in a derogatory manner, triggering petitions in the Bombay, Karnataka and Madhya Pradesh High Courts. On June 12, the Bombay High Court imposed a rare nationwide pre-release stay, observing that the trailer itself appeared misleading and capable of provoking communal tension. The CBFC was directed to re-examine the film, after which it demanded multiple cuts, disclaimers and a revised certificate.

The controversy quickly acquired a political dimension, with minority groups calling for a ban while free-speech advocates criticised what they saw as pre-emptive censorship based on promotional material rather than the film itself. Social media amplified the clash and by the time Hamare Baarah returned to theatres with modifications in June 21, 2024, the debate around it had eclipsed its actual content. The total earning of this movie was over  INR 110 million worldwide.

Article 370 

Article 370 (2024), directed by Aditya Dhar and starring Yami Gautam, released in February 2024, generating significant attention amid claims that it aligned with an election-year political narrative. The film is set against the backdrop of the 2019 abrogation of Jammu & Kashmir’s special status under Article 370, exploring the political and social implications of the decision. Its release sparked widespread debate, with opposition parties, Kashmiri activists, and human-rights organisations criticising the portrayal as an oversimplification of a deeply complex and sensitive conflict.

Despite the controversies, Article 370 proved commercially successful, earning over INR 1,100 million worldwide. The film’s box-office performance highlighted the audience’s appetite for political themed dramas, even in a polarised environment. Critics noted that while the narrative leaned heavily toward a particular perspective, the film’s production values, performances, and timely subject matter contributed to its widespread appeal, illustrating how contemporary political cinema can navigate both commercial viability and contentious discourse.

The Kerala Story

The Kerala Story (2023) directed by Sudipto Sen, which originally released in 2023, continued to generate intense political debate well into 2025. The film, depicting the alleged trafficking of thousands of Kerala women into ISIS, sparked widespread controversy, prompting state-level bans, petitions to the Supreme Court and vehement protests from Kerala’s ruling coalition. Its provocative subject matter kept it at the centre of public and media discourse, reflecting the growing intersection of cinema and politics in India.

Despite the controversies, The Kerala Story achieved remarkable commercial success, grossing over INR 303 million worldwide. The film’s box-office performance underscored the market potential for politically charged narratives, inspiring filmmakers to explore similar contentious themes.

JNU: Jahangir National University

JNU: Jahangir National University (2024),directed by Vinay Sharma, inspired by the 2016 sedition row at Jawaharlal Nehru University, sparked immediate controversy for its portrayal of student movements. Student unions nationwide filed complaints, while left-leaning groups criticised it as “propaganda,” and some right-wing commentators lauded it as a rebuttal to “anti-national narratives.”

The film faced strict scrutiny from the censor board, which mandated multiple cuts, including disclaimers and the removal of certain slogans. Its release reignited debates over freedom of expression, the politicisation of campus life and the role of cinema in shaping public perception of student activism in India. Its total earning was over 1.2 million.

Razakar

Razakar (2024), a Telugu-language political drama cantered on the Razakar militia of the Hyderabad State, directed by Yata Satyanarayana, faced controversy for allegedly stirring communal tensions ahead of elections. Community groups in Telangana protested its release and some screenings reportedly required police presence to maintain order.

The Telangana High Court initially stayed the film’s release, directing producers to include disclaimers clarifying the distinction between historical fact and dramatisation. Despite these hurdles, the film generated significant public debate, highlighting the sensitivities around politically and historically charged narratives in contemporary Indian cinema. Its total earning was 40 million.

Emergency

Emergency (2025), directed by  Kangana Ranaut, it was her long-awaited film on Indira Gandhi’s 1975–77 Emergency, faced multiple delays due to political sensitivities and production issues. Even before its release, the teaser drew complaints from Congress party workers and civil liberties groups, who accused it of misrepresenting historical events and oversimplifying a complex period in India’s political history.

With Ranaut entering politics in 2024, the film became a lightning rod for partisan debate. Emergency sparked intense discussions about the portrayal of politically sensitive periods on screen, highlighting how contemporary cinema can influence public discourse and fuel ideological divides. Its total earning was over 210 million worldwide.

Bastar: The Naxal Story

Bastar: The Naxal Story (2024), directed by Sudipto Sen, known for films like The Kerala Story, explored the Maoist insurgency in Chhattisgarh. The film faced criticism from activists, academics, and tribal-rights organisations, who accused it of demonising Adivasi communities and oversimplifying decades of complex conflict. Several districts in Chhattisgarh witnessed demonstrations against its screenings, reflecting local sensitivities.

Despite its limited box-office performance, earning around INR 250 million, Bastar generated extensive debate on television and social media. The controversy highlighted the challenges of portraying politically and socially sensitive issues in cinema, and the film’s impact extended beyond commercial metrics, influencing public discourse on insurgency and tribal representation. Its total earning was 40 million worldwide.

Devara Part 1

Devara Part 1 (2024) directed by Koratala Siva, one of the biggest Telugu releases of the year starring Jr NTR, became embroiled in political controversy after leaders from several regional parties accused it of unfairly portraying certain communities and potentially fuelling caste tensions. Coastal Andhra groups specifically demanded cuts to scenes referencing sea-based crime, raising questions about sensitive content in mainstream cinema.

Although the film was not banned, Devara Part 1 faced intense scrutiny over representation and identity politics, highlighting the challenges filmmakers encounter when addressing socially charged themes in mass-market cinema. The controversy sparked broader discussions about responsibility, creative freedom, and community perceptions in Telugu film narratives. Its total earning was over 5 billion worldwide.

Abraham Ozler

Abraham Ozler (2024), a Malayalam crime thriller directed by Midhun Manuel Thomas, starring Jayaram and Mammootty, sparked controversy after Christian organisations argued that certain parts of the narrative portrayed the church in a negative light. Online campaigns called for a ban, fuelling public debate even before its release, while critics lauded the film for its performances and writing.

Despite the calls for censorship, Abraham Ozler was released and went on to become one of the most discussed Malayalam films of 2024. The controversy amplified its visibility, highlighting how sensitive religious and social themes can both challenge and engage audiences in contemporary region. Its total earning was over 400 million.

Amaran

Amaran (2024),directed by Rajkumar Periasamy, is based on the life of Major Mukund Varadarajan, sparked political debate in Tamil Nadu after regional groups accused it of glorifying “north-Indian military nationalism.” While the film was largely well-received and became a major Tamil hit, its tagline and promotional campaign drew criticism and heated exchanges between nationalistic and regional political factions.

The controversy surrounding Amaran underscores how even biographical films are increasingly subject to ideological scrutiny. Protests and debates over its messaging highlighted the sensitive intersection of cinema, regional identity, and nationalistic narratives in contemporary Indian filmmaking. Its total earning was 3.2 billion worldwide.