The debate around Dhurandhar extends beyond its plot. Observers have placed the film within the framework of what American writer Peter Maas once described as “government-embedded filmmaking.” Traditionally, the term referred to productions that received privileged access to military or intelligence institutions in return for favourable portrayals. In the Indian context, however, the idea has evolved. Rather than formal collaboration, Dhurandhar is seen as reproducing the ideological worldview of the government through narrative choices, characterisation and geopolitical framing — a trend that has become increasingly visible in mainstream Hindi cinema.
At its core, Dhurandhar follows the journey of an Indian spy who embeds himself deep inside a Pakistani criminal and terror ecosystem. The storyline presents Pakistan almost exclusively through the lens of extremism and organised violence, reinforcing a singular and adversarial image of the country. Supporters of the film argue that this depiction serves as a corrective to earlier narratives that, in their view, underplayed India’s security challenges. Critics counter that such portrayals flatten complex realities and risk entrenching divisive stereotypes under the guise of nationalism.
What sets Dhurandhar apart from several earlier films accused of ideological alignment is its cinematic execution. Directed by Aditya Dhar, the film blends commercial appeal with a degree of technical sophistication rarely seen in this genre. The direction, screenplay, cinematography, production design and performances have been widely noted for their restraint and coherence. The film opts for relative realism and controlled drama rather than overt emotional manipulation, a stylistic choice that distinguishes Dhar’s work from more stridently political films such as The Kerala Story or The Kashmir Files, directed by Sudipto Sen and Vivek Agnihotri respectively.
This balance between craft and ideology has arguably made Dhurandhar more effective and, therefore, more influential. By embedding political messaging within a tightly constructed thriller, the film avoids the overt polemics that often polarise audiences, allowing its underlying narrative assumptions to circulate more widely and with less resistance. As a result, Dhurandhar has sparked conversations not only about India–Pakistan relations on screen, but also about the evolving relationship between cinema, nationalism and state power.
As the film continues its theatrical run, Dhurandhar stands as a case study in how contemporary Bollywood is navigating political narratives. Its success highlights a moment where technical finesse and ideological alignment are no longer mutually exclusive, raising questions about the future direction of popular Indian cinema and the stories it chooses to tell — and omit.
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