The reported ban on Ranveer Singh starrer Dhurandhar across several Arab nations has once again brought global censorship and creative fear into sharp focus. Directed by Aditya Dhar, the high octane action thriller released in theatres on December 5 and opened to strong audience interest in India and key international markets. However, the absence of a release across Gulf territories has raised serious concerns within the film industry about how and why Indian films are being restricted overseas.
The Middle East remains one of the most important overseas markets for Hindi cinema. A theatrical ban in the region directly impacts box office potential, but more importantly, it limits cultural exchange at a time when Indian films have been gaining wider international visibility. Dhurandhar, which follows a RAW agent navigating political conflict and covert operations, has not officially been cited for any specific objectionable content. This has intensified the perception that the restriction stems less from cinematic material and more from institutional caution and fear of political interpretation.
Tees and Punjab 95 Censorships
The situation surrounding Dhurandhar does not exist in isolation. Over the past few years, multiple Indian films have faced prolonged delays, quiet shelving, or what many describe as soft bans, where projects are neither officially banned nor allowed to reach audiences.
Dibakar Banerjee’s Tees stands as one of the most prominent examples. The film, originally developed for a major streaming platform, was completed but later shelved indefinitely. Despite festival screenings, Tees continues to wait for a proper release, highlighting how finished films can remain trapped due to corporate hesitation rather than certification issues.
Similarly, Diljit Dosanjh’s Punjab 95, based on the life of human rights activist Jaswant Singh Khalra, has been stuck in limbo for years. The film ran into severe certification hurdles after being asked to implement an unusually high number of cuts. The prolonged stand off resulted in the film missing multiple release windows, leaving audiences without access to a story rooted in documented history.
When Fear Dictates the Fate of Stories
What connects Dhurandhar, Tees, and Punjab 95 is not genre or ideology but the increasing dominance of fear in decision making. Whether the pressure comes from geopolitical sensitivities, regulatory uncertainty, or the anticipation of controversy, the outcome remains the same. Stories are withheld, diluted, or delayed indefinitely.
Cinema has historically been a medium that reflects conflict, questions power, and records uncomfortable truths. When fear replaces dialogue, the cost is not just financial but cultural. The absence of clear communication around bans and shelving only deepens mistrust and discourages bold storytelling.
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