Dynamics Of Art, Politics & Power in India
How Politics links Kerala Film Festival, Dhurandhar, Dhanda Nyoliwala and India’s Oscar Entry Homebound
The definitions of creativity and expression in India have been transformed and are still being reshaped with time. The causes of this transformation are the changing political and cultural dynamics, not much of a novelty. Towards its end, this year witnessed notable instances of power trying its hand at shaping art.
The IFFK 2025 Conflict
The recent issue of the cancellation of screenings at the 30th International Film Festival of Kerala is a telling example. According to the organisers, eight more screenings could be cancelled, like the seven earlier ones, due to the absence of a censor exemption certificate from the Union Ministry of Information and Broadcasting. What made this list significant was not just the number of affected films, but also the nature of the list. It included the shocking inclusion of Sergei Eisenstein’s Battleship Potemkin, a century-old film which is widely taught in film schools and is hardly new to censors. This implied that the festival’s curatorial autonomy had weakened not through a direct ban, but through administrative uncertainty.
The Heat & Hate Around Aditya Dhar’s ‘Dhurandhar’
Similar tensions occurred in mainstream cinema when criticism of the recently released Aditya Dhar’s mass-action film Dhurandhar triggered debate. Some popular critics, including Anupama Chopra from The Hollywood Reporter, faced online abuse, threats, and strong outrage while questioning the film’s possible negative influence. Such reactions pointed to ideological and ethical intolerance in the world’s largest democracy.
Haryanvi Rapper Dhanda Nyoliwala’s Case
Beyond cinema halls, the pressure extends into music and regional art forms. Haryanvi rapper Dhanda Nyoliwala, known for songs like Russian Bandana, recently faced serious threats linked to his recent musical work Vomit on Paper, in which Nyoliwala highlighted the commercialisation of religion by godmen or babas.
Rising Graph for Neeraj Ghaywan’s ‘Homebound’
In the same landscape, the film industry, along with the entire nation, celebrated Neeraj Ghaywan’s Homebound, released earlier this year, being shortlisted for the Oscars. The film earned the trust of international juries in representing India in all its complexity. However, domestically, Homebound was subjected to multiple censor cuts, reportedly affecting scenes dealing with caste and marginalisation issues. Ironically, a film deemed fit for the world did not remain whole at home.
This pattern of global validation paired with domestic restriction has become increasingly familiar. Indian films that perform well internationally do so because they engage with uncomfortable truths, after which the same truths are softened, edited, or delayed in the name of sentiment or procedure. According to data from cultural advocacy groups, India consistently ranks among the countries with the highest number of film edits mandated by certification authorities each year. Artists begin to anticipate objections before they are voiced. Festivals plan cautiously. Musicians weigh words. Silence becomes safer than speech.
The question is not whether art should be political. Art is political, and it always has been. The real question is whether Indian democracy is confident enough to allow art to speak without turning its beak towards the powerful.
References:
https://theprint.in/feature/dhurandhar-film-critics-fcg/2803484
