Aditya Dhar’s “Dhurandhar” duology has emerged as a pivotal turning point for Hindi cinema, signalling a pronounced transformation in Bollywood’s thematic preoccupations and political allegiances. The first instalment, released in December 2025, proved to be the top-earning Hindi film in India before being split into two parts throughout the editing process. Now, with the sequel “Dhurandhar: The Revenge” presently commanding cinemas throughout the nation, the spy saga is poised to cement what numerous critics regard as a concerning transformation in Indian popular cinema: the blanket endorsement of nationalist-leaning stories that explicitly court government favour and capitalise on patriotic feeling. The films’ unabashed fusion of entertainment and state propaganda has revived discussions concerning Bollywood’s ties to political authority, particularly under Prime Minister Narendra Modi’s administration.
From Intelligence Thriller to Political Statement
The storytelling framework of the “Dhurandhar” duology demonstrates a strategic movement from escapism to political messaging. The opening instalment deliberately positioned before Modi’s 2014 electoral triumph, sets up its political foundation through characters who repeatedly voice their yearning for a figure prepared to pursue forceful measures against both foreign and domestic threats. This strategic timing enables the story to present Modi’s later ascent to leadership as the answer to the country’s aspirations, transforming what appears to be a standard espionage film into an comprehensive validation of the ruling government’s approach to national security and armed action.
The sequel intensifies this ideological drive by showcasing Modi himself as an near-constant supporting character through carefully positioned news footage and government broadcasts. Rather than enabling the fictional narrative to operate on its own, the filmmakers have woven the Prime Minister’s real likeness and rhetoric throughout the story, effectively blurring the boundaries between entertainment and state communication. This deliberate narrative choice distinguishes the “Dhurandhar” films from previous instances of Bollywood’s political positioning, advancing them from understated ideological messaging to direct state promotion that transforms cinema into a vehicle for political legitimacy.
- First film appeals for a powerful leader before Modi’s electoral triumph
- Sequel presents Modi in a supporting character through news clips
- Narrative conflates fictional heroism alongside government policy endorsement
- Films erase the distinction between entertainment and state propaganda by design
The Transformation of Bollywood’s Ideological Shift
The commercial success of the “Dhurandhar” duology indicates a significant shift in Bollywood’s relationship with nationalist thought and state power. Whilst the Indian film industry has historically maintained close ties with political structures, the explicit character of these films represents a qualitative shift in how directly cinema now conveys state communications. The franchise’s box office dominance—with the first instalment emerging as the highest-grossing Hindi-language film in India following its December launch—shows that viewers are growing more receptive to entertainment that seamlessly integrates state messaging. This acceptance suggests a fundamental change in what Indian audiences consider acceptable film content, moving beyond the subtle ideological positioning of prior cinema towards direct governmental promotion.
The ramifications of this shift extend beyond simple box office figures. By achieving remarkable box office gains whilst directly blending fictional heroism with governmental policy, the “Dhurandhar” films have effectively endorsed a novel framework for Indian film production. Next-generation filmmakers now have access to a tested formula for merging nationalist sentiment with box office returns, potentially establishing propagandistic cinema as a viable and lucrative category. This evolution reflects larger cultural shifts within India, where the boundaries between entertainment, nationalism, and state messaging have become less distinct, generating significant inquiries about film’s function in influencing political consciousness and national identity.
A Pattern of National Cinema
The “Dhurandhar” duology does not emerge in a vacuum but rather represents the apotheosis of a growing trend within contemporary Indian cinema. Recent years have seen a surge of films utilising nationalist rhetoric and anti-Muslim narratives, including “The Kashmir Files,” “The Kerala Story,” and “The Taj Story.” These productions share a common ideological framework that recasts Indian history through a Hindu-centred perspective whilst depicting Muslims as existential threats. However, what distinguishes the “Dhurandhar” films from these predecessors is their superior cinematic execution and production quality, which give their propaganda a sheen of artistic credibility that more artless Islamophobic films do not possess.
This difference demonstrates especially concerning because the “Dhurandhar” duology’s cinematic craft and entertainment value mask its essentially propagandist nature. Where films like “The Kashmir Files” operate as simplistic propagandist instruments, the “Dhurandhar” series deploys cinematic craft to make its nationalist agenda appealing to mainstream audiences. The franchise thus represents a concerning development: ideological content enhanced through sophisticated production into something approaching officially-backed production. This polished strategy to ideological content may become increasingly impactful in shaping public opinion than overtly provocative films, as audiences may embrace political messaging when it comes packaged in engaging storytelling.
Filmmaking Artistry Versus Political Messaging
The “Dhurandhar” duology’s most insidious quality lies in its fusion of cinematic mastery with ideological extremism. Director Aditya Dhar exhibits impressive command of the action thriller genre, assembling sequences of visceral intensity and plot propulsion that captivate audiences. This cinematic proficiency becomes problematic precisely because it serves as a medium for nationalist propaganda, transforming what might otherwise be crude political messaging into something considerably compelling and influential. The films’ refined visual presentation, sophisticated cinematography, and compelling performances by actors like Ranveer Singh provide plausibility to their fundamentally divisive narratives, making their political message more acceptable to wider audiences who might otherwise spurn explicitly provocative content.
This convergence of artistic merit and ideological messaging presents a unique challenge for cinematic analysis and cultural commentary. Audiences frequently struggle to separate aesthetic appreciation from political critique, especially when entertainment value demonstrates genuine appeal. The “Dhurandhar” films exploit this tension deliberately, banking on the notion that viewers absorbed in thrilling action sequences will internalise their embedded messaging without critical scrutiny. The risk intensifies because the films’ technical achievements bestow them legitimacy within critical conversation, allowing their nationalist ideology to spread more extensively and shape public consciousness more successfully than cruder predecessors ever could.
| Film | Narrative Strength |
|---|---|
| Dhurandhar | Espionage intrigue with compelling character development and moral ambiguity |
| Dhurandhar: The Revenge | Political thriller capitalising on nationalist sentiment and state apparatus mythology |
| The Kashmir Files | Historical narrative lacking cinematic sophistication or narrative complexity |
- Skilled craftsmanship converts propagandistic content into popular media
- Advanced cinematography conceals ideological messaging from rigorous analysis
- Cinematic craft raises nationalist rhetoric above crude inflammatory discourse
The Problematic Ramifications for Indian Cinema
The commercial and critical success of the “Dhurandhar” duology signals a concerning trajectory for Indian cinema, one in which nationalist fervour increasingly determines box office performance and cultural importance. Where once Bollywood functioned as a forum for diverse narratives and differing opinions, the ascendancy of these patriotic suspense films suggests a narrowing of acceptable discourse. The films’ extraordinary performance indicates that audiences are becoming more drawn to entertainment that openly champions state power and characterises opposition as treachery. This shift mirrors broader societal polarisation, yet cinema’s particular power to shape shared cultural consciousness means its political orientation carry considerable importance in shaping popular opinion and political attitudes.
The consequences extend beyond simple viewing habits. When a nation’s cinema sector consistently produces narratives that celebrate government authority and demonise external enemies, it risks ossifying collective views and restricting critical engagement with complex international political dynamics. The “Dhurandhar” movies demonstrate this danger by portraying their perspective not as a single viewpoint amongst others, but as objective truth wrapped in technical excellence and celebrity appeal. For critics and cultural observers, this constitutes a pivotal turning point: Indian film industry’s shift from sometimes serving state interests to deliberately operating as a propaganda machine, albeit one far more sophisticated than its historical predecessors.
Propaganda Dressed up as Entertainment
The insidious nature of the “Dhurandhar” duology stems from its calculated obscuring of political messaging under layers of cinematic craft. Director Aditya Dhar constructs complex action scenes and character arcs that capture audience attention, deftly deflecting from the films’ persistent advancement of nationalist ideology and uncritical belief in state institutions. The protagonist’s journey, nominally a personal quest for redemption, functions simultaneously as a glorification of governmental power and military might. By incorporating propagandistic content within entertaining narratives, the films achieve what cruder political messaging cannot: they reshape ideology into spectacle, turning audiences complicit in their own ideological conditioning whilst regarding themselves as merely entertained.
This strategy shows particularly effective because it works beneath active perception. Viewers engrossed by gripping dramatic moments and intimate character scenes internalise the films’ core themes—that strong-handed government action is essential, that enemies are irredeemable, that personal sacrifice for national priorities is honourable—without recognising the manipulation taking place. The sophisticated cinematography, powerful acting, and real technical skill lend credibility to these narratives, allowing them to look less like persuasive messaging and more like genuine narrative. This surface credibility permits the films’ divisive ideology to infiltrate general understanding far with greater success than overtly inflammatory material ever could.
What This Means for International Viewers
The international success of the “Dhurandhar” duology raises a concerning pattern for how state-aligned cinema can cross geographical boundaries and cultural differences. As streaming platforms like Netflix distribute these films worldwide, audiences in Western nations and elsewhere encounter advanced propagandistic content wrapped in the familiar language of espionage thrillers and action cinema. Without the cultural and political literacy required to decode the films’ nationalist rhetoric, international viewers may inadvertently consume and legitimise Indian state-sponsored ideology, effectively extending the reach of propagandistic narratives far beyond their original domestic viewership. This globalisation of politically sensitive material poses critical concerns about platform responsibility and the moral dimensions of distributing state-backed films to unaware overseas viewers.
Furthermore, the “Dhurandhar” films establish a troubling template that rival states may seek to emulate. If state-aligned cinema can secure both critical praise and commercial success whilst promoting nationalist agendas, other states—particularly those with authoritarian leanings—may identify cinema as a exceptionally influential tool for the spread of ideology. The films show that propaganda doesn’t have to be crude or obvious to be effective; rather, when coupled with genuine artistic talent and considerable resources, it becomes nearly irresistible. For international viewers and cinema critics, the duology’s success signals a concerning future where entertainment and state messaging become increasingly indistinguishable.
