News from Civsy, based on generative AI tools and retrieval-augumented real time data searchOver the past decade, Indian films have intermittently faced bans or non‑certification in several Gulf states, with recent cases suggesting growing scrutiny of specific political and social themes rather than a blanket hostility to Indian cinema. Some 2020s titles that were blocked or restricted in the Gulf have continued to screen in European and other markets, raising concerns among filmmakers and distributors about uneven standards and opaque decision-making.
Early Bans and Emerging Sensitivities
In 2012, Anurag Kashyap’s “Gangs of Wasseypur” was refused release in Kuwait and Qatar, with local media and trade reports pointing to its graphic violence and potential offence to Muslim sentiments, even as the film was allowed to screen in the UAE. Through the 2010s there were several similar but sporadic cases involving Indian titles, suggesting heightened sensitivity around particular portrayals of religion and violence rather than a clearly announced policy shift by Gulf regulators.
By the early 2020s, films with strong political backdrops or depictions of Islamist militancy began to encounter more frequent obstacles, including partial bans or delayed releases. Industry coverage highlights that decisions were often framed in terms of cultural offence or historical distortion, but detailed reasoning from individual censorship boards was not always made public.
National Security, Pakistan, and Kashmir
Recent cases indicate that Indian films dealing with India–Pakistan relations, national security, or Kashmir face particularly tight scrutiny in Gulf markets. Yami Gautam’s political drama “Article 370” (2024), centred on the abrogation of Jammu and Kashmir’s special status, did not receive release in several Gulf states, with Indian outlets and commentators attributing this to its politically sensitive treatment of a live sovereignty dispute, even though official board decisions have not been comprehensively disclosed.
Similarly, big‑budget action titles such as “Fighter” (2024) and “Sky Force” (2025) have run into serious barriers. “Fighter” was briefly released and then withdrawn in at least one Gulf territory, while “Sky Force” did not open in multiple Middle Eastern markets; trade reports and unnamed industry sources link these outcomes to their depiction of Indian Air Force operations and India–Pakistan conflict, but in some cases authorities have not publicly given detailed reasons.
2025: Dhurandhar, Sky Force, and a Clearer Pattern
In late 2025, Ranveer Singh’s spy thriller “Dhurandhar” failed to obtain theatrical clearance in six Gulf countries, including Saudi Arabia, the UAE, Qatar, Kuwait, Bahrain, and Oman. Multiple outlets, citing distributors and anonymous officials, reported that censors objected to what they viewed as the film’s anti‑Pakistan stance and potentially inflammatory cross‑border themes, although censor boards themselves have released little formal documentation.
Earlier in the year, Akshay Kumar’s “Sky Force” also faced a ban or non‑release in several Middle Eastern markets. Some trade coverage suggests that its portrayal of the 1965 Indo‑Pakistani air war and the framing of Pakistan as an adversary may have contributed to the decision, while at least one report notes that the precise reasons have not been officially confirmed. Taken together with “Fighter”, “Article 370” and other recent titles, these cases have reinforced perceptions among Indian filmmakers that Gulf regulators now treat certain “pro‑Bharat” or security‑focused narratives as especially sensitive.
LGBTQ+ Themes and Casting Decisions
Alongside geopolitics, there is mounting evidence that Gulf censors are also targeting Indian films that include LGBTQIA+ themes or prominent queer performers. The Malayalam film “Kaathal – The Core”, which portrays a closeted gay man in a heterosexual marriage, did not release in several Gulf countries, and was widely reported as having been blocked on the grounds that its storyline conflicted with local norms on sexuality.
In 2025, Basil Joseph’s Malayalam dark comedy “Maranamass” was reportedly banned in Saudi Arabia and initially blocked in Kuwait. According to the director and producers, authorities objected to the presence of a transgender or queer actor in the cast rather than to explicit on‑screen content, and Kuwaiti censors allegedly conditioned release on cutting scenes featuring the actor. These accounts have not been comprehensively addressed in public statements by the boards, but they suggest that LGBTQIA+ visibility itself can trigger restrictive decisions in Gulf markets.
Motivations, Opacity, and Impact
Public justifications for bans and non‑certification in the Gulf often refer in broad terms to religious values, cultural norms, and the need to avoid social tension in societies with large expatriate populations, including from Pakistan and other South Asian countries. However, detailed written decisions are rarely available, leaving journalists, rights groups, and industry insiders to piece together motivations from partial statements, leaks, and patterns across multiple cases.
Critics and some filmmakers argue that recent decisions in several Gulf states reflect a selective approach in which films about India–Pakistan relations, Kashmir, or LGBTQIA+ issues face tighter scrutiny than other commercial Indian releases in the same markets. While comprehensive distribution data is limited, the accumulation of high‑profile bans and withdrawals since the early 2020s points to a narrowing space for Indian cinema in parts of the Gulf when it presents narratives that challenge prevailing political or moral sensibilities.
Refernces:
