Indian films are facing growing, selective scrutiny in Gulf states, especially when they depict India–Pakistan tensions, Kashmir, or LGBTQIA+ lives. Recent bans on “Dhurandhar”, “Sky Force”, and the Malayalam film “Maranamass” show how geopolitical sensitivities and moral norms shape access to cinema for South Asian audiences across the region
The 2025 International Film Festival of Kerala was thrown into turmoil after India’s Union Ministry of Information and Broadcasting refused screening exemptions for 19 films, including Palestinian works and the classic Battleship Potemkin. The unexplained decision forced last-minute cancellations, ignited protests from filmmakers and cultural leaders, and raised serious concerns about arbitrary censorship, political interference, and India’s commitment to artistic freedom at international festivals.
Inside Mumbai’s Liberty Cinema, Grover’s KISS turns a single kiss into a symbol of India’s enduring battle over censorship and creative freedom. Set entirely in a preview theatre, the film sharply critiques the societal and institutional forces shaping Indian cinema. Drawing from colonial-era laws to modern controversies, KISS uses satire to expose the absurdities of what’s considered “acceptable” on screen—revealing the constant push and pull between tradition and expression.
In Pune’s Pimple Nilakh, musician Swapnil Thakur has become the face of resistance against the controversial Mula Riverfront Development (RFD) project. With a drum kit, guitar, and harmonica, his protest anthem “Bahut bada ghotala hain…” has energized thousands. Blending music with activism, Thakur channels public outrage into powerful performances, challenging urban overdevelopment while reclaiming ecological and cultural identity along the threatened riverbanks.
The controversy surrounding L2: Empuraan highlights the issue of self-censorship in Indian cinema. Despite its box-office success, the filmmakers voluntarily altered parts of the film under pressure from political and ideological factions.
