Pakistani actor Imran Abbas has voiced strong criticism against the Bollywood film Dhurandhar, highlighting concerns about cinema being used to spread hatred rather than promote understanding. Through a detailed Instagram post, Abbas emphasized that art carries responsibility and should aim to connect people, not deepen divides.
In his statement, Abbas wrote that his critique is not directed at any particular country, but at the “dangerous misuse of cinema itself.” He underscored that films should uplift hearts, awaken empathy, and foster unity. “Stories are powerful. The narratives we celebrate today quietly shape the beliefs of tomorrow,” he said, warning against normalizing prejudice under the guise of entertainment.
The controversy surrounding Dhurandhar, directed by Aditya Dhar and starring Ranveer Singh, has intensified in Pakistan, where the film has been banned from theaters. Despite crossing 1000 Indian crore globally, the film has faced criticism in West Asian markets for allegedly portraying Pakistan as a supporter of terrorism.
The Pakistan Peoples Party (PPP) has lodged formal complaints, arguing that the film misuses images of former Prime Minister Benazir Bhutto, the PPP flag, and footage of party rallies without permission. A petition filed in Karachi’s District and Sessions Judge Court (South) seeks registration of an FIR against the filmmakers and involved parties.
At the center of the dispute is the film’s plot, which follows Indian intelligence agent Hamza Ali Mazari (later Jaskirat Singh Rangi) infiltrating Karachi’s Lyari underworld and uncovering links between criminal syndicates, counterfeit currency operations, political actors, and Pakistan’s intelligence establishment. The storyline weaves through real historical events, including the Kandahar hijacking negotiations and the 26/11 Mumbai attacks.
Critics argue that Dhurandhar presents Pakistan unidirectionally as a hub of terrorism, criminality, and hostility toward India, while Indian intelligence is depicted as the moral and strategic force combating terror. Lyari is shown predominantly as a center of gangs and radicalization, with Pakistani characters largely framed as terrorists, criminals, or corrupt officials.
Abbas’ statement resonates with those advocating for responsible storytelling in cinema. He stressed that art’s true strength lies in healing and connection, not in “planting seeds of resentment under the false banner of creativity.” Many observers see his remarks as a call to prioritize empathy and nuanced representation in regional narratives.
