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The “Dhurandhar” film series has taken the Indian box office by storm, with the sequel “Dhurandhar: The Revenge” poised to become the highest-grossing Indian film of all time since its March 19 release. Audiences have particularly praised Ranveer Singh’s performance, contributing to the film’s record-breaking success.
Amid the commercial triumph, the film has faced criticism from some quarters who label it as “propaganda.” Veteran actor Anupam Kher recently addressed these criticisms during a conversation with reporters at the International Film Festival Delhi (IFFD) 2026.
“We should disregard those who refer to cinema as propaganda films. We are wasting too much energy on them; they are irrelevant and redundant,” Kher stated, encouraging fans to celebrate successful films like “The Kashmir Files” and the “Dhurandhar” series.
Kher emphasized the audience’s discerning nature, noting, “Audiences are not foolish. They are not going to attend a packed 12 o’clock show without reason. People watch films because they enjoy them. We should let go of those who label it as propaganda.”
The actor acknowledged the dual nature of filmmaking as both an artistic and commercial endeavor. “Many channels operate as businesses; they don’t just exist to tell stories. However, when I go to see a film, I hope to gain something from it,” he reflected.
“Dhurandhar: The Revenge” has garnered praise from numerous industry heavyweights. South Indian superstar Rajinikanth commended the film and referred to director Aditya Dhar as “box office ka baap” (father of the box office). Other prominent filmmakers and actors joining the chorus of acclaim include SS Rajamouli, Ram Gopal Varma, Rakesh Roshan, Mahesh Babu, Allu Arjun, and Jr NTR.
The film’s appeal crosses regional boundaries, with releases in five languages: Hindi, Kannada, Malayalam, Tamil, and Telugu. The Hindi version has been the primary revenue driver, earning Rs 63.00 crore on its 11th day in theaters. The Telugu version followed with Rs 3.00 crore, while the Tamil release contributed Rs 1.50 crore. The Kannada and Malayalam versions added Rs 0.38 crore and Rs 0.22 crore respectively during the film’s second Sunday.
This multi-language release strategy reflects the growing trend of pan-Indian films that transcend regional markets, a phenomenon that has gained momentum following the success of films like “Baahubali,” “KGF,” and “RRR.” Industry analysts point to this approach as a significant factor in the film’s extraordinary box office performance.
The action-packed espionage drama centers on Ranveer Singh’s character Hamza Ali Mazari/Jaskirat Singh Rangi, who infiltrates Karachi, Pakistan, to become the King of Lyari and dismantle terrorism networks targeting India. The film features an ensemble cast including R Madhavan, Sanjay Dutt, Sara Arjun, Arjun Rampal, and Rakesh Bedi.
The “Dhurandhar” series joins other nationalist-themed films that have performed exceptionally well at the Indian box office in recent years, including “Uri: The Surgical Strike” (also directed by Aditya Dhar) and “The Kashmir Files.” These films have resonated strongly with audiences while sparking debates about the intersection of entertainment and political messaging.
Looking ahead, Ranveer Singh is reportedly set to appear in a zombie thriller titled “Pralay.” The project is expected to mark the theatrical directorial debut of Jai Mehta, son of acclaimed filmmaker Hansal Mehta, known for critically acclaimed works like “Shahid,” “Aligarh,” and “Scam 1992.”
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7 Comments
It’s interesting to see the debate around these films. While some may view them as propaganda, Kher’s perspective that audiences are discerning and choose to watch what they enjoy is worth considering. The line between art and politics is often blurred.
Kher makes a fair point – we shouldn’t dismiss popular films as mere propaganda just because they touch on sensitive political or ideological themes. Audiences have agency, and their support for these movies suggests there’s more to the story than a simple agenda.
Kher’s comments highlight an important distinction – just because a film has a political or ideological bent, doesn’t mean it’s automatically ‘propaganda.’ Audiences are capable of engaging with complex, nuanced stories, even if they challenge certain narratives.
Art often reflects the times we live in, even if some view it through a narrow lens. I respect Anupam Kher’s perspective – audiences are savvy and vote with their feet. Dismissing popular films as mere propaganda seems shortsighted.
Kher makes a fair point – we shouldn’t be too quick to label successful films as propaganda. Audiences are discerning, and they choose to watch movies that resonate with them, regardless of any political undertones. Art and commerce often intersect in complex ways.
Interesting to see the debate around films like ‘Dhurandhar 2’ and ‘The Kashmir Files.’ While some may see propaganda, others view them as powerful artistic expressions. As Kher said, the audience’s enthusiasm speaks volumes.
I appreciate Anupam Kher’s stance on not dismissing popular films as propaganda. Audiences are the ultimate arbiters, and their support for movies like ‘Dhurandhar 2’ and ‘The Kashmir Files’ suggests there’s more to these works than simplistic political agendas.