BJP and Congress Clash Over ‘Dhurandhar 2’ Amid Propaganda Accusations

The political thriller “Dhurandhar 2” has become a box office sensation in India, raking in an impressive ₹172.63 crore in domestic gross revenue within just 48 hours of its release. Directed by Aditya Dhar and starring Bollywood heavyweight Ranveer Singh, the film has shattered opening weekend records while simultaneously igniting a fierce political debate across the country.

Despite its commercial success, the film has quickly become a lightning rod for controversy, with opposition figures claiming it serves as thinly-veiled propaganda for Prime Minister Narendra Modi’s Bharatiya Janata Party (BJP). Critics point specifically to the film’s portrayal of the 2016 demonetization policy—a sudden withdrawal of ₹500 and ₹1000 banknotes that represented nearly 86% of India’s currency in circulation at the time—as a heroic move rather than the economic disruption many economists considered it to be.

The inclusion of actual footage featuring Prime Minister Modi has particularly inflamed tensions. Scenes incorporating Modi’s 2014 oath-taking ceremony and his surprise demonetization announcement have reportedly drawn enthusiastic applause in theaters across BJP-supporting regions while simultaneously triggering backlash on social media platforms.

Opposition leaders have raised concerns about what they describe as the film’s problematic portrayal of minority communities. They argue that while the film rightly depicts the very real threat of Pakistan-sponsored terrorism, it simultaneously paints minority groups with an overly broad brush that could inflame communal tensions in a country already grappling with religious polarization.

BJP national spokesperson Shehzad Poonawalla has vigorously defended the film, arguing that it merely “exposes Pakistani terrorists” while portraying Indian security and intelligence agencies in a positive, patriotic light. “This film celebrates our nation’s resilience against terrorism and the difficult decisions our leadership had to make to combat corruption and terror financing,” Poonawalla stated to reporters.

Left-wing political leader Vivek Srivastava offered a sharp rebuke to these claims, characterizing the film as “blatant BJP propaganda disguised as entertainment.” Srivastava particularly took issue with what he described as the glorification of demonetization, which he called “an economic disaster that caused untold suffering to ordinary Indians while failing to meet any of its stated objectives regarding black money or corruption.”

The controversy extends to the film’s depiction of late gangster Atiq Ahmed, with some critics questioning whether the portrayal unfairly links criminal elements to specific religious communities. Several film critics have noted that while “Dhurandhar 2” presents itself as a patriotic thriller, its narrative choices reflect distinctly partisan perspectives on recent Indian political history.

The film arrives at a particularly sensitive time in Indian politics, following the BJP’s unexpectedly modest performance in recent parliamentary elections. Some political analysts suggest the timing of such a politically charged blockbuster is no coincidence, potentially serving to reinvigorate the party’s nationalist messaging.

The Indian film industry has increasingly become a battleground for competing political narratives, with nationalist-themed films gaining significant commercial traction in recent years. “Dhurandhar 2” follows this trend while pushing boundaries further by directly incorporating real political figures and events.

Despite—or perhaps because of—the controversy, theater owners report sold-out showings across major metropolitan areas. The film’s commercial success highlights the complex relationship between entertainment and politics in contemporary India, where audiences simultaneously seek escapism and validation of their political worldviews.

As “Dhurandhar 2” continues its theatrical run, the heated debate surrounding its content shows no signs of cooling, demonstrating how popular cinema increasingly serves as both entertainment and a powerful vehicle for political messaging in the world’s largest democracy.