In a rare display of cross-creative appreciation, acclaimed filmmaker Sudhir Mishra has publicly praised Aditya Dhar’s blockbuster spy thriller “Dhurandhar,” despite acknowledging their contrasting artistic approaches and sensibilities.

Mishra, known for his socially conscious cinema, took to social media platform X (formerly Twitter) to defend the film against allegations of propaganda while commending its technical excellence and performances.

“One of us has the guts. There is a film. You’ll see it soon,” Mishra wrote in response to online discourse questioning whether Indian filmmakers would ever tackle sensitive real-life cases such as the Unnao rape incident. “Also please stop lumping us all under one brand, called Bollywood. We belong to the Indian Film Industry and we are all different.”

The veteran director’s comments highlight the growing diversity within Indian cinema, where filmmakers are increasingly establishing distinct voices rather than conforming to industry expectations. Mishra specifically emphasized the film’s immersive qualities, praising Dhar’s directorial skills.

“The acting is terrific. The most difficult thing in filmmaking is a director’s ability to make us, the audience, smell the place and Aditya Dhar with the help of his brilliant cinematographer and production designer manage to do just that,” Mishra noted, adding that “the casting, including the minor parts, is bang on.”

His acknowledgment that he comes “from another school” of filmmaking underscores the significance of his praise, demonstrating professional respect that transcends stylistic differences in an industry often divided along commercial and artistic lines.

When confronted by a social media user who dismissed “Dhurandhar” as “propaganda with an evil intent to monetize on pop nationalism and sectarian mindset,” Mishra offered a thoughtful response rather than dismissing the criticism outright. “Make a powerful film, with all the virtues of a great cinema experience which counters it,” he suggested, advocating for artistic dialogue through competing narratives rather than online debates.

“Dhurandhar,” starring Ranveer Singh and Akshaye Khanna in lead roles, represents the first installment of a planned two-part spy thriller franchise. The narrative follows an Indian intelligence operative infiltrating Karachi’s criminal and political networks, drawing inspiration from several high-profile real-world incidents including the 1999 IC-814 hijacking, the 2001 Parliament attack, and the 2008 Mumbai terror attacks.

The film has emerged as a box office juggernaut, grossing over ₹700 crore in domestic markets and surpassing the ₹1117 crore mark globally. This commercial success places it among the highest-earning Indian films in recent years, demonstrating the ongoing audience appetite for patriotic action thrillers that blend historical events with fictional storytelling.

Industry analysts note that “Dhurandhar” continues a trend of successful intelligence and military-themed films that have dominated box office charts in recent years, including “Uri: The Surgical Strike” (also directed by Dhar), “Pathaan,” and “War.” This genre has proven particularly resilient in the post-pandemic theatrical landscape where audience viewing habits have become increasingly selective.

The film’s sequel is scheduled for theatrical release on March 19, 2026, where it will face competition from “Toxic,” starring pan-Indian star Yash of “KGF” fame. This high-profile box office clash is already generating significant anticipation among exhibitors and audiences alike.

Mishra’s defense of “Dhurandhar” while acknowledging different filmmaking approaches reflects a maturing film culture where artistic merit can be recognized independently of political or ideological perspectives, potentially signaling a more nuanced discourse around commercial Indian cinema.