“Saffron Kingdom” Film Raises Questions About Kashmir Narrative and Foreign Influence

A newly released film claiming to portray the story of Kashmir has sparked controversy and scrutiny over its content, production methods, and the network behind its international promotion. “Saffron Kingdom,” released in 2024, presents itself as a narrative about the Kashmiri migrant community and ongoing political tensions in the Valley, but investigations reveal concerning patterns suggesting a coordinated propaganda effort with potential ties to Pakistani intelligence.

The film follows a Kashmiri woman named Masarat whose husband was allegedly kidnapped, forcing her to flee the Valley with her son Rizwan. Despite its focus on Kashmir, the production notably features no Kashmiri artists, instead casting American and South Asian professional actors and filming entirely in Atlanta, USA – decisions that have raised questions about its authenticity and intent.

Behind “Saffron Kingdom” is Daffodil Studios, founded by Dr. Ghulam Nabi Mir, a gastroenterologist who moved from Kashmir to the United States in 1974. After retiring in 2019, Mir became president of the World Kashmir Awareness Forum (WKA), an organization whose social media presence, according to investigators, appears to be operated from Pakistan.

More troubling are the connections between WKA and Ghulam Nabi Fai, who identifies himself as the organization’s Secretary General. Fai has a documented history with Pakistani intelligence agencies. In 2011, the FBI revealed that Fai, through the Kashmiri American Council (KAC), was allegedly working for Pakistan’s intelligence agency, the Inter-Services Intelligence (ISI), violating American laws by concealing foreign funding and contacts.

Court documents from December 2011 showed that Fai and his Kashmiri American Council were “fully under the control of the ISI,” operating as an extension of Pakistan’s intelligence apparatus to influence American lawmakers, officials, and thought leaders on Kashmir-related issues. Fai was ultimately convicted on federal charges of spying for the ISI and secretly receiving funds from them.

Evidence suggests Fai’s network extends to Pakistan’s highest political circles. Between 2009 and 2024, Fai has been linked to multiple Pakistani leaders, including former President Asif Ali Zardari, former Prime Minister Imran Khan, former Foreign Minister Shah Mahmood Qureshi, and reportedly current Prime Minister Shehbaz Sharif. His presence at international events alongside Pakistani officials indicates what appears to be a coordinated effort to shape the global narrative on Kashmir.

The promotion of “Saffron Kingdom” follows similar patterns, utilizing a structured institutional and intellectual network. The Muslim Public Affairs Council (MPAC) played a central role, hosting screenings and presenting the film as an ideological event in collaboration with Daffodil Studios and the Islamic Center of Southern California. The film has been framed within discussions of “Kashmir’s truth” and positioned as part of a “global narrative.”

Outside the United States, the film received promotion in the United Kingdom from Fahim Kayani, President of the All Parties Kashmir Alliance UK and Tehreek-e-Kashmir UK, an individual with a history of anti-India activism.

The involvement of controversial figures like Khaled Beydoun, who has been separately investigated for propaganda activities, further suggests the film is being leveraged within legal, human rights, and international discourse to advance specific geopolitical positions.

Analysts point out that “Saffron Kingdom” appears to be more than just a cinematic work – it functions as a component in a broader, orchestrated campaign to influence international perceptions of India and the Kashmir issue. The film’s selective presentation of events, coupled with its backing by individuals and organizations with documented connections to Pakistani interests, raises significant questions about its true purpose and funding.

The controversy surrounding “Saffron Kingdom” highlights the evolving nature of modern geopolitical influence operations, where cultural products like films can be utilized as sophisticated tools to shape international opinion on sensitive regional conflicts while obscuring their actual origins and motivations.