Pakistan to Produce Film Celebrating Lyari in Response to “Dhurandhar Propaganda”

In a swift response to the controversial release of “Dhurandhar,” which portrays the gang wars of Lyari, the Sindh government has announced plans for a counter-narrative film titled “Mera Lyari.” The new production aims to present what officials call the “authentic story of pride and prosperity” to challenge what they view as “Indian propaganda.”

“Dhurandhar,” which combines the Lyari storyline with elements of the 2008 Mumbai attacks, has drawn particular criticism from Pakistani officials and citizens who see it as an attempt to appropriate a Pakistani urban conflict into India’s nationalist narrative.

The counter-film will be helmed by director Abu Aleeha and produced by actor Ayesha Omar, who will also star alongside notable Pakistani talents Dananeer Mobeen and Samiya Mumtaz. According to local media reports, “Mera Lyari” will emphasize authentic storytelling while highlighting the neighborhood’s cultural aspects, including its vibrant arts scene, music, sports, and daily life, deliberately avoiding the stereotypical portrayals of violence.

“Misrepresentation cannot erase reality. Lyari stands for culture, peace, and resilience—not violence,” declared the Sindh government in a statement on social media platform X, adding that the film is scheduled for release in January 2026.

The announcement has received strong support from many Pakistani citizens. X user Hamza Siddiqui endorsed the initiative, writing, “Absolutely. Truth doesn’t need distortion to survive. Lyari’s identity is culture, resilience, and peace, not the propaganda being pushed.”

Kashif Raza Banbhan, Deputy Information Secretary of the Pakistan Peoples Party (PPP), similarly backed the project, stating: “Lyari’s spirit cannot be silenced. A community of culture, strength, and hope, not the tales of violence some try to sell.”

The controversy surrounding “Dhurandhar” extends beyond its portrayal of Lyari’s gang conflicts. The film has sparked intense debate within Pakistan for its depiction of real Pakistani political figures. Sumeta Afzal Syed, a Sindh government spokesperson, specifically condemned what she termed the “unlawful” use of former Prime Minister Benazir Bhutto’s image in scenes suggesting her party’s sympathy for militants. “The PPP has been a frontline victim of terrorism,” Syed emphasized.

While many PPP supporters have rallied behind “Mera Lyari,” some skeptics question whether a state-backed narrative will effectively counter “Dhurandhar’s” impact. One X user noted the significant disparity between the two productions, suggesting that only something on the scale of major Pakistani blockbusters like Fawad Khan’s “Maula Jatt” could offer a meaningful comparison.

More critical voices have used the announcement to highlight perceived failures of the PPP in Lyari itself. One user, identified as Mehmal, claimed: “The military occupation of the football ground in Lyari, dubbed Mini Brazil, is due to the People’s Party. Art and artists were destroyed under their political patronage.”

The film announcement represents the latest chapter in an ongoing cultural and political dialogue between India and Pakistan, where cinema often serves as a battleground for competing narratives about historical events and contemporary issues. With “Mera Lyari” not set for release until 2026, the controversy surrounding “Dhurandhar” is likely to continue evolving as both supporters and critics debate the authentic portrayal of Lyari’s complex realities.

The situation highlights the significant role that film and media play in shaping national narratives and international perceptions, particularly in regions with complicated political and cultural histories.