In a significant show of support amid ongoing debate, acclaimed filmmaker Sudhir Mishra has defended Aditya Dhar’s espionage thriller “Dhurandhar” against criticism that labels it as propaganda. The film continues its remarkable box office run, approaching the Rs 1200 crore mark globally.

Mishra, known for his socially conscious filmmaking, took to social media platform X to express his admiration for the technical and artistic merits of “Dhurandhar.” His comments came in response to a user who questioned whether filmmakers would tackle sensitive subjects like the Unnao rape case.

“One of us has the guts. There is a film. You’ll see it soon,” Mishra responded, while pushing back against the tendency to group diverse filmmakers under a single “Bollywood” label. “We belong to the Indian Film Industry, and we are all different. By the way, Dhurandhar is a well-made film. Aditya Dhar is extremely skilled.”

Mishra elaborated on the film’s cinematic achievements, highlighting elements that transcend political viewpoints. “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, manages to do just that. The casting, including the minor parts, is bang on,” he wrote, while acknowledging his own different stylistic approach to cinema.

When another social media user directly called “Dhurandhar” propaganda “with an evil intent to monetise on pop nationalism and sectarian mindset,” Mishra offered a challenge rather than dismissal: “Make a powerful film with all the virtues of a great cinema experience, which counters it.” His response suggests that artistic merit and effective storytelling should be the metrics by which films are judged, regardless of their political stance.

The controversy surrounding “Dhurandhar” highlights the increasingly polarized reception of films that touch on nationalist themes in India’s current political climate. While some viewers and critics praise such films for their patriotic values and technical execution, others express concern about their potential to inflame sectarian tensions or present oversimplified narratives of complex geopolitical issues.

Set in Pakistan’s Lyari Town, “Dhurandhar” has become a commercial juggernaut, amassing over Rs 739 crore at the domestic box office alone. The spy action thriller features an ensemble cast including Sanjay Dutt, Ranveer Singh, Akshaye Khanna, Rakesh Bedi, R. Madhavan, Arjun Rampal, and Sara Arjun.

The film’s producers went to considerable lengths to create authentic settings, constructing elaborate sets in Thailand to recreate the Pakistani location where the story unfolds. This attention to detail appears to be one of the elements Mishra praised in his assessment of the film’s immersive quality.

Released on December 5, 2025, the film has already generated enough confidence from its producers to announce a sequel, with “Dhurandhar 2” scheduled for release on March 19, 2026.

Mishra’s defense of “Dhurandhar” is particularly notable given his own reputation for making films that often challenge established political narratives. His willingness to recognize the technical and artistic accomplishments of a film that some critics have dismissed on ideological grounds demonstrates the complex relationship between art, entertainment, and politics in contemporary Indian cinema.

The debate surrounding “Dhurandhar” reflects broader discussions within India’s film industry about artistic freedom, nationalism, and the responsibilities of filmmakers when addressing sensitive political and social issues.