Dhurandhar (2025) is a defiant spy thriller that exposes the fault lines of global hypocrisy by Lalit Rao (FIPRESCI)

Dhurandhar (2025) is a defiant spy thriller that entertains, educates and exposes the fault lines of global hypocrisy © by film critic Lalit Rao (FIPRESCI) [lalitmax2022@gmail.com]

 

Introduction : When a commercial film turns into a political flashpoint

 

Cinema occasionally reaches a moment where it ceases to function merely as entertainment and instead becomes a political, cultural and ideological event. Dhurandhar (2025) is one such film. Long before audiences could dissect its narrative structure or debate its performances, the film found itself thrust into controversy due to its banning in six Gulf countries — Bahrain, Kuwait, Oman, Qatar, Saudi Arabia and the United Arab Emirates. This ban ensured that ‘‘Dhurandhar’’ entered the public imagination not simply as a spy thriller, but as a cinematic statement that refused to conform to diplomatic politeness or ideological ambiguity. In doing so, the film revived an old but essential question: should cinema be obligated to soften reality in order to remain globally palatable?  Historically, some of the most impactful films have been those that unsettled power structures rather than appeased them. Dhurandhar firmly belongs to that lineage.

 

 The gulf ban: A case study in selective freedom of expression

 

The justification offered for banning Dhurandhar — that it is “anti-Pakistan” — is both simplistic and revealing. It highlights how freedom of expression is often interpreted not as a universal right, but as a negotiable privilege shaped by geopolitical convenience.Western cinema has for decades portrayed Middle Eastern warzones, intelligence agencies, insurgent networks and regime changes without restraint. Such films are celebrated as gritty realism or political drama. When Indian cinema adopts a similar approach, rooted in its own national security concerns, the response is censorship. More troubling is the silence of Indian liberals who otherwise speak passionately about artistic freedom. When films are censored domestically, outrage follows. When an Indian filmmaker’s work is banned abroad, the same voices suddenly discover nuance, diplomacy and restraint. Hence, this ban is not merely about Pakistan. It is about control over narrative.

 

Diaspora impact: cultural exclusion through censorship

 

For the Indian diaspora living in Gulf countries, Hindi cinema is not just entertainment — it is a cultural lifeline. Films serve as emotional bridges to language, memory and identity. By banning Dhurandhar, Gulf authorities have effectively denied millions of Indians access to a mainstream cultural product from their homeland.

This exclusion is especially ironic given that Indian expatriates form a significant economic backbone of Gulf nations. They build cities, run services and sustain industries, yet are denied the right to consume a film that reflects their own national perspective. Hence, censorship here is not neutral; it is discriminatory.

 

Anti-Pakistan or Anti-Terrorism? : The false binary

 

Labeling Dhurandhar as “anti-Pakistan” deliberately collapses a crucial distinction: criticism of a state’s military-intelligence establishment is not hostility towards its people. The film’s narrative is rooted in a documented reality — Pakistan’s army and ISI have consistently used terrorism as an instrument of foreign policy against India. This is not conjecture or ideology; it is historical fact acknowledged globally. From the 2001 Indian Parliament attack to the 26/11 Mumbai terror attacks, the human cost of this policy is undeniable. To portray this reality on screen is not propaganda; it is testimony. What truly unsettles critics is not aggression, but clarity.

 

The story: Mission Dhurandhar and the architecture of espionage

 

At its narrative core, Dhurandhar is a classical spy thriller structured around deception, infiltration and moral ambiguity. Ranveer Singh plays Hamza Ali Mazari, also known as Jaskirat Singh Rangi — a RAW operative selected for the high-risk covert operation titled “Mission Dhurandhar.” His task is not merely intelligence gathering. He must embed himself within Pakistani gangster networks that function as logistical arms of terrorism. These networks exist at the intersection of crime, ideology and state patronage.The film portrays espionage as deeply isolating. The protagonist exists in a perpetual state of psychological tension, where every relationship is transactional and every moment carries the possibility of exposure and death.

 

Violence: The language of the world being portrayed

 

One of the most superficial criticisms levelled against Dhurandhar concerns its violence. This criticism collapses when examined seriously. Terrorism, underworld politics and covert warfare are inherently violent ecosystems. There is no non-violence in Lyari’s gang culture. There is no pacifism in terror financing networks. Violence is not an aesthetic flourish in Dhurandhar; it is the operating language of the world it depicts. To remove or dilute violence would not make the film morally superior — it would make it dishonest.

 

Music and OST: Commercial appeal without any compromise

 

Composer Shashwat Sachdev delivers one of the most effective soundtracks in recent Hindi cinema. The music in Dhurandhar is not ornamental; it is atmospheric, energetic and emotionally reinforcing.

The beats are contemporary, the arrangements polished, and the lyrics strikingly effective. Importantly, the OST functions independently of the film, allowing audiences to enjoy the tracks in everyday settings — at home, in transit or while driving. In a genre often dominated by generic background scores, Dhurandhar’s music stands out as both memorable and functional.

 

Cinematography: visual precision and narrative immersion

 

Cinematography is one of Dhurandhar’s strongest assets. Director of Photography Vikash Nowlakha constructs a visual language that mirrors the film’s moral tension.

Close-ups capture paranoia and internal conflict, while long shots establish territorial menace and spatial hierarchy. Lighting choices reflect ambiguity, decay and danger. Camera movement is controlled, purposeful and never indulgent. This is cinematography that respects narrative discipline — a rarity in spectacle-driven cinema.

 

Set design: Lyari neighbourhood as a character

 

The recreation of Karachi’s Lyari neighbourhood is among the film’s most impressive achievements. Built on a six-acre set in Bangkok with 500 workers over 20 days, the environment feels alarmingly authentic. The narrow alleys, crumbling walls and claustrophobic interiors do not merely provide backdrop — they actively shape the narrative. Lyari becomes a character in itself, embodying lawlessness, fear and entrapment. The production design elevates Dhurandhar from a generic spy thriller to an immersive experience.

 

Eight chapters: narrative control through structure

The film’s division into eight chapters — The Price of Peace, Stranger in the Land of Shadows, The Bastard King of Lyari, Bullets and Roses, The Jinn, The Devil’s Guardian, The Butterfly Effect and Et tu Brutus — provides narrative clarity without fragmentation. These chapters function as thematic signposts rather than standalone segments, guiding audience engagement while maintaining momentum.

 

Performances of leading actors : A study in contrast

 

Actor Ranveer Singh delivers a physically intense and psychologically layered performance. He convincingly portrays the mental erosion that accompanies long-term undercover operations. Sanjay Dutt’s performance appears designed to satisfy front-bencher expectations. While greeted with whistles, it lacks restraint and depth, relying more on presence than performance. Akshaye Khanna’s acting relies heavily on exaggerated mannerisms rather than disciplined technique. Applause notwithstanding, the performance feels theatrical rather than authentic. R. Madhavan, as diplomat Ajay Sanyal, delivers the film’s most compelling performance. His restraint, measured delivery and understated intensity provide emotional ballast. His dialogue evokes patriotism without hysteria. Comedian Rakesh Bedi is effective as corrupt Pakistani politician Jameel Jamali, proving that character actors can leave lasting impressions without star billing.

 

Weaknesses as observed in ‘‘Dhurandhar’’ : Romance and redundant spectacle

 

The film’s weakest element is the forced romantic subplot between the Indian spy and the Pakistani politician’s daughter. It disrupts tonal consistency and contributes little narratively. Similarly, a dance number near the climax is an aesthetic misjudgement. It neither advances the plot nor deepens character, momentarily breaking immersion.

 

The liberal backlash: Misreading audience’s intent

 

A section of Indian liberals has labelled Dhurandhar as propaganda, ultra-nationalist and politically charged. This critique ignores audience reception. Across India, viewers have embraced the film primarily as a slick, entertaining spy thriller. Audiences appear far less interested in ideological labelling than critics are willing to admit.

 

Aditya Dhar: An ‘‘auteur’’ with Command

 

Aditya Dhar emerges as a director with a clear, consistent voice. His films are marked by patriotic fervour, technical control and narrative clarity. In Dhurandhar, he demonstrates mastery over scale, tone and pacing, reinforcing his status as an auteur.

 

Fact, fiction and generational memory

 

By referencing real events such as the 2001 Parliament attack and the 26/11 Mumbai attacks, Dhurandhar performs an essential educational function. It introduces younger audiences to historical realities often absent from textbooks or popular discourse.

 

Major (Retd) Gaurav Arya’s endorsement

 

Major (Retd) Gaurav Arya’s praise for Dhurandhar underscores its strategic credibility. His call for an even bolder sequel reflects the film’s resonance beyond cinema circles.

 

Pakistan’s irony: Ban, bootlegs and buzz

 

Despite being banned in Pakistan, Dhurandhar has generated enormous online engagement there. Pakistani creators monetise discussions around the film, inadvertently amplifying its reach and relevance.

 

Messages delivered for both Indians and Pakistanis

 

For Pakistanis: meaningful progress is impossible without dismantling the military–ISI nexus. For Indians: loyalty to the nation and respect for security forces are non-negotiable.

 

Conclusion: Entertainment that refuses to apologise

 

Dhurandhar is not meant for children or the faint-hearted. It is a high-octane, adult spy thriller designed to deliver value for money — and it succeeds emphatically. Its roaring success in India and traditional overseas markets such as the US, UK, Canada and Australia proves that Hindi cinema does not need Gulf validation. Above all, Dhurandhar entertains — relentlessly, unapologetically and confidently — securing its place as one of the most significant Hindi films of 2025.