The Politics of Films: Role of Cinema in Contemporary Times
01-Jan-1970

by Shazia Khanam

Cinema has long been a powerful medium for storytelling, reflecting and shaping a societal norms, politics and public discourse. The Indian Cinema has evolved in over time, and widely celebrated for its portrayal of complex human emotions, social/contemporary issues and diversity (Sebastian, 2024).However recent debates over films such as Chhava (2025), The Kerala Story (2023), The Kashmir Files (2022), and The Sabarmati report (2024) etc. raise important questions: Should movies be taken seriously as political and ideological tools or are they merely acts of fiction meant for
entertainment? The inconsistency in responses to different films—by audiences and political entities reveals a pattern of selective and performative outrage depending on who the film benefits or criticizes.

The Double Standards in Film Criticism

The debate surrounding Mrs. (2025), where few men’s rights groups claim it portrays men negatively contrasts sharply with the reaction to Kabir Singh (2019). While feminists critiqued Kabir Singh for glorifying misogyny and gender violence, defenders of the film argued that it should be viewed as a work of fiction. Now when a film like Mrs., depicts a woman’s struggle with confined household labour and submission of her identity, critics claim it unfairly portrays men. This inconsistency is not just limited to gender discourse but extends to political and ideological propaganda in cinema as well. When The Kerala Story, The Sabarmati Report, and The Kashmir Files were released, they received support from certain political groups, were granted tax-free status in some states, and were promoted as narratives based on real events. These films, while subject to debate regarding their factual accuracy and potential societal impact, did not face significant legal or political challenges. Similarly, the release of Chhava sparked discussions about its portrayal of historical figures and historical accuracy. Following its release, incidents of vandalism were reported in Delhi, where signboards of Akbar Road and Humayun Road were defaced by individuals allegedly influenced by the film, which had received endorsements from various state governments. When movies are becoming the catalysts of selective storytelling, are they still harmless in our contemporary period?

The Role of Politics in Film Endorsement

The disparity in reaction reveals the extent to which political interests shape cinematic discourse. When a film aligns with particular ideology, it is celebrated, awarded tax exemptions and state sponsored promotions. If movies are simply fiction, why do political parties back them so heavily? If
they are to be taken seriously, should courts intervene in films that promote specific political narratives?

These questions highlight the contradictions in how we perceive cinema. When a film like The Kashmir Files is officially endorsed by government figures and institutions, used as propaganda during elections, it becomes clear that it is not just entertainment, it is being used as a political tool.

The Responsibility of Filmmakers and Legal Institutions

Filmmakers have the creative freedom to tell stories, when films are backed by influential people or institutions, their impact cannot be ignored. Propagandist films have real consequences, shaping public perception and in some cases, fuelling real-world conflicts. Courts and regulatory bodies have the responsibility to ensure that films do not distort historical truths or incite violence while still respecting artistic freedom. However, the challenge lies in maintaining a balance as over-regulation could stifle creativity, while unchecked propaganda could deepen social divides.

Historically cinema has been a battleground for ideological struggles. From Mother India (1957) to Article 15 (2019), films have either been celebrated for their social consciousness or condemned for challenging dominant narratives. The role of the judiciary in regulating films becomes crucial in this
regard.

Conclusion

Cinema wields undeniable influence, and if we are to have an honest conversation about cinema’s role in society, we must first acknowledge that films are neither apolitical nor without consequence. They shape opinions, reinforces biases and sometimes even ignite action. If films are mere fiction, no government should endorse them, if they shape societal discourse, then all films should be subject to the same scrutiny. A balanced approach, one that ensures artistic freedom while preventing misinformation and communal discord is necessary to maintain cinema’s integrity, as both as an art form and a medium of critical engagement. But, who will judge and say what is to be seen and what is to be scrutinized? Should courts intervene in the proliferation of propaganda films? When state-backed films distorts historical facts or incites communal tensions, should it be allowed to flourish unchecked? If feminists call out misogynistic portrayals in mainstream cinema, why are their concerns dismissed while state-backed narratives receive legal protection and public endorsements?

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