Amjad Hadi Yousafzai
For several years now, India has been using cinema and media as strategic tools to successfully sell a fabricated narrative against Pakistan. These films not only generate massive box-office revenue but also play a significant role in shaping global public opinion. Unfortunately, in response to this organized effort, Pakistan’s state and cultural institutions appear either as silent spectators or are limited to ceremonial statements and short-lived reactions.
In Indian films, Pakistan is repeatedly portrayed as the epicenter of terrorism, a state sponsor of violence, and a threat to regional peace. Particularly in movies made around the theme of terrorism, Pashtuns are often depicted negatively—as extremists or violent characters—while India’s cross-border intrusions, covert operations, and state-sponsored violence are either ignored or justified under the guise of “national security.” This one-sided portrayal presents a distorted image to the world, the consequences of which are borne not only by Pakistan but by the entire region.
In this context, serious questions arise about the role of Pakistani institutions. Where are the government bodies responsible for information, culture, and film? Are their responsibilities limited only to organizing events, seminars, and producing patriotic songs? Can a narrative war on a global scale be won through press releases and verbal claims alone? The reality is that Pakistan has failed to seriously utilize powerful mediums such as films, documentaries, and drama, while India employs them as part of a well-planned strategy backed by state patronage and support.
The constraints faced by Pakistani filmmakers and directors cannot be ignored either. Those who wish to work on sensitive, realistic, or policy-critical subjects face obstacles such as permission issues, lack of funding, and above all, the rigid attitude of censorship authorities. Even when a project manages to receive approval, the censorship process is often made so difficult that creative freedom is effectively suffocated. As a result, many talented artists are either silenced or forced to restrict themselves to safe, non-controversial themes.
The recent Indian film “Dharinder” is a fresh example of this phenomenon. The film gained remarkable success largely due to extensive publicity by Pakistani social media users themselves—whether driven by curiosity or criticism. In doing so, another propaganda narrative was inadvertently amplified across the border with our own attention and reactions. This should serve as a moment of serious reflection on why we unintentionally help promote content produced against us.
It must be clearly understood that Indian filmmakers do not produce propaganda films in pursuit of truth or artistic integrity. These films are made under government patronage, financial assistance, and policy guidance to sell a specific state narrative to domestic and international audiences. If Pakistan truly wants to present its position effectively, it must also adopt cinema as a serious diplomatic and cultural weapon.
The time for self-deception is over. Patriotic songs, emotional speeches, and temporary statements are not enough. Pakistan must produce world-class films, series, and documentaries that present its narrative in a reasoned and compelling manner, while also meeting high artistic standards. This requires reforms in the censorship system, greater creative freedom for filmmakers, and a clear, consistent state policy. Otherwise, we will continue to lose the narrative battle—because history shows that nations that do not tell their own story allow others to define them through fabricated tales.
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