There are films that entertain, films that provoke thought, and films that do both with remarkable finesse. Dhurandhar belongs firmly to the third category. It is a vibrant spectacle, crafted with a degree of technical sophistication and artistic conviction that is rare in contemporary mainstream cinema. From its pulsating soundtrack to its tightly executed action sequences, from its textured performances to its visual polish, Dhurandhar is designed to pull the audience into its universe — and it succeeds resoundingly.
At the heart of its success is the sheer craftsmanship of the filmmaking team. The director demonstrates an unwavering command over the narrative, navigating between emotional beats, action-driven arcs, and dramatic confrontations with apparent ease. The film’s pacing rarely falters; the editing keeps the viewer invested; the cinematography enhances both the grandeur and the grit of the story’s world. Every department seems to operate in perfect rhythm, and the result is a film that is both gripping and cinematically rich.
The performances elevate this further. Ranveer Singh, in the lead, delivers one of his most controlled yet energetic portrayals. He brings intensity without tipping into excess, a balance that suits the film’s tone. Akshay Khanna, Arjun Rampal, and R. Madhavan all contribute strongly, giving the narrative the ensemble strength it demands. Even supporting roles seem meticulously cast — no character feels careless or underwritten. It is quite clear that the director extracted the absolute best out of his cast.
A special word must be reserved for the music. The soundtrack of Dhurandhar is not merely a backdrop; it is an active participant in the storytelling. The compositions are bold, atmospheric, and thematically resonant. Whether underscoring moments of tension or heightening emotional crescendos, the music consistently adds value. The sound design, too, is immersive, enhancing everything from chase sequences to quieter dialogues. In many ways, the film’s music is its beating heart.
Another intriguing aspect is the depiction of Pakistan. Much has already been said about the “glossiness” with which Pakistan is portrayed — a stylized visual palette, sleek production design, and a narrative that sometimes softens the harshness of geopolitical realities. While some may view this as a sanitization, it can also be interpreted as an attempt to give the story universal appeal and cinematic allure. Irrespective of where one stands, the portrayal does maintain an internal logic: it serves the film’s dramatic ambitions.
Yet, for all its artistic victories, Dhurandhar raises a serious political question — one that, for me, is impossible to ignore.
Much criticism of the film focuses on whether it unfairly targets Pakistan or perpetuates stereotypes. Personally, I have no issue with Pakistan being criticized in the narrative. After all, artistic expression has always engaged with geopolitical themes, and real-world tensions naturally find their way into cinematic fiction. India has long maintained, legitimately, that Pakistan has repeatedly interfered in India’s internal matters and has supported or abetted terrorism across the border. Many Indians, as well as members of the global community, are aware of this position.
My concern is something else entirely — and ironically, something that not enough people seem to be discussing.
By portraying India as a nation actively interfering in Pakistan’s internal affairs, and particularly by suggesting Indian involvement in movements such as those in Balochistan, the film risks undermining India’s long-standing moral argument on the global stage. For decades, India has taken the stance that it does not meddle in Pakistan’s internal dynamics, and that it maintains a principled position anchored in sovereignty, stability, and non-interference. This credibility has allowed India to repeatedly expose Pakistan's cross-border provocations and seek international support on issues related to terrorism.
But Dhurandhar, perhaps unintentionally, flips this narrative on its head.
By depicting India as a covert actor fueling separatist sentiment or destabilizing a neighboring country, the film inadvertently validates Pakistan’s counter-accusations — accusations that India has always maintained are baseless. It also blurs the stark moral contrast India has historically emphasized: that Pakistan interferes, while India exercises restraint.
Even if this characterization is purely fictional, cinema has immense cultural power. Global audiences consume films without always distinguishing between artistic license and geopolitical reality. As India’s global image becomes increasingly influential in international forums, soft power narratives matter. A film like Dhurandhar could easily be misinterpreted as an admission — or worse, as a reflection — of state policy.
And that brings us to the central question: If the movie’s portrayal of Indian interference is taken at face value, how different does India appear from Pakistan? This is not merely a cinematic speculation; it is a question of political identity and diplomatic integrity.
One may argue that filmmakers have the freedom to dramatize events for entertainment, and that no work of fiction should be taken as political gospel. That is fair. But when a film achieves grand scale, international release, and intense visibility, its messaging carries unintended weight. And Dhurandhar, for all its cinematic brilliance, unintentionally creates a narrative contradiction — one that India can ill afford at a time when its global diplomacy relies heavily on the clarity of its moral positioning.
None of this diminishes the film’s artistic triumphs. Dhurandhar is a spectacular achievement, and the team behind it deserves every bit of praise for its technical excellence and gripping storytelling. Yet, great cinema does not merely entertain; it also compels us to reflect. This film, in its ambition, forces us to confront an uncomfortable but essential geopolitical contradiction.
And perhaps that is the true power of Dhurandhar: it mesmerizes you — and then leaves you thinking long after the credits roll.
