Bollywood’s latest attempt at anti-Pakistan storytelling, Dhurandhar, has become a major embarrassment—even among Indian audiences—after the release of its trailer. Viewers across social media are criticising the film for portraying Karachi’s Lyari as a full-fledged war zone.
The trailer shows Ranveer Singh as a RAW agent infiltrating “hostile” Pakistani territory. Meanwhile, Arjun Rampal plays a Pakistani intelligence officer, Major Iqbal, dubbed the “Angel of Death,” who is obsessed with “making India bleed.” R. Madhavan appears as Ajay Sanyal, a character loosely inspired by Indian NSA Ajit Doval. He claims Lyari is the “heart of terrorism in Pakistan”—a narrative that has angered many viewers for its distortion of facts.
Adding to the controversy, the film uses real Pakistani political imagery, including PPP rallies, Benazir Bhutto’s photos, and party flags. This raises further concerns about misrepresentation.
Critics in Pakistan argue that Bollywood’s anti-Pakistan narrative is escalating, especially with bizarre casting choices.
Set for release in early December, Dhurandhar is already being called out for pushing propaganda rather than focusing on authentic storytelling. Even Indian viewers have flagged the film for exaggeration, poor research, and unrealistic depictions.
Bollywood’s pattern of rewriting or appropriating Pakistan’s history appears to be worsening. The Lyari gang wars were an internal conflict rooted in Karachi’s socio-political landscape. They were far removed from Indian involvement. Figures like Rehman Dakait, Arshad Pappu, Chaudhry Aslam, and Uzair Baloch were real individuals. They shaped Karachi’s complex and turbulent past. Their stories reflect the raw reality of a painful era marked by violence, political rivalry, and ethnic divides—an era that is not India’s to exploit.
No foreign film industry should claim ownership over Karachi’s history simply by adding a “based on true events” label. As Bollywood runs out of stories within its own historical and political boundaries, it increasingly turns to Pakistan’s internal struggles. It fictionalises its role and positions itself as the central force. This narrative not only distorts reality but also undermines the lived experiences of Karachi’s people.