And its a watershed moment for Indian cinema. It is not important whether Kashmir Files is a good film or a bad film. (It checks on all the points for cinematic competence but that’s not the point.)
What is important is that Kashmir Files is an important film. It is important for many reasons. One of them is the radio silence from the film fraternity, except for the one frothing-in-the-mouth review written by Anupama Chopra’s ilk. This review means that Kashmir Files has hit a nerve. This review is a glimpse into the forces that prevented Kashmir Files from seeing the light of day, but failed.
Bollywood is a vibrant robust film industry that saw its inception the same time as India’s independence. Most of its founders were from IPTA and firmly entrenched in the Leftist agenda and propaganda.
For seventy five years a film like Kashmir Files would never have even appeared as a blimp in its radar. Because only movies instilling self hate and Mughal glorification was allowed here. The Kashmir Genocide took place 30 years ago. That an authentic film on the topic was made albeit 30 years later but has not been canned as yet means that something has changed.
A tectonic shift has taken place. The fort has been breached. The first blow has been struck. The ecosystem has started to crumble.
The making of this film is yet another important film. A story yet to be told. Of how the truth finally came out. But the unravelling has begun. And Vivek Agnihotri started it.
May it never stop.
