NEW DELHI – While Punjabi actor Diljit Dosanjh’s latest film, “Sardaar Ji 3,” is setting box office records abroad, it remains unavailable to more than one billion people in his home country, India. The film, a horror-comedy released globally on June 27, has been at the center of a political and cultural controversy in India due to the casting of a Pakistani actress, Hania Aamir, as its co-star.

The film has not been granted certification by India’s Central Board of Film Certification (CBFC), effectively blocking its release in Indian cinemas. Furthermore, the Indian government has also “geoblocked” the film’s trailer online, preventing access from within the country.

The controversy reflects a growing pattern of artistic censorship in India, often fueled by nationalist sentiments. Indian film bodies, including the Federation of Western India Cine Employees (FWICE) and the All Indian Cine Workers Association (AICWA), have strongly objected to the cross-border collaboration. BN Tiwari, president of FWICE, labeled the partnership a “betrayal of the nation” and accused Dosanjh of “disrespecting national sentiments and the sacrifices of Indian soldiers.” These bodies have appealed to the CBFC to withhold certification and called for a complete ban on the film in India.

This situation, however, is not new. Political tensions between India and Pakistan have often led to boycotts and anger directed at artists on both sides of the border. Film critics note that an unwritten rule now exists in India’s film industry: “Do not cast artists from the other side of the border,” leading to self-censorship among many filmmakers.

The controversy surrounding “Sardaar Ji 3” highlights the complex relationship between art and politics in the region and the challenges faced by artists attempting to bridge the divide between the two countries.

Source Citation: This article is based on reporting from Al Jazeera, titled “Diljit Dosanjh’s new film is a global success. Why can’t Indians watch it?,” originally published on July 19, 2025. Sources