Abir Gulaal Ban | Pahalgam Attack | Fawad Khan and Vaani Kapoor | Pahalgam Attack | Boycott Abir Gulaal
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Can a Cross-Border Love Story Be Justified Amid Fresh Terror?
Abir Gulaal, starring Fawad Khan and Vaani Kapoor, was supposed to be a political romantic drama breaking cinematic borders. But after the recent terror attack in Pahalgam that claimed the lives of 26 Indian soldiers, the release of the film sparked a massive backlash. The movie was promptly withdrawn from most major theatres across India.
The core question that follows: Can the idea of Indo-Pak harmony on screen be pushed forward when blood has barely dried on national soil?
Fawad Khan’s Controversial Return
After the 2016 Uri attack, the Indian film industry saw an unofficial ban on Pakistani artists, including Fawad Khan. His return in Abir Gulaal was being hailed by some as cinematic courage — but many see it as nationally tone-deaf.
Fawad Khan never publicly condemned past attacks on India. His silence during Pulwama, Uri, and other terror incidents was noted by the Indian public and media alike. His sudden re-entry, especially timed close to the Pahalgam tragedy, felt more like opportunism than peace-building.
Even when this recent attack occurred, the actor’s statement was seen as delayed and underwhelming, sparking anger and discomfort among large sections of the public.
The timing couldn’t have been worse. Abir Gulaal, released just days after the Pahalgam massacre, was perceived as grossly insensitive.
The Federation of Western India Cine Employees (FWICE) came out strongly against the film. In a statement, they reiterated their position:
“We do not support any form of collaboration with Pakistani artists when our own country is bleeding.”
This sentiment was not new — post the 2016 Uri attack, several Indian bodies including MNS and FWICE had urged producers not to work with Pakistani talent until cross-border terrorism ends. But Abir Gulaal overlooked this call and cast a Pakistani actor in a lead role, knowing full well the sensitive socio-political context.
Fawad Khan and Vaani Kapoor’s Public Statements
After the backlash began, Vaani Kapoor took to social media saying she was “heartbroken over the loss of lives.” Fawad Khan, too, posted a message expressing “deep condolences” and “sorrow.”
However, critics argue that these statements came after public anger had peaked, making it look more like reputation damage control than authentic concern.
Worse still, many pointed out that neither actor addressed the bigger issue — whether this was the right time to showcase an Indo-Pak romantic fantasy.
It’s crucial to clarify: Abir Gulaal wasn’t banned by the government. No censorship board revoked its certification. No official orders came in. Instead, it was the public sentiment, theatre chains, and distributors that decided to quietly distance themselves from the film. This was a market decision, not a political crackdown.
Theatres across Delhi, UP, Maharashtra, and Gujarat began pulling the film. Screens were replaced with safer, less controversial titles. The logic was simple — the audience wasn’t ready, and showing the film would result in loss, outrage, or worse, protests.
Can a Film Like Abir Gulaal Ever Work in Today’s India?
It’s not about the film’s theme — India has room for artistic freedom. It’s about context, timing, and sensitivity.
A love story between an Indian woman and a Pakistani man may have worked in another time, or with another actor, maybe even with an open conversation around peace-building. But right now, when terror has just struck, and grief is fresh, Abir Gulaal felt like a slap, not a statement.
It also didn’t help that the film’s promotional strategy didn’t address the tension. It was presented as if nothing significant had happened, and that absence of acknowledgment only amplified the backlash.
Pakistani Artists’ Role in Indian Cinema Today
India has always had a love-hate relationship with Pakistani artists. From singers like Rahat Fateh Ali Khan and Atif Aslam, to actors like Mahira Khan and Fawad Khan, their talent has never been in question. But the emotional and national toll of terrorism makes artistic engagement a complicated, fragile affair.
The unofficial ban post-Uri wasn’t just a nationalist reaction. It was a societal boundary drawn after decades of trauma. Producers like Karan Johar and Mahesh Bhatt tried to keep doors open — but even they faced wrath for appearing too open-minded in moments of national pain.
Timing Isn’t Everything. But It Can Be Everything.
Abir Gulaal could have been a bold story, a cinematic bridge. But it was released when India was mourning, not mending.
No one questions the filmmakers’ right to tell a story. But with that right comes responsibility — to read the room, understand national sentiment, and choose empathy over agenda.
This wasn’t a case of hate winning. It was a reminder that cinema doesn’t live in a vacuum, especially not in a country like India, where patriotism, politics, and public opinion are never far from the screen.
