Diljit Dosanjh Agrees With Narrative Control As Punjab 95 Delayed By CBFC And Dhurandhar 2 Races Ahead

A closer look at the contrasting journeys of Dhurandhar 2 and Diljit Dosanjh’s Punjab 95, and the wider conversation around Sikh representation in cinema.

Dhurandhar 2 surges ahead while Punjab ’95 remains stalled, sparking debate.

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The conversation around representation in Indian cinema has once again taken centre stage. This time, through the contrasting journeys of Dhurandhar 2 and Punjab 95 starring Diljit Dosanjh. While one film enjoys a wide release and strong visibility, the other continues to remain unreleased, caught in delays and scrutiny.

At the heart of this contrast lies a deeper question, how are identities, histories, and narratives being portrayed on screen today?

Dhurandhar 2 And Its Portrayal Of Sikh Identity

Directed by Aditya Dhar, Dhurandhar: The Revenge presents a narrative that has sparked conversations around its depiction of communities. The film features Ranveer Singh as a Sikh protagonist, yet the character’s identity appears shaped largely by his alignment with a specific idea of nationalism.

Within the storyline, certain Sikh characters are shown in association with criminal activities and cross-border links. At the same time, acceptance within the narrative seems tied to loyalty towards the nation, creating a layered and debated portrayal.

Punjab 95: A Story Still Waiting To Be Told

In stark contrast, Punjab 95, based on the life of human rights activist Jaswant Singh Khalra, remains unreleased in India. The film, featuring Diljit Dosanjh in the lead, has been facing certification hurdles for nearly three years.

Directed by Honey Trehan and backed by RSVP Movies, the film explores a deeply sensitive chapter in Punjab’s history, focusing on allegations of extrajudicial killings and the struggle for justice.

Censorship And The Question Of Narrative Control

The challenges faced by Punjab 95 show a broader conversation about creative freedom and censorship. Reports indicate that extensive cuts were suggested, including restrictions on key references central to the story.

Meanwhile, films that align more comfortably with mainstream narratives continue to find smoother pathways to release. This contrast has led to ongoing discussions about who shapes cinematic storytelling, and which stories are prioritised.

A Wider Industry Reflection

The contrasting trajectories of Dhurandhar 2 and Punjab 95 have reignited a larger debate within the film industry. From storytelling choices to certification processes, the discussion extends far beyond individual films.

As audiences engage with these narratives, a pressing question lingers, what defines authenticity on screen, and who decides which stories are ready to be seen?

For now, the conversation continues, reflecting a changing cinematic landscape where representation, perception, and reality often intersect.

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