Article 370: Yami Gautam’s Political Thriller Faces Gulf Ban Amidst Global Film Industry Dialogues

‘Article 370’ Yami Gautam’s Political Thriller faces Gulf Ban

Amidst global discussions on censorship and film accessibility, the film industry faces challenges, prompting the need for prioritizing dialogue and collaboration to nurture an inclusive cinematic landscape.

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Yami Gautam takes on the role of Zooni Haksar, an intelligence officer, in the film set in the valley, exploring the aftermath of the revocation of Article 370 in Jammu and Kashmir.

Yami Gautam’s ‘Article 370’ Faces Surprising Gulf Ban

The film delves into universal human experiences against a socio-political backdrop, addressing themes of identity, struggle, and resilience. Prime Minister Narendra Modi mentioned the film in a speech, stating its potential to provide correct information about Article 370.

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Despite Bollywood’s significant contributions to the Gulf’s entertainment industry and the region’s thriving tourism, the unexpected ban on films like Article 370 highlights a concerning trend of censorship and limited cultural exchange.

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The film business faces difficulties in the midst of international talks about censorship and film accessibility. As a result, it is important to prioritize communication and cooperation in order to foster an inclusive cinematic landscape.

In the valley-set film, which explores the consequences of Article 370’s removal in Jammu and Kashmir, Yami Gautam plays intelligence officer Zooni Haksar.

The film explores themes of identity, suffering, and resilience as it explores common human situations against a sociopolitical setting. Speaking about the movie in a speech, Prime Minister Narendra Modi said it might give accurate facts regarding Article 370.

The unexpected ban on movies like Article 370 exposes a worrying trend of restriction and limited cultural interchange, despite Bollywood’s substantial contributions to the Gulf’s entertainment industry and the region’s burgeoning tourism business.

Earlier, Hrithik Roshan and Deepika Padukone’s film ‘Fighter’ faced a similar fate, being denied release in all Gulf countries except the UAE.

In response to PM Modi’s comments, Yami announced her accolade on Instagram and said she hoped to go above and beyond in telling the gripping tale on screen. The film, which is directed by Aditya Suhas Jambhale, also stars Kiran Karmarkar, Arun Govil, and Priyamani.

Article 370’ movie review:

As the election season gains momentum, filmmakers are entering the political arena with Article 370 leading the charge. This film serves as a government-backed explainer on the Kashmir policy that resulted in the abrogation of Article 370 on August 5, 2019.

While the events are recent, the film aims to bring the audience into the fold of understanding the decisions leading to the end of Jammu & Kashmir’s special status before the upcoming elections. Despite the long-term impact yet to unfold, the film rushes to present it as a masterstroke, akin to a polished PowerPoint presentation with a compelling background score.

Director Aditya Suhas Jambhale efficiently connects the dots often lost in the noise of news debates. Released strategically, similar to Uri in the election year of 2019, Article 370, co-produced and co-written by Aditya Dhar, features Yami Gautam as intelligence officer Zooni Haksar. Zooni, a Kashmiri Pandit with a personal grudge against the corrupt political leadership, strategically propels the “us vs them” narrative.

The film navigates historical events in line with the ruling party’s political narrative, emphasizing Jawaharlal Nehru’s flawed alliance with Sheikh Abdullah but staying silent on the Bharatiya Janata Party’s coalition government with Jammu & Kashmir People’s Democratic Party.

Unlike Uri’s jingoistic approach, Article 370 demands nuance, and Jambhale resists tonal exaggeration. The film delves into outdated methods of negotiating with separatists and double agents, highlighting the conflict economy and moral ambiguity of the separatist movement.

However, in demonizing Kashmiri leadership, the film inadvertently sheds light on Delhi’s role, suggesting a preference for technicality over constitutional morality on the Kashmir issue and human rights violations as an option for its officers.

While seasoned performers like Raj Zutshi and Divya Seth deliver diabolic portrayals of political figures, the film falls short in depicting Kashmiris as individuals with flesh and blood. It portrays them as opportunistic parasites for whom Article 370 was a matter of faith.

The film’s attempt to showcase two women, played by Yami and Priyamani, in control of their emotions leading the charge is interesting. Yet, as the narrative focuses primarily on these two characters, it becomes increasingly simplistic, reminiscent of one-man armies prevalent in Bollywood.

It appears the makers aim to bypass democratic ethos even in the dramatized segments, raising questions about the film’s underlying agenda.