BY NAMITA DOGRA SUDAN
Following the devastating terror attack in Pahalgam on April 22 that claimed the lives of 26 tourists, India is reeling with grief, and the shockwaves have rippled into Bollywood. Two films, Imran Hashmi’s Ground Zero and Fawad Khan’s Abir Gulaal, now stand as cultural flashpoints, caught in the emotional tide of a nation in mourning.
Imran Hashmi’s Ground Zero: Tragedy as Timely Marketing
Originally a low-profile release, Ground Zero—based on the 2001 Kashmir terror attacks—has surged into the spotlight. In the aftermath of Pahalgam, the film’s promotional team dropped a new trailer spotlighting Kashmir terrorism, echoing the horror of the present tragedy.
With its release slated for April 25, the timing is controversial yet potent. Critics call it a “bitter oxymoron,” while others argue the film’s narrative—rooted in real events—has now acquired a haunting immediacy. Industry watchers suggest Ground Zero may strike a deeper emotional chord with audiences seeking catharsis through art that reflects national pain.
Fawad Khan’s Abir Gulaal: Collateral in a Cultural Conflict
Meanwhile, Fawad Khan’s Bollywood comeback Abir Gulaal, scheduled for May 9, is caught in the crossfire of heightened nationalist sentiment. Film bodies like the Federation of Western India Cine Employees (FWICE) and political outfits such as the Maharashtra Navnirman Sena (MNS) have publicly opposed the film, citing Khan’s Pakistani nationality.
FWICE President BN Tiwari declared, “We will not let Abir Gulaal release in India,” while MNS’ Ameya Khopkar likened the project to “rotten mangoes” being dumped. The outrage reflects a resurfacing of anti-Pakistan sentiment that gained traction post-Uri attack in 2016.
It’s worth noting that the Bombay High Court officially lifted the informal ban on Pakistani artists in 2023, technically allowing their return to Indian screens. However, public sentiment rarely follows court orders—and this time is no different.
Fawad Khan issued a statement on Instagram following the Pahalgam attack: “Deeply saddened to hear the news of the heinous attack in Pahalgam. Our thoughts and prayers are with the victims of this horrifying incident.” But instead of offering comfort, his words sparked further outrage. Social media users were quick to point out that his statement made no mention of the terrorists behind the attack—an omission that many viewed as deliberate and insensitive.
The backlash has only intensified following the Indian government’s newly imposed directive after the attack, asking all Pakistani citizens residing in India to return to their country. With this added political tension, a pressing question now hangs over Abir Gulaal: Even if the film somehow manages to release, would Fawad Khan even be allowed—or willing—to remain in India for its promotion?
As grief turns political and cinema becomes a proxy battlefield, these films embody more than entertainment—they reflect the nation’s struggle with grief, identity, and ideology. Ground Zero may find itself embraced as a narrative of resilience, while Abir Gulaal becomes emblematic of the persistent friction between art and nationalism.
