Why the Punjabi film industry says ‘no more' to Pakistani collaborations

India Today

16-06-2025

The laughter that once bridged borders has now curdled into outrage. Just days after the Pahalgam terror attack and India's retaliatory Operation Sindoor, Pakistani actor Iftikhar Thakur—best known in India for his comic roles in the Chal Mera Putt franchise—made a casually venomous remark about India on a Pakistani TV show. It wasn't satire. It wasn't clever. It was incendiary. And it sparked an unusually swift and unified response from the Punjabi film industry—a historic and resolute 'enough'.For an industry often accused of fence-sitting during moments of national crisis, this moment signals a decisive shift. Leading production houses like Rhythm Boyz Entertainment and Humble Motion Pictures—once champions of cross-border cultural collaboration—have begun reassessing scripts, recasting actors and reconsidering their overseas distribution strategies, especially in diaspora-rich markets like Canada, the UK and Australia.advertisementBut this reckoning goes beyond one actor's inflammatory comments. It reflects a deeper disillusionment with what Indian intelligence circles describe as a long-standing pattern of cultural propaganda directed from across the border—spearheaded by Pakistan's Inter-Services Public Relations (ISPR), the media wing of its military.'The ISPR doesn't merely issue press notes,' says a senior Indian intelligence official. 'It shapes cultural narratives, funds productions and weaponises entertainment. What may look like harmless comedy or song is often engineered to subtly undermine Indian institutions and reinforce divisive ideologies.'
Over the years, ISPR-backed content—television dramas, music videos, films, even stand-up routines—has been quietly advancing strategic messaging. What was once dismissed as an overactive imagination is gaining credence in light of inflammatory comments from Thakur and his co-actor Nasir Chinyoti. The latter, who deleted a provocative Facebook post after a backlash, was reportedly in talks for two Punjabi-language films—both now shelved indefinitely.advertisementUntil now, the Punjabi film industry had embraced Pakistani artists in an effort to appeal to the global Punjabi-speaking audience. Films like Chal Mera Putt and Annhi Dea Mazaak Ae capitalised on cultural commonalities—language, humour and shared nostalgia—while sidestepping political minefields. In the recent past, several Punjabi stars had travelled to Pakistan to promote their work and did joint shows across the world.These collaborations, insiders admit, came with quiet constraints: avoiding politically sensitive topics, steering clear of Kashmir, and leaning into neutral, apolitical content. 'We were playing it safe,' says one prominent screenwriter. 'Over time, however, this safety began to feel like self-censorship.'What has added a layer of unease now is how some of these cross-border engagements were benefitting an unofficial, underground pipeline of influence. Though Pakistan imposed a formal ban on Indian films in 2016, Punjabi-language cinema had quietly found a way in—particularly through 'unofficial' screenings in cities like Lahore, Faisalabad and Rawalpindi. Some recent reports reveal how, despite the ban, Indian Punjabi films continued to be screened in theatres across the border to full houses, albeit under the radar. Often booked under neutral category codes to avoid scrutiny, with Pakistani agencies deliberately looking the other way, these screenings gave Punjabi producers access to Pakistan's large Punjabi-speaking market—without any accountability regarding content control or revenue flow.advertisementThis loophole, say Indian security officials, has been fertile ground for ISPR's cultural manipulations. Funding, distribution permissions and backstage facilitation for these unofficial screenings allegedly came with strings attached—ranging from content sanitisation to subtle ideological alignments. Indian intelligence agencies have reportedly flagged this quiet infiltration in a 2024 Ministry of Home Affairs dossier, which also raised concerns about unregulated OTT channels and diaspora-linked production houses amplifying separatist themes.Canadian collaborators—particularly those based in Toronto and Vancouver, where cultural production often intersects with diaspora activism—are also rethinking casting decisions involving Pakistani nationals. A recent wave of intelligence briefings and growing security concerns have cast a long shadow over co-productions.Even Pakistani artists who have steered clear of political controversy are feeling the impact. Imran Ashraf, who was to star opposite Jassie Gill in Ehna Nu Rehna Sehna Nai Aunda, finds himself sidelined. Hania Amir, once considered for a lead role in Sardaar Ji 3 alongside Diljit Dosanjh, may see her Bollywood aspirations evaporate.This hard stop comes at a time when Punjabi cinema is enjoying a creative and commercial upswing. Big-budget releases like Mastaney and Carry on Jatta 3 have delivered box-office success, critical praise and international acclaim. But the shadow of political contamination now looms large, forcing producers to weigh the benefits of mass appeal against the risks of compromised cultural sovereignty.advertisementIronically, this moment of rupture may spark artistic renewal. With fewer self-imposed restrictions, filmmakers now have the freedom to explore weightier themes—identity, justice, conflict—without tiptoeing around diplomatic sensitivities. 'Maybe it's time we stopped outsourcing punchlines and started owning our voice,' one director suggests.As Punjab's cultural leaders chart a new course, a quiet but firm consensus is emerging: art should build bridges, not carry bullets; humour should unite, not humiliate. And if that means parting ways with once-familiar collaborators across the border, then so be it.Subscribe to India Today Magazine