By Tanveer Zaidi (Actor–Author–Educationist)
Globally celebrated Punjabi icon Diljit Dosanjh has unexpectedly found himself at the heart of a heated controversy following the casting of Pakistani actress Hania Aamir in his latest film, Sardaar Ji 3.
While the film successfully released overseas on June 27, its Indian release has hit a roadblock, with the Central Board of Film Certification (CBFC) withholding certification.
Though the board has not officially stated the reason, it’s widely believed that Hania Aamir’s nationality — amid tense Indo-Pak relations following the Pahalgam terror attack in April — is behind the decision.
With no clearance forthcoming, the producers decided to release the film internationally, where Diljit’s Punjabi films enjoy tremendous popularity.
Thanks to his strong overseas fan base, Sardaar Ji 3 is expected to perform well abroad, potentially recovering production costs through global box office earnings, music rights, and government subsidies, particularly from the UK, where Punjabi cinema continues to thrive.
However, the situation has been further inflamed by the All India Cine Workers Association (AICWA), which has voiced strong opposition even to the film’s overseas release. Their demands to block the film globally have drawn widespread criticism for being unreasonably aggressive and counterproductive, especially coming from within the industry itself.
What makes this stance more perplexing is that Diljit Dosanjh, far from being a controversial figure, is a national and international cultural ambassador.
He has played a pivotal role in taking Indian, particularly Punjabi, music and cinema to global platforms, including a historic performance at Coachella, making him the first Punjabi artist to do so.
His global recognition has only grown further with appearances on international talk shows like “The Tonight Show Starring Jimmy Fallon.”
For a film association to demand a ban on a completed film — especially when the film’s production predates the Pahalgam incident — not only defies logic but also ignores the fundamental realities of filmmaking.
Films often take months, even years, to complete. To penalize producers for casting choices made long before a geopolitical flashpoint occurred is both unfair and short-sighted.
Should a filmmaker abandon an entire project, along with all the investment and labour involved, for completely unforeseeable circumstances?
Such expectations from the AICWA are not just unrealistic — they reflect a worrying lack of understanding of the industry they claim to represent.
To escalate matters further, the union has now threatened to blacklist Diljit Dosanjh, discouraging others from working with him in the future.
This raises an even more troubling question: Is Diljit, who has tirelessly promoted Indian culture on the world stage, suddenly being seen as an outsider in his industry?
Diljit Dosanjh’s success story is built on sheer talent, relentless dedication, and a deep connection with his audience.
Known for his distinct blend of traditional Punjabi music and modern beats, his hit albums like Smile (2005) and Chocolate (2008) cemented his place as a music icon.
In cinema, he has delivered memorable performances in blockbusters like Jatt & Juliet and the poignant Punjab 1984, while maintaining his Punjabi identity and signature turban even in Bollywood.
Beyond his musical and cinematic success, Diljit has carved out a unique digital persona — his humour, humility, and authentic engagement with fans on social media make him one of the most relatable and beloved celebrities of our time.
In summary, Diljit Dosanjh isn’t just an artist — he’s a cultural bridge connecting India to the global stage. The backlash against Sardaar Ji 3 — and Diljit himself — reflects a dangerous overreach rooted in emotional rhetoric rather than industry sensibility.
If Indian cinema hopes to thrive globally, it must learn to support its artists, not punish them for circumstances beyond their control.