Renowned Controversial Film-Maker Vivek Agnihotri Justified Himself By Saying He Makes Agenda-Driven Films And Not Propoganda Films
By
Tanveer Zaidi (Actor-Author-Educationist)
Renowned Director Vivek Agnihotri told Bollywood Reporter, ” I am busy making my trilogy on truth, on justice, and life, with The Tashkent Files (2019), The Kashmir Files (2022), and the upcoming Delhi Files:
The Bengal Chapter. He agrees, ” I make ‘agenda-driven’ films and not propaganda-oriented films.”
He adds that, unlike other filmmakers such as Ace Film-Makers Karan Johar, Vidhu Vinod Chopra, and the latter.e
Yash Chopra, agenda is that of making socio-political films.
Vivek says, “Does Karan Johar not make agenda-driven films? He says family is the biggest thing, is that not an agenda? Yash Chopra Ji made films on ‘love is everything,’ but is that not an agenda?
I love Karan, he’s a wonderful director and producer.
I don’t have any problem with him. But he’s established himself in the world of trends; everyone in his films follows trends, that’s his life’s agenda,” said Agnihotri.
But, if we minutely observe Vivek’s story telling we conclude that his films are propaganda-oriented, and that’s why Vivek Agnihotri is often criticized as a propaganda filmmaker.
His movies are highly fueled with political narratives and selective presentation of events, often viewed as biased and lacking nuance.
Some also point to his track record of sharing misleading information on social media, further fueling the perception of him as a propagandist.
Vivek Agnihotri’s films, particularly The Kashmir Files, are known for their strong pro-government stances and portrayals of events in Kashmir, often presenting a one-sided narrative that critics have described as inflammatory and devoid of nuance.
His films tend to emphasize certain aspects of events while ignoring others, leading to a distorted view of reality.
Vivek Agnihotri has been caught sharing fake news and misleading content on social media, contributing to the perception that he is promoting propaganda rather than objective journalism.
Critics argue that Agnihotri’s films often lack the complexity and depth needed for a balanced and informed portrayal of complex issues, particularly those related to sensitive topics like communal violence.
His films lack proper study and research that he should have done before making a film on sensitive subjects.
In essence, the perception of Agnihotri as a propaganda filmmaker arises from his consistent and often controversial presentation of political narratives, his selective use of information, and his history of sharing misleading content.
