Kolkata : Filmmaker Vivek Ranjan Agnihotri is facing a barrage of legal challenges in West Bengal, where multiple First Information Reports (FIRs) have been filed against him, his wife Pallavi Joshi, and producer Abhishek Agarwal over their upcoming film, The Bengal Files. These FIRs, initiated by members of the ruling Trinamool Congress (TMC), allege that the film’s teaser promotes communal hatred and could disrupt harmony in the state. Such actions raise serious concerns about the state’s attempt to stifle artistic expression and suppress narratives that challenge the establishment. This report stands in solidarity with Agnihotri, urging society to recognize the broader implications of this clampdown on creative freedom.
Agnihotri, known for his thought-provoking films like The Tashkent Files and The Kashmir Files, has built a reputation for unearthing historical truths through meticulous research. The Bengal Files, part of his “Files” trilogy, focuses on the 1946 Direct Action Day and Noakhali riots, events Agnihotri describes as a “Hindu genocide.” The film’s teaser, which includes imagery like a burning Durga idol, has sparked controversy, with TMC members claiming it insults Bengal’s traditions. However, Agnihotri and his team assert that the film is rooted in extensive research, aiming to bring suppressed historical chapters to light. The Calcutta High Court has granted an interim stay on these FIRs until August 26, 2025, signaling judicial acknowledgment of the need to protect creative expression. Yet, the persistence of fresh FIRs despite the court’s ruling suggests a targeted effort to silence the filmmaker.
The filing of FIRs based solely on a teaser sets a dangerous precedent. It undermines the principle of free speech enshrined in India’s Constitution and threatens the ability of artists to tell stories that challenge dominant narratives. If governments can harass filmmakers with legal actions before a film’s release, the creative industry risks becoming a tool of state propaganda rather than a platform for truth and dialogue. Agnihotri’s resolve to release the trailer in Kolkata, despite these pressures, reflects his commitment to fearless storytelling. He has publicly stated, “Nobody can silence the truth,” emphasizing the importance of exposing historical realities to younger generations.
Bollywood’s silence on this issue is disheartening. The industry, often quick to champion creative freedom, appears divided by ideological lines, leaving Agnihotri to face this battle alone. Society must rally behind him, recognizing that his fight is not just for The Bengal Files but for the right of every artist to speak truth to power. By supporting Agnihotri, we defend the soul of storytelling and ensure that freedom of expression remains a cornerstone of our democracy. Let us stand with him to protect the right to narrate our history without fear.