Dia Mirza Critiques “Jingoism” in Cinema Amid Dhurandhar 2 Success and IC 814 Comparisons
As the spy-action thriller Dhurandhar 2: The Revenge continues its unstoppable run—crossing 1,200 crore in just ten days—actress Dia Mirza has sparked a conversation about the current state of Indian storytelling. In a candid interview, she addressed the starkly different receptions met by the “chest-thumping” Dhurandhar franchise and her own 2024 series, IC 814: The Kandahar Hijack.
A Tale of Two Narratives
Speaking on The Namrata Zakaria Show, Mirza reflected on the backlash faced by IC 814, a series directed by Anubhav Sinha based on the real-life 1999 hijacking. While Dhurandhar 2 is being celebrated globally for its aggressive patriotism, Mirza noted that her project was heavily criticized for attempting a more nuanced portrayal of a historical tragedy.
“The show was called out for humanising all the characters, including the terrorists,” Mirza explained. “I guess it is because we are celebrating jingoism too much now. We adore it. There is a trend to enjoy and celebrate jingoism, which our show is not.”
No Regrets for Balanced Storytelling
Despite the controversy, the actress stood firmly by the creative choices made in the mini-series. She described IC 814 as a project that offers a balanced view, allowing the audience to see every side of the event as it happened.
“I don’t regret it,” she stated, emphasizing that she views her work as a medium for reflection rather than just provocation.
The Responsibility of the Artist
Mirza, a self-proclaimed “Shabana Azmi bhakt,” spoke passionately about the political nature of art. She believes that if art isn’t used to improve lives or challenge perspectives, it loses its purpose.
“I am political, and I have a stand,” she added. “And yes, I will convey that through the choices I make in the stories I tell.”
The Cost of Speaking Up
The actress didn’t shy away from the personal toll of taking a stand in today’s digital climate. She acknowledged the regular trolling and intimidation faced by artists who do not “tow the line” or agree with mainstream expectations.
By highlighting the contrast between the record-breaking Dhurandhar 2 and the more somber IC 814, Mirza has opened a broader dialogue on whether modern cinema is prioritizing spectacle and sentiment over complexity and historical accuracy.
