The Bengal Files Sparks Political Firestorm: The release of The Bengal Files, directed by Vivek Ranjan Agnihotri, has ignited one of the biggest cultural and political debates of 2025. Positioned as the final installment in Agnihotri’s controversial “Files Trilogy”—after The Tashkent Files (2019) and The Kashmir Files (2022)—the film digs into one of the most turbulent and painful chapters in Indian history. While the film was cleared by the Central Board of Film Certification (CBFC) and released across India on September 5, its conspicuous absence from West Bengal’s cinema halls has sparked allegations of censorship, political intimidation, and democratic suppression.
What might have been a straightforward cinematic release has now escalated into a national-level controversy, with political parties, filmmakers, historians, and civil society weighing in.
The Film and Its Themes
The Bengal Files is not merely a film—it is an attempt to bring into mainstream discourse the tragic and contentious history of Bengal in the mid-1940s. Agnihotri frames his narrative around the 1946 Direct Action Day riots in Kolkata and the Noakhali massacres, events that left deep scars on Bengali Hindus and altered the demographic, political, and cultural landscape of Bengal.
Interwoven with this historical narrative is a contemporary subplot set in 2025, where a CBI officer, played by Darshan Kumaar, investigates the mysterious disappearance of a tribal girl. This storyline serves as a narrative bridge, connecting past communal strife with present-day anxieties over law, justice, and identity.
The ensemble cast includes Mithun Chakraborty, Pallavi Joshi (who also produced the film), Simratt Kaur Randhawa, and Darshan Kumaar, among others. Interestingly, actor Saswata Chatterjee, despite playing a prominent role, later distanced himself from the film after realizing the scale of political storm it had generated.
Read more on the historical backdrop of Direct Action Day
Learn about the Noakhali riots of 1946
The Bengal Files Sparks Political Firestorm: The Trailer Launch Controversy
The first signs of trouble emerged even before the film’s release. A planned trailer launch in Kolkata was abruptly stopped by the city police, citing the absence of an amusement license. Agnihotri and Pallavi Joshi reacted sharply, calling it an “assault on democracy” and accusing the West Bengal government of deliberately attempting to block the film’s reach.
In a strongly worded public statement, Agnihotri argued that the state had no business interfering with the lawful release of a CBFC-cleared film. He appealed directly to Chief Minister Mamata Banerjee to uphold constitutional freedoms and prevent any intimidation of theatre owners.
This episode set the stage for a larger clash, signaling that the film would not have a smooth release in Bengal.
The ‘Unofficial Ban’ in West Bengal
When the film finally released across India on September 5, cinegoers in West Bengal discovered they had no access to it. Not a single multiplex or standalone theatre in the state screened The Bengal Files.
The producers alleged that theatre owners were being intimidated into refusing to show the film. According to Vivek Agnihotri, owners were told their properties could be vandalized if they went ahead. Pallavi Joshi, in an emotional open letter to President Droupadi Murmu, described the situation as an “unofficial ban”—a state of affairs where no official notification exists, yet the film remains absent due to systemic pressure.
This allegation has since become the center of debate: is Bengal witnessing state-sponsored suppression of cinema, or are theatre chains exercising independent business judgment?
Political Reactions: BJP vs. TMC
The controversy quickly took a political turn.
- BJP’s Stand: The Bharatiya Janata Party (BJP) has accused the ruling Trinamool Congress (TMC) of silencing history. BJP leaders, including Leader of Opposition Suvendu Adhikari, claimed that if the film could not reach Bengal’s theatres, it would reach people “on their phones.” Amit Malviya, head of the BJP’s IT Cell, alleged that the government was attempting to erase the memory of Bengali Hindus who had suffered during 1946.
- TMC’s Response: The Trinamool Congress categorically denied the existence of any ban. Senior party leaders argued that the state government had not issued any order against the film and that the decision lay entirely with private theatre owners and distributors. TMC spokespersons dismissed the BJP’s claims as political opportunism designed to inflame communal sentiments ahead of upcoming elections.
This political tug-of-war has only intensified the controversy, making The Bengal Files less about cinema and more about competing ideologies.
Appeal to the President
Producer Pallavi Joshi’s open letter to President Droupadi Murmu has added another layer to the unfolding drama. In her letter, she emphasized that she was not seeking special privileges but was pleading for the protection of artistic freedom.
Joshi wrote that the film represents not just a commercial project but a cultural responsibility—to bring suppressed stories to light. She urged the President to intervene to ensure that cinema remains a free space for storytelling, unencumbered by political interference or fear-driven self-censorship.
Box Office Performance
While Bengal missed out on the theatrical release, The Bengal Files did open in other parts of India. However, its box office collections were modest, especially when compared with competing films. On the same weekend, Tiger Shroff’s high-octane Baaghi 4 dominated the domestic market, while Hollywood’s horror franchise entry The Conjuring: Last Rites captured international headlines.
Many trade analysts argue that the absence of Bengal—a significant market with Kolkata as a major film hub—adversely impacted the film’s initial revenue. Yet, they also point out that controversies like this often fuel longer-term interest, especially when films are later released on OTT platforms.
The Historical Sensitivity Question
At the heart of the issue lies a sensitive question: how should cinema approach historical events marked by communal violence?
Agnihotri’s framing of the 1946 riots as a “genocide” has been criticized by some historians, who argue that such terminology oversimplifies a complex period shaped by political, social, and colonial dynamics. Others, however, welcome the film as an overdue recognition of the suffering endured by Bengali Hindus.
Even within the film industry, opinions remain divided. Actor Saswata Chatterjee, for example, distanced himself from the project, stating that his role was purely fictional and that he had no control over the larger narrative or political interpretations. Similarly, the family of Gopal Mukherjee, a controversial historical figure portrayed in the film, accused the makers of distorting facts without seeking permission.
Further reading: Communal tensions during Partition
Legal Ramifications
The producers of The Bengal Files are now reportedly considering legal action. A possible writ petition could be filed to seek protection against alleged coercion of theatre owners. If pursued, the case could set a legal precedent: can indirect political pressure be treated as censorship? And if a film has CBFC clearance, can the state—or even powerful interest groups—be held accountable for obstructing its screening?
Legal experts suggest that while courts have traditionally been reluctant to force theatres to show films, evidence of intimidation could tilt the scales.
Implications Beyond Bengal
The Bengal Files controversy raises larger national questions:
- Art vs. Politics: Should cinema be judged as art or treated as a political instrument?
- Freedom of Expression: If films cleared by the CBFC can still be suppressed in practice, what does it mean for the freedom of expression guaranteed by the Constitution?
- Precedent for Future Releases: If Bengal’s theatres can self-censor under political pressure, will this embolden similar acts elsewhere?
The debate is no longer confined to Bengal—it is about the future of cinema in a democracy.
Conclusion
The Bengal Files has turned into much more than a film—it is now a flashpoint in India’s ongoing debate over history, politics, and free speech. For its makers, the absence of screenings in Bengal represents an assault on democratic rights. For its critics, the film is a politically charged project that could inflame communal divisions.
As of now, the people of West Bengal remain deprived of the chance to watch the film on the big screen. Whether the situation changes through legal intervention, public pressure, or digital release remains to be seen. But one thing is certain: the conversation ignited by The Bengal Files will resonate far beyond cinema halls, shaping how India negotiates the line between history, art, and politics.
More on the film and its background
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