In recent times, Indian cinema has seen the emergence of films that aim to portray real-life events with bold, unapologetic narratives, The Kashmir Files and The Kerala Story being key examples. These films did not shy away from presenting themselves as based on real incidents and sparked vital national conversations. However, the recently released Malayalam movie Empuraan, written by Murali Gopy and directed by Prithviraj Sukumaran, takes a starkly different and deeply concerning route. Despite being a work of fiction, as declared in its disclaimer ‘Empuraan’ crosses a dangerous line by glorifying terrorism and weaving a highly biased narrative that could stoke communal tensions. The character “Zayed Masood,” portrayed by Prithviraj, is eerily reminiscent of known terrorist Masood Azhar, the mastermind of the 1999 Kandahar hijacking and the founder of Jaish-e-Mohammed (JeM), a Pakistan-based terror outfit designated as a terrorist organisation by the United Nations, India, the United States, and other global bodies. In the film, Zayed is depicted as a victim of the post-Godhra riots, who receives terror training in a JeM camp in Pakistan. The portrayal is problematic not only because it appears to justify terrorism as a form of revenge, but it dangerously suggests that such acts are a legitimate response to communal violence. The film repeatedly shows terror leaders preaching hatred towards India, calling Hindustan the enemy, and training recruits for Jihad, blurring the line between cinematic fiction and ideological propaganda. What is even more disturbing is that Empuraan presents these views with a degree of empathy and validation. Rather than condemning acts of terrorism or the ideologies that fuel them, the movie seems to rationalise them as retaliation against an allegedly oppressive state. The narrative selectively paints Hindus as perpetrators and Muslims as victims, completely ignoring the complex, tragic realities of the 2002 riots, where Hindus suffered immeasurable loss. One of the most disturbing moments in Empuraan comes when the antagonist brazenly declares that Kerala’s 600-kilometer coastline and its four international airports can be exploited for drug trafficking, an alarming suggestion that borders on incitement. In an even more disturbing threat, the character boasts that if opposed, Home Minister Amit Shah would bomb the Mullaperiyar Dam, a centuries-old, highly sensitive structure whose safety has long been a point of concern and political debate. The villain claims that such an act would drown the entire state of Kerala, effectively wiping out its people. The Home Minister is portrayed as the king pin for all catastrophes. During its initial censoring, a scene reportedly showing disrespect to the national flag was removed, a clear red flag indicating the film’s original direction. Moreover, the movie casts aspersions on the country’s central intelligence agencies, NIA, IB, and NSA and even hints at a larger conspiracy to assassinate the highest office bearers, including Home Minister Amit Shah and National Security Advisor Ajit Doval. This is not just creative liberty; this borders on criminal incitement. A scene in the movie shockingly depicts the killing of an Intelligence Bureau officer, hinting at a planned attack on national leaders. Such imagery, when fed to a large audience under the guise of fiction, becomes a potential breeding ground for terrorism and war against state. Beyond the storyline, the timing and funding of the film also raise eyebrows. Post-COVID, Prithviraj’s financial growth has been exponential, with property acquisitions reportedly worth crores. This demands scrutiny, especially when the content of the movie includes subtle and not-so-subtle jabs at the Indian State and its institutions.
There is historical precedence in Kerala for films indirectly influencing violent acts. After the release of Drishyam, there were real-life incidents mimicking the film’s plot. More recently, a man named Afan killed five family members using a hammer, echoing the violence depicted in Marco. Coupled with Kerala’s worrying trend of youth recruitment into extremist organisations like ISIS and JeM, such films could be the spark in an already volatile atmosphere. It is imperative for the government and relevant agencies to investigate not just the content of Empuraan, but also its funding sources and intent. What, or who, motivated the director to create such a dangerous conspiracy? When cinema stops reflecting society and starts actively shaping dangerous ideologies, it ceases to be art, it becomes a tool of radicalism and extremism. India is a democracy that values freedom of expression. But that freedom does not extend to glorifying terrorism, inciting communal hatred, or maligning national institutions. Prithviraj must be held accountable for crossing that line.
