How a Bollywood filmmaker became a polarizing figure in India's cultural and political landscape

Countries & Cities · Published 15 October 2026 Swipe more like this →

In short: Vivek Agnihotri is a prominent Indian director whose career shifted from commercial cinema to politically charged films. While his work has achieved significant box-office success and national recognition, it has also sparked intense controversy, protests, and debates regarding his influence, his public statements, and his role in modern Indian discourse.

Born in Gwalior in 1973, Vivek Agnihotri began his professional life in advertising before transitioning to television and eventually Bollywood. His early directorial efforts, such as the 2005 thriller Chocolate, struggled to find critical or commercial success. For years, his projects remained largely unremarkable until the 2019 release of The Tashkent Files, which earned him a National Film Award for Best Screenplay. This momentum culminated in the 2022 blockbuster The Kashmir Files, a film depicting the exodus of Kashmiri Hindus that became one of the highest-grossing Indian films of that year.

Agnihotri’s work often intersects with his political views. In his 2018 book, Urban Naxals, he introduced the term to describe intellectuals and media figures he alleges are working to undermine the Indian state. While some political figures have endorsed his perspective, critics argue the term is vague rhetoric designed to silence dissent. His films, including Buddha in a Traffic Jam and The Vaccine War, have frequently drawn scrutiny for their content, leading to protests at universities and public clashes. His 2025 release, The Bengal Files, faced further criticism regarding its screening practices.

Beyond his filmography, Agnihotri is a polarizing figure on social media. Fact-checkers have repeatedly identified him as a source of misleading content, including false claims about historical figures and doctored images. He has also faced legal and personal controversies, ranging from defamation notices sent to political leaders to allegations of sexual harassment on film sets, which he has denied. Despite these disputes, he maintains official roles, serving on the Central Board of Film Certification and as a cultural representative for the Indian Council for Cultural Relations, reflecting his complex and influential position in contemporary India.

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