The upcoming Punjabi film Sardaar Ji 3 has landed in hot water even before its release. The moment the trailer dropped on June 22, the internet went into a frenzy, not because of the film’s storyline or Diljit Dosanjh’s return, but because the female lead is Pakistani actress Hania Aamir. Given the recent Pahalgam terror attack in April that claimed the lives of Indian soldiers, many netizens criticized the film’s makers for casting a Pakistani artist during such a sensitive time. Some even called for Diljit to be dropped from future Indian patriotic projects, including Border 2.
Amid the rising backlash, Diljit shared a cryptic Instagram Story that read, “Censored before release?” sparking further speculation. Was this a commentary on the ongoing drama around his unreleased biopic Punjab 95? Or was it a subtle way to address the noise around Sardaar Ji 3? Either way, the controversy escalated quickly. The Federation of Western India Cine Employees (FWICE) condemned the casting decision, appealing to the CBFC to deny certification and even urging the government to revoke the passports of those involved.
As the outrage grew louder, the producers took a bold step, they decided to release the film overseas only, completely skipping the Indian theatrical release. This move confused many fans and disappointed Punjabi cinema lovers in India, who had been waiting to see Diljit back on screen.
However, not everyone was quick to judge. Director Imtiaz Ali, who worked with Diljit on Amar Singh Chamkila, came out in strong support of the actor. Speaking to NDTV, Imtiaz called Diljit “a son of the soil” and said the actor ends every concert with the Indian flag and the proud declaration, “Main hoon Punjab.” He pointed out that casting is rarely in the actor’s hands and emphasized that Diljit has always worn his patriotism on his sleeve.
Veteran writer and lyricist Javed Akhtar also spoke up, offering a more empathetic perspective. He reminded the public that the film was shot long before the Pahalgam attack and questioned the logic of banning an Indian production after so much money and effort had already been invested. “Bechara didn’t know this would happen,” he said, highlighting how decisions made in the past are now being unfairly judged in the present. He also noted that punishing the film would only hurt Indian investors, not Pakistan.
So what started as a horror-comedy flick has turned into a heated cross-border controversy, raising questions about art, nationalism, timing, and public perception. The incident is a classic example of how creative work can quickly get entangled in geopolitical issues. At its heart, this isn’t just about one film or one actor, it’s about how we choose to respond when art and politics collide.
