The Kashmir Files Movie Download 480p 720p 1080p Filmywap: The Kashmir Files is a heartwarming story of the pain, suffering, struggle and trauma of Kashmiri Pandits, seen through the eyes of the protagonist Krishna.
The film questions eye-opening facts about democracy, religion, politics and humanity.
Storytelling of sensitive subjects requires more understanding than sensitivity.
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|Movie Name:||The Kashmir Files|
|Directed By:||Vivek Agnihotri|
|Release Date:||11 March 2022|
In “The Kashmir Files”, director Vivek Agnihotri has an abundant direction sense to make it an impressive watch, but is missing the sensibility to make it clever enough to be remembered for times to come.
On the grand landscape of Hindi cinema, the exodus of Kashmiri Pandits deserves a far stronger treatment than Vidhu Vinod Chopra’s ‘Shikara’.
The film isn’t exactly Schindler’s List emulation. It is daring enough to go beyond the ordinary and draw parallels with the Holocaust of Jews by the Nazis during World War II.
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As I wrote above, it is understandable but lacks sensitivity. The film is not disappointing at all.
This is enough for its effort out of the box. Despite the story’s potential, the film has very few goosebumps.
Actor Darshan Kumar’s transition as JNU student Krishna Pandit appears organic, believable and noteworthy.
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Radika Menon as liberal professor fails to induce a sense of audience gratification. The film’s casting could’ve been worked out for better.
The front at which the film stands out is the research that has gone into making of the film.
Whether it’s about the significance of Lord Shiva in the Kashmiri Pandit community or the well-documented tragedies that the community suffered in the 1990s.
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Once upon a time, writer-director Vivek Agnihotri told us a hate story; This week, he has done another. Like a revisionist docudrama tracking the tragic exodus of Kashmiri Pandits from their homeland in the 1990s, The Kashmir Files is essentially a battle of narratives, where Agnihotri is determined to come up with a version of events.
Using some facts, some half-truths and many distortions, it promotes an alternative view of the Kashmir issue, which aims not only to incite… but to incite.
The pain of Kashmiri Pandits is real and should be expressed in popular culture, but it deserved a more subtle, more objective rather than the ‘us vs them’ worldview promoted by Agnithotri for over 170 minutes.
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The film is based on the testimonies of people suffering generations from militancy in the state, and presents the tragic escape as a full-scale genocide, akin to the Holocaust, that was deliberately kept away from the rest of India by the media. . , the ‘intellectual’ lobby and the then government because of their vested interests.
Agnihotri has improved upon the form adopted in The Tashkent Files, where he chronicles the death of former Prime Minister Lal Bahadur Shastri through memories and flashbacks, with the narrative going back and forth over time.
Here, Krishna (Darshan Kumar), a Kashmiri Pandit and a student of a prominent university based at Jawaharlal Nehru University, is convinced by his ‘liberal’ teacher Radhika Menon (Pallavi Joshi) that the separatist movement in Kashmir is the same. Freedom Movement of India.
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When Krishna’s grandfather Pushkar Nath (Anupam Kher) dies, he returns to Kashmir with his ashes and meets four of his grandfather’s friends, who tell Krishna the ‘real’ story of Kashmir, and of course From, to the audience. In his narrative, Kashmir faced a clash of civilizations, and Pandits were left to die by the state and central government to please a community.
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The villain of the piece is Bitta, who sounds like a combination of real-life Ghulam Mohammad Dar aka Bitta Karate and Yasin Malik, the face of the terrorist organization Jammu and Kashmir Liberation Front.
Unlike Vidhu Vinod Chopra’s films on the subject, Agnihotri has no time for romance in the valley. It is like a countermeasure to Vishal Bhardwaj’s Haider, as the film tries to convey that Kashmiri Muslims deserved to suffer after what they did to Pandits and other minorities.
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A troubling take, it alternately grabs and holds. The scenes of bloodshed, torture and denigration of Pandits have been shot with brutal intensity. The camerawork captures the deep, fiery colors of the valley and the performances are mesmerizing.
As the conscience guard of the film, Kher is at his rhetoric at best. Darshan is a revelation and it is good to see the talented Pallavi back. Mithun Chakraborty, Prakash Belawadi, Puneet Issar, and Atul Srivastava are confident as friends of Pushkar Nath.
However, the film that accuses the foreign press of garnering headlines of unrest and clickbait, slowly falls for the same alleged exploitative methods that reach out to tear down tubes and create animosity.
There is hardly any attempt to understand what happens when the majority becomes a minority and vice versa. The voice of a moderate Muslim is evident in his absence. The representation of the educated elite is shallow and borders on easy character assassination.
Some dialogues give hope that Agnihotri will address the complexity of a topic that hasn’t been addressed before, but once he starts running an agenda against a religion, The Kashmir Files loses its objective, humanistic look. .
It makes the same selective treatment of the period that it accuses players of in the ’90s.
Like most in the age of social media, Agnihotri looks at the past through the prism of today and a lot of the discussions at the dinner table make it to the script. There is no middle ground for him, as he picks and chooses examples from the past to suit his narrative.
He speaks of Sheikh Abdullah, but does not mention the role played by Raja Hari Singh at the time of Kashmir’s accession to India. He does not even talk about how the rigged ballot paper gave birth to the bullet culture in Kashmir in the late 1980s.
The film depicts the Pakistan-Afghanistan angle and the responsibility of perpetuating the insurgency on the local Muslims.
In Agnihotri’s document, terror has a religion and every Muslim in Kashmir appears to have been separatist and willing to convert Hindus to Islam. How the Dogra kings ruled the state till 1947 is out of course here.
Of course, religious slogans were raised, and indeed Kashmir Pandits got caught in the crossfire between India and Pakistan, but history is not as black and white as Agnihotri would like us to believe.
It is neither dramatised enough nor is it put out in the documentary-style storytelling (like Shoojit Sircar’s October) and that’s exactly where the enticement part of the story goes down.