The upcoming cross-border drama Abir Gulaal, starring Indian actress Vaani Kapoor and Pakistani heartthrob Fawad Khan, has found itself at the center of a storm following the tragic terrorist attack in Pahalgam, Jammu and Kashmir. The incident, which occurred on April 22, claimed the lives of 26 individuals—primarily tourists—and has left the entire nation in mourning.
In the wake of the violence, the film has come under severe criticism from the public and political groups, with social media erupting in anger. Hashtags calling for a boycott of Abir Gulaal began trending within hours of the attack, with netizens expressing outrage over the timing of the film’s promotions and its casting choices—particularly the inclusion of a Pakistani actor during a moment of heightened tensions.
As public sentiment grew more intense, the film’s visibility has seemingly begun to fade. Two songs from the movie—Khudaya Ishq and Angreji Rangrasiya—which were previously released on YouTube, have been quietly removed from Indian platforms. These tracks, which premiered on both the production house’s official YouTube channel and Saregama’s channel (which holds the music rights), are no longer accessible to Indian viewers. No formal explanation has been offered for their removal.
Adding to the speculation, a third track titled Tain Tain, which had been scheduled for release on Wednesday, April 24, has been withheld without any prior notice or public statement. The absence of any promotional updates has fueled rumors that the filmmakers are re-evaluating their strategy in light of the widespread outrage.
According to insider sources from the Ministry of Information and Broadcasting, Abir Gulaal will not see a theatrical release in India. While an official notification is yet to be made public, early reports suggest that the decision to block the film’s release stems from the escalating controversy and the sensitive political climate.
The film has also been under fire from political quarters. The Maharashtra Navnirman Sena (MNS), a regional political outfit led by Raj Thackeray, had earlier voiced strong objections to the film. The MNS has been vocal in its stance against cultural exchanges with Pakistan, particularly in light of the country’s tense relations with India. The party had criticized the decision to feature a Pakistani actor in an Indian production, labeling it as an “insensitive move” given the current diplomatic and security environment.
Tensions began brewing earlier this month when the teaser of Abir Gulaal was released on April 1. Almost immediately, it drew criticism online, with many calling it tone-deaf amid strained Indo-Pak relations. However, the criticism took on a more urgent and emotional tone following the devastating Pahalgam attack, with many arguing that showcasing a film involving cross-border collaboration so soon after such a national tragedy was highly inappropriate.
Directed by Aarti S Bagdi, Abir Gulaal was originally slated to release on May 9 and boasted an ensemble cast featuring not just Kapoor and Khan, but also respected names such as Riddhi Dogra, Lisa Haydon, Farida Jalal, Soni Razdan, Parmeet Sethi, and Rahul Vohra. The film was positioned as a romantic drama set against a culturally rich backdrop, exploring themes of love, identity, and belonging across borders.
While the creative team behind Abir Gulaal has remained tight-lipped, the combination of mounting public anger, political pressure, and the prevailing national mood seems to have silenced the film’s promotional campaign entirely. With songs taken down, new content withheld, and the likelihood of a theatrical release dwindling, it remains to be seen whether the film will find another platform for release—perhaps digitally, and possibly outside Indian territory.
The situation surrounding Abir Gulaal serves as a stark reminder of how art, politics, and public sentiment can collide—particularly in emotionally charged times. As India continues to grieve the lives lost in the Pahalgam tragedy, the nation appears united in demanding accountability and sensitivity—not just from policymakers, but from the entertainment industry as well.
