Unable to digest the massive success of Dhurandhar: The Revenge, the ultra Dravidianist filmmaker who makes propaganda films glorifying DMK, Naxals and those that have been dubbed as “child pornography” by the Madras High Court has implied the biggest hit of Indian film industry to be a “hate propaganda”.
“Until we tell our stories, our life is what our enemies say they are. We do not have the democracy to tell our own stories“, said Vetrimaaran who made a two-part film glorifying naxalism and constantly peddling subtle propaganda against the Indian government and BJP’s Hindutva politics in his films.
In his remarks, Vetrimaaran lamented: “Today, everything turns into propaganda. Propaganda has the power to influence memory. We all know who was most affected by demonetization and who lost their lives standing in queues. But that impact changed through hate propaganda. What can we do against that hate propaganda? We have to make films like this.”
Crediting the film Neelira, he said “There are many films that cost millions of rupees, wishing to earn hundreds of crores with hatred and violence. This is a film does which not want to sell hate, caricature a race, a community, or a religious sect.”
For a director whose entire oeuvre reads like a Dravidian manifesto wrapped in gritty realism, this sudden pearl-clutching over “hate propaganda” reeks of hypocrisy.
About Vetrimaaran
Vetrimaaran isn’t some neutral artist fretting about cinematic ethics. He’s a certified DMK ecosystem insider whose family has deep roots in the party’s anti-Hindu, Dravidianist ideology.
His films Viduthalai Part 1 and Part 2 (which turned out to be an utter flop) glorifies naxals, completely whitewashing the human and developmental cost of red terror.
Even his earlier works like Vada Chennai paint North Chennai’s underbelly as a victim of state neglect, with gangsters elevated to folk-hero status. These aren’t neutral “social issue” films. They are ideological weapons—Dravidianist propaganda that consistently peddles anti-development narrative portraying the Indian state, its institutions, as villains, while lionizing armed left-wing extremism and regional separatism.
He also produced the film ‘Bad Girl’ a film condemned by the Madras High Court as having a teaser that amounts to “child pornography.” The court had ruled that the content of the teaser, freely available, can “spoil the minds of children” and constitutes a “continuing offence”, ordering its removal from YouTube.
The film also sexualizes school students (minors) showing the protagonist indulging in drugs and sex at a young age. Words like “f**ing, asshole, bitch, bastard, chooth”* had to be muted from dialogue and removed from subtitles.
This same filmmaker lectures the nation about “hate propaganda” because Dhurandhar: The Revenge—a massive commercial success starring Ranveer Singh as an undercover agent ripping apart terror funding networks in Karachi—dares to show demonetization not just as a policy that caused queues, but as a hammer blow to black money, fake currency, and Pakistan-sponsored terrorism. Vetrimaaran wants us to remember only the suffering of the poor (real as it was for many), while erasing the documented impact on terror financing and counterfeit notes that intelligence agencies have repeatedly linked to cross-border threats.
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