In his July 12, 2025, Scroll.in essay, writer Harsh Mander argues that selected films from the Modi era promote Hindutva political narratives and prejudice, and that their political role reflects aspects of Nazi-era cinema. The comparison is Mander’s interpretation—not proof that present-day India and Nazi Germany are historically equivalent.
What is Mander’s argument?
Mander’s concern is not simply that films express political views. He argues that some films distort or selectively frame history and contemporary events, portray Muslims and political dissenters as threats, and gain prominence through political promotion. In his account, cinema can help make those narratives familiar and persuasive.
He sets this argument against a broad reading of Hindi cinema’s recent history: films of the 1950s and 1960s, in his view, reflected pluralism, social equity and post-independence idealism; the 1990s reflected consumerism and polarization; and selected films of the Modi era became more openly ideological. These are Mander’s interpretations of film and politics, not a neutral classification of every film from those periods.
What does the comparison with Nazi cinema mean?
Mander draws a comparison around cinema’s use as a vehicle for political messaging, its portrayal of targeted groups, and the role of political or state promotion. He invokes Adolf Hitler and Joseph Goebbels as part of the Nazi-era context. The point, as presented in the essay, is a claimed parallel in political function—not an assertion that the two countries, governments or historical situations are the same.
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That distinction matters. A comparison of propaganda techniques does not by itself establish equivalent institutions, policies, historical circumstances or consequences. Assessing the historical comparison in depth would require scholarship on Nazi film policy alongside independent analysis of contemporary Indian cinema.
Which films does Mander discuss?
Mander uses several films as examples of the trends he identifies. The following summaries describe his arguments; they do not independently verify the films’ historical claims or the incidents he recounts.
Chhaava
Mander argues that the film frames the conflict involving Sambhaji and Aurangzeb in religious terms. He also links screenings and public responses to inflammatory reactions and violence. The essay’s account does not, on its own, establish the historical interpretation or verify the incidents and any causal connection between them.
The Kashmir Files
Mander discusses the film’s depiction of the exodus and killing of Kashmiri Pandits and argues that it broadly demonizes Muslims. Figures and commentary relayed in the essay should not be treated as independently verified here; their original datasets and publications would need to be checked before quoting or relying on them.
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The Kerala Story
Mander discusses the film’s promotional claims about women joining ISIS and a legal dispute concerning a numerical claim in its trailer. The exact legal details and any disclaimer are not established by the essay alone and should be checked against the relevant court record before being stated as fact.
Other films named
The essay’s wider discussion also includes Article 370, The Accidental Prime Minister, Bastar: The Naxal Story, JNU: Jahangir National University, Swatantrya Veer Savarkar, The Sabarmati Report, Accident or Conspiracy: Godhra and Hamare Barah. It also refers to historical films including Padmaavat, Tannaji and Manikarnika. Mander places these titles within his account of ideological filmmaking; the essay’s inclusion of a film does not itself establish that the films make identical arguments or use identical methods.
Independent reader supportYour contribution helps us test, update, and keep practical guides available for everyone.How should readers assess the claims?
The essay is an argued interpretation, not a substitute for checking each film’s claims against historical records, reliable reporting or primary documents. A careful assessment separates what a film depicts from what independent evidence establishes, and separates political promotion or audience reaction from evidence that a film caused a particular event.
- For historical portrayals, compare the film’s account with independent historical scholarship.
- For claims about contemporary events, check the underlying reporting, datasets and official records.
- For court disputes, consult the order or other primary legal record rather than relying on a summary.
- For alleged promotion or audience response, establish who acted, when, and what evidence links the events; sequence alone does not demonstrate causation.
Read this essay, then, as Mander’s case for examining how cinema can participate in political persuasion—and as an invitation to test its specific examples against evidence beyond the films and the essay itself.
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