Diljit Dosanjh is facing heavy criticism for releasing his horror-comedy film Sardaar Ji 3, which features Pakistani actress Hania Aamir. Fans, peers, and the Federation of Western Indian Cine Employees (FWICE) are upset, leading to calls for his removal from another film, Border 2. The federation has even urged the censor board to not certify Sardaar Ji 3.
In response, Diljit’s former manager, Sonali Singh, defended him. She pointed out that Sardaar Ji 3 isn’t backed by a large corporation. Instead, it’s the result of hard work from many individuals who risked their savings and dreams on the project. “It represents someone’s life’s work,” she noted.
Sonali highlighted that Diljit is a cultural icon. He’s represented India on global platforms, from Coachella to the Met Gala. Yet, she lamented how quickly critics forget his contributions when controversy arises. “Every time he puts India on the map, we celebrate him. But when the narrative shifts, he’s targeted,” she said.
She emphasized Diljit’s choice to support his producers, who are everyday people, not big companies. Even amidst criticism, he remains committed to his colleagues and the film. Sonali also reminded everyone of Diljit’s other projects, underscoring that his struggle isn’t limited to Sardaar Ji 3.
FWICE has expressed disappointment over Diljit’s casting in Border 2. They argue that working with a Pakistani actress is against the spirit of the Indian film industry’s solidarity during national tensions. They deem it a “blatant violation” of their directive to boycott him.
Diljit recently addressed the backlash, stating that the film was shot before current events intensified. He explained that the producers decided to release it overseas following those events, acknowledging that they will still suffer losses.
Recent trends in public opinion reflect a divide: while some support Diljit, others feel betrayed. This reaction mirrors a larger trend in entertainment, where political sentiments often spill into the artistic world. Celebrities, especially from countries facing geopolitical tensions, find themselves navigating complex perceptions.
The fluctuating views on Diljit highlight how society grapples with loyalty, representation, and the arts. It’s a reminder of the personal burdens artists bear amid larger national conversations.
For those interested in the ongoing discourse surrounding artists and geopolitical issues, a deeper examination can be found in articles from The Guardian and The Hollywood Reporter.
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