Despite being officially banned in Pakistan and facing multiple legal challenges, the Indian spy thriller Dhurandhar appears to have found unexpected popularity across the border, including among members of Pakistan’s political elite. A fresh viral video has added fuel to the controversy, showing Pakistan Peoples Party (PPP) leader Bilawal Bhutto making a high-profile entrance at a public function while the film’s hit track FA9LA played loudly in the background.
This development stands in sharp contrast to the legal and political pushback the film has triggered in Pakistan. Several petitions have been filed in Pakistani courts questioning the content of Dhurandhar, which stars Ranveer Singh, Sanjay Dutt, and Akshaye Khanna, and portrays sensitive themes linked to Lyari’s history of political influence, organised crime, and gang warfare. Even as the film remains banned, numerous viral clips circulating online indicate that Pakistanis are openly playing its songs at weddings, parties, and public gatherings.
The video featuring Bilawal Bhutto is particularly striking because his own party has reportedly moved court against the film. The PPP has objected to the use of its party flag and the depiction of Bilawal’s mother, former Prime Minister Benazir Bhutto, in the movie. Yet, in the viral clip, Bilawal is seen being welcomed onto a stage while the pulsating FA9LA track blares in the background, highlighting a clear disconnect between official opposition to the film and its cultural reception on the ground.
FA9LA, also known as Fasla, is a Bahraini hip-hop track produced by DJ Outlaw and featuring artist Flipperachi. Its integration into Dhurandhar, combined with a stylised Balochi dance sequence performed by Akshaye Khanna’s character, the notorious Lyari don Rehman Dakait, has played a major role in the song’s international popularity. The fusion of gritty visuals and high-energy music has resonated with audiences far beyond India.
Directed by Aditya Dhar, Dhurandhar weaves together multiple sensitive chapters of recent history, including the 1999 Kandahar hijacking, the 26/11 Mumbai terror attacks, and the underworld-politics nexus in Karachi’s Lyari area. The film has emerged as a major box-office success and has drawn significant international attention, particularly in Pakistan. Media reports suggest that within just 12 days of its release, the film was illegally downloaded nearly two million times in Pakistan, with the numbers continuing to rise.
At the same time, the film’s content has reportedly unsettled Pakistani authorities, who have dismissed it as hostile propaganda for its portrayal of Pakistan’s internal conflicts and criminal networks. In response, reports indicate that a Pakistani film titled Mera Lyari is being prepared as a counter-narrative to Dhurandhar. Adding to the controversy, the Indian film has also been banned in six Gulf countries — Bahrain, Kuwait, Oman, Qatar, Saudi Arabia, and the UAE — over allegations that it contains anti-Pakistan material.
Taken together, the contrasting reactions underline a growing paradox: while Dhurandhar faces bans, court cases, and official condemnation, its music and imagery continue to enjoy widespread and enthusiastic acceptance among ordinary Pakistanis and even prominent political figures.
