By SamvadPatar Entertainment Desk | Based on an Indian Express Investigation
Punjabi cinema knows the pain of censorship. Punjab ’95 has been locked for three years. Jatt & Juliet faced the scissors. Chal Mera Putt was cut again and again.
But what is happening inside the censor board is bigger than a few films. It is a story of silence. A story of power. And a story of collapse.
No Meetings. No Reports. No Renewal.
The Central Board of Film Certification (CBFC) is supposed to work like an institution. But in reality, it has become a one-man show.
Rules say the board must meet every three months. Last meeting was in 2019. Six years have passed.
Rules say every year a report must be published. The last report is from 2016-17.
The board was reconstituted in 2017 for three years. The term ended in 2020. Since then, no new members. No official renewal.
Many members don’t even know if they are legally part of the board anymore. One said: “There is no meeting, no report, no appellate authority. CBFC runs only at the chairman’s pleasure.”
The Chairman’s Rule
In 2017, lyricist Prasoon Joshi became chairperson. Since then, power has stayed in his hands.
Filmmakers say CBFC under him is “super censorship raj”. Not transparent. Not consistent. Both strict and whimsical.
Revising Committees, which decide appeals, are run by a few chosen members. Many others are sidelined. Directors from far-off cities are brought in, while local members are ignored.
This has created anger even inside the board. But no one dares to speak openly.
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Punjabi Films Targeted
The biggest victim is Punjab ’95. The film tells the story of rights activist Jaswant Singh Khalra. It stars Diljit Dosanjh.
CBFC asked for more than 130 cuts. Words like “judicial killings”, “Delhi riots”, “Centre”, “Punjab Police” had to be removed. Even the title “Punjab” was asked to be changed.
Director Honey Trehan refused. The film is still stuck.
Earlier also, Punjabi films like Udta Punjab were attacked. Even comedy or family films like Jatt & Juliet and Chal Mera Putt were forced to face unnecessary objections.
For Punjabi filmmakers, it feels like history, culture and pain of Punjab are being erased.
Hindi Films Also Hit
It is not only Punjab. Hindi cinema also faces the axe.
Padmavat was forced to change its title from Padmavati.
Dhadak 2 faced long delays and cuts.
Santosh was stopped due to caste and communal issues.
Even Homebound, India’s Oscar entry, was cut and delayed for three months. References to caste were removed.
In some cases, films were cleared abroad, praised at Cannes or Toronto, but censored heavily in India.
Hindutva and Regional Silencing
Many insiders say CBFC is not just censoring for morality or violence. It is also protecting political ideology.
References to caste, communal violence, police brutality, or regional struggles are often cut.
Regional cinemas like Punjabi, Tamil, Malayalam face extra scrutiny.
This pattern reflects the larger politics of Hindutva, where uncomfortable truths are removed and only “acceptable” versions of history or culture are allowed on screen.
Ministry’s Defence
When The Indian Express asked the Information & Broadcasting Ministry, the reply was simple: “CBFC is working as per rules.”
The ministry pointed to the online certification system e-cinepramaan. It claimed reports are sent every year. But it could not explain why no board meetings have taken place since 2019.
Abolition of Tribunal
Earlier, filmmakers could appeal to the Film Certification Appellate Tribunal. In 2021, it was abolished. Now the only option is High Court. But going to court is costly and time-taking. Most producers cannot afford it.
This has given CBFC unchecked power. For filmmakers, the black room has no exit.
A Board in Crisis
Even CBFC members admit they are shocked. One said: “When Pahlaj Nihalani was removed, we thought sanskaar raj was over. But under Joshi, the cuts are even more difficult to explain.”
Many now call this not certification, but censorship raj.
Why It Matters
Indian cinema wants to be global. Films are made with international funding and co-productions. Punjabi films earn more abroad than in India. But when such films are mutilated at home, investors lose confidence.
Censorship has become not just a creative issue, but also an economic threat.
For Punjab, it means history is hidden. For India, it means credibility is lost. For filmmakers, it means fear.
SamvadPatar Entertainment Desk acknowledges the original investigation by Jay Mazoomdaar in The Indian Express.
owledges the original investigation by The Indian Express journalist Jay Mazoomdaar.
