Aditya Dhar’s films, Dhurandhar and its sequel Dhurandhar: The Revenge, explore the theme of espionage within the framework of a Baloch gang in Lyari. Starring well-known actors Ranveer Singh and Sara Arjun, these films depict the area as a hub of gang warfare. An interesting interaction took place between an Indian Instagram influencer and a Pakistani individual regarding the authenticity of the film’s portrayal of Lyari.
The influencer, Rohan Bhatia, who runs the account @thebesharamfoodie, shared a video from Bali where he engaged a Pakistani man in conversation about Dhurandhar. Captured in the video, the pair discussed various aspects of the film. The Pakistani viewer labeled Dhurandhar as “a little overrated,” humorously remarking on a line from the film about the control of Lyari and Karachi. He explained, “Whoever controls Lyari, controls Karachi. And whoever controls Karachi controls Pakistan,” while adding that the narrative surrounding the city being a “non-native” place is a common perspective among Karachi residents.
A notable point raised in their discussion was about Sara Arjun’s character, Yalina Jamali. The man pointed out a discrepancy in her attire, noting, “There’s no way a woman can roam alone on the streets of Lyari in a miniskirt. That doesn’t happen.” This critique was echoed by his female companion, who mentioned the inaccuracy of English signs in a scene featuring a party and an underground rave, asserting that such signs would not typically appear in Urdu.
Despite these criticisms, the duo acknowledged the film’s strong cinematography and found enjoyment in the song FA9LA by Bahraini rapper Flipperachi. However, the Pakistani viewer qualified his praise by noting that the song does not represent true Balochi culture. He also pointed out that the fashion seen in the film, particularly Ranveer’s character, Jaskirat Singh Rangi, wearing a half-sleeve kurta, is not reflective of typical attire in Pakistan.
Lastly, they addressed the plot point concerning Hamza’s elopement with Yalina, the daughter of a prominent politician. The man remarked on the implausibility of this scenario, stating, “I’m sure that was made up because in Pakistan, that can never happen. A daughter who lives in a house like that isn’t suddenly going over there.” He speculated that this dramatic element was likely included for narrative purposes.
With the first Dhurandhar film having premiered worldwide last December, excluding Pakistan and the Gulf states, the sequel arrived in theaters on March 19, also without a screening in these regions. This continued absence from local markets adds another layer to the conversation about the films, raising questions about how such narratives resonate across different cultural contexts.