Bollywood’s fascination with Pakistan is a dynamic narrative of extremes, a complicated “love” that swings violently between nationalist conflict and deep cultural unity.

The latest box-office hit, Dhurandhar, perfectly encapsulates this trend.

The Ranveer Singh-starrer, which has rocketed past the ₹200 crore mark in its first week, has re-established the lucrative formula of portraying Pakistan as the primary antagonist.

The film’s plot centered on an Indian spy dismantling a terror and gang network in Karachi’s Lyari is viewed by critics as a hyper-nationalist spy fantasy that blends real-life local crime with international terror for political effect.

The controversy is so sharp that the film was reportedly banned in several Gulf countries for its strong anti-Pakistan themes.

Dhurandhar banned in Gulf countries over “anti-Pakistan” narrative

Yet, the obsession runs deeper than just antagonism. Pakistan is not simply a background; it is an unavoidable cultural mirror.

For every film like Dhurandhar or Uri: The Surgical Strike, there is a counterpart that champions cross-border peace and shared heritage.

Is Dhurandhar anti-Pakistan ?

Classics like Bajrangi Bhaijaan and Veer-Zaara became massive successes by focusing on the enduring human connection, using shared language, music, and love to bridge the political divide.

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Even within the highly charged narrative of Dhurandhar, the immense interest and mixed reactions from audiences in Pakistan’s Lyari district, ranging from playful challenges to accusations of misrepresentation, underscore that the cultural conversation remains vibrant, even if the cinematic lens is currently focused on conflict.

This dualistic obsession ensures that, whether as a villain or a romantic backdrop, Pakistan remains Bollywood’s most reliable and most contentious muse.