Among the landscape of Indian cinema, the Central Board of Film Certification (CBFC) remains a malignant force, which often determines the final version of films reaching the audience. While the board’s mandate is to ensure material to align material with social norms and sensitivity, its intervention has often created a debate about artistic freedom and censorship. Recent examples highlight that CBFC’s decisions affect both domestic and international films, sometimes their release completely.Flake 2: Navigating caste sensitivityThe much -awaited clash 2, starring Siddhant Chaturvedi and Tripipai Dimri, serves as a poignant example of the influence of CBFC. As a remake of the Tamil anti-caste film Pararam Perumal, Dhadak 2 faced a significant investigation. Addressing political, caste-based and religious sensitivity, CBFC made 16 adequate editing mandatory. These changes included removal of potential controversial content or amendment, adjustment to caste -related references and changes in visual elements. Additionally, some violent scenes were toned, and proper disconnections were added. UDTA Punjab: A fight for creative expressionIn 2016, a film in the state’s drug crisis became a focal point in Udta Punjab, censorship debate. CBFC initially demanded 94 cuts citing clear material and concerns on the portrayal of Punjab. The board argued that setting up a film in Punjab would harm the region’s reputation and discourage tourism and investment. Filmmakers challenged the decision, and the Bombay High Court eventually cleaned the film with only one cut, emphasizing the importance of creative freedom. L2: Empuran: L2: Imapuran, a Malayalam film starring Mohanlal and Prithviraj, faced his set of challenges. CBFC approved the film for the first time with a U/A certificate, but the growing backlash from the Right Wing voluntarily made 24 cuts into a total film of 2.08 minutes. Cuts included editing riot sequences, depiction of violence against women, and changes in character names and scenes. In particular, the name of the opponent was converted from Balraj to Baldev to avoid engagement with real -life data included in the 2002 Gujarat riots. The portrayal of the film by the National Investigation Agency (NIA) was also amended, in the context of the agency being muted. These changes were made in the film to address concerns about political and social themes.International Films: CBFC facing gatekeepingThe effect of CBFC is beyond domestic presentations. Santosh, a British-Indian film directed by Sandhya Suri, was prevented from release in India, allegedly due to depiction of police cruelty, misunderstanding and caste discrimination. Despite international praise, including praise and Oscar enrollment in Cannes, the film was banned on concerns about the negative depiction of the police in India. Suri expressed disappointment, given that the significant cuts demanded by the censor would reduce the integrity of the film.Similarly, the beginning of the direction of Dev Patel, Bandar Man, faced obstacles in India. CBFC allegedly avoided the film completely screening, which suggested cuts or a secondary idea. The film, which includes the topics of taking revenge against corrupt officials and draws from Hindu mythology, was released internationally, but is unpublished in India due to lack of certification. Singham again: amending mythological referencesRohit Shetty’s Singham again made several cuts to secure the U/A certificate. The censor board asked Rohit Shetty’s film team to make several amendments before its release, mainly around religious and sensitive materials. A 23 -second sequence changed with Lord Ram, Devi Sita and Lord Hanuman compared to Singham (Ajay Devgan), Avni (Kareena Kapoor), and Simba (Ranveer Singh). Showing the view of another 23-second, Singham touched Lord Ram’s feet. A 16-second scene of Ravana was completely removed from grabbing and pushing Sita. The 29-second reference to Lord Hanuman Burning Lanka, associated with a bubbly line to Simba, was removed.Arjun Kapoor’s character Zubair’s dialogues were edited at four places in which one where he compares himself to Ravana. Kareena Kapoor’s lines as Avni were also revised. Views of a constitutional head and their lines were removed in two examples. Citing diplomatic concerns, a 26-second sequence that included dialogue and scenes related to a neighboring country was removed. There was a bang showing the scene of the murder of a violent police station. Additionally, the color of a religious flag was changed in two scenes, and the ‘Shiva Stotra’ hymn was removed from the background score. The purpose of these cuts was to reduce religious, political and violent sensitivity before the film’s public release.Punjab ’95: A story has been told so farPunjab ’95, human rights activist Jaswant Singh Khalara based on the life and starring Diljit Dosanj, is unpublished in India. CBFC suggested 120 cuts, which led to delays and disputes. Dosanjh supported the film only when released without cuts, emphasized the importance of preserving his message. In February this year, during his Instagram Live, Diljit said, “I hope that the film is released in India soon. I will only support the film that will be fully released without any cuts. If you release the film without the film, I will come, otherwise it does not matter. I hope some solutions will be revealed and it will be released in Punjab. “He also shared that Punjab 95 will decline if it has been released with a cut and it only defeats the purpose of the film’s message. Director Honey Trehan criticized CBFC’s demands, which is still not released, stating his commitment to his film and team as ‘unfair and politically colorful’. Emergency: A political drama in LimboKangana Ranaut’s direction enterprise, emergency faced delays due to non-harvesting of censor certificate. The film was stuck in controversy, depicting the emergency period in India, as Sikh organizations accused the community of incorrectly presenting. Ranaut accused the film body of stalling the certification to delay the release. Despite all forward and back and months’ drama, the case was fixed with only 1 minute cut.Conclusions: balance sensitivity and creativityCBFC’s role in shaping Indian cinema is undisputed. While its mandate is to ensure to align materials with social norms, the range of its interventions often question about artistic freedom. Since filmmakers carry forward the borders and detect complex themes, the balance between sensitivity and creativity remains a controversial issue. The ongoing dialogue between the creators and the sensors is important in navigating this complex landscape, making sure that cinema is a reflective and thought-respective medium.
