Filmmaker Anurag Kashyap has launched a scathing attack on the opposition from certain Brahmin organisations to his fellow filmmakers’ upcoming movie Phule, a biographical drama based on the revolutionary lives of Jyotirao Phule and Savitribai Phule—two of India’s earliest and most powerful voices against caste discrimination and gender inequality. The film’s release, initially scheduled for April 11, was pushed back by two weeks to April 25, following objections from groups who accused the film of misrepresenting Brahmin communities and historical events.
In a series of emotionally charged social media posts on Wednesday, Kashyap didn’t mince words. He slammed what he described as India’s deeply embedded casteism, a dysfunctional censorship system, and the hypocrisy of those opposing the film, despite its foundation in documented historical realities. Kashyap expressed disbelief at the backlash, stating that it further proved the relevance of the very issues the Phules fought against.
“Meri zindagi ka pehla natak Jyotiba aur Savitribai Phule pe tha... Bhai agar casteism nahin hota is desh mein toh unko kya zaroorat thi ladne ki. Ab ye Brahmin log ko sharam aa rahi hai ya wo sharam mein mare ja rahe hain ya phir ek alag Brahmin Bharat mein jee rahe hain jo hum dekh nahin paa rahe hain. C***** kaun hai, koi toh samjhaye.”*
(Translation: "The first play I ever did was on Jyotiba and Savitribai Phule. If casteism didn’t exist in this country, why would they have needed to fight? Now these Brahmin folks are either feeling ashamed, dying of shame, or living in some alternate Brahmin India that we can’t even see. Who’s the fool here, someone please explain.")
In another post, he turned his attention to the Censor Board, raising an urgent and troubling question—how do politically affiliated or fringe groups access unreleased films that are still under certification?
“My question is, when the film goes for censoring there are four members on the board. How the f** do these groups and their wings get access to the film unless they’re given access? The whole f**ing system is rigged.”
Kashyap further alleged that selective censorship and unofficial bans are being used as tools to stifle dissenting voices in cinema, particularly those that touch upon caste realities, regional disparities, or critique government institutions. He cited several films—including Punjab 95, Tees, Dhadak 2, and now Phule—that have faced similar roadblocks.
“I don't know how many other films are blocked that expose the agenda of this casteist, regionalist, racist government... So ashamed that they can't even openly talk about what it is in the film that bothers them. F**in' cowards.”*
At the heart of the controversy is Phule, directed by Anant Mahadevan, and starring Pratik Gandhi (as Jyotirao Phule) and Patralekhaa (as Savitribai Phule). The film aims to shed light on the trailblazing work of the Phules in eradicating caste discrimination, establishing schools for girls and the underprivileged, and pushing for equality during a time when such ideas were considered radical and even dangerous.
The Akhil Bhartiya Brahmin Samaj and Parshuram Aarthik Vikas Mahamandal have voiced concerns over what they claim is “objectionable content” in the film. While the CBFC has already recommended and passed certain modifications, the makers chose to voluntarily delay the release to foster dialogue and avoid stoking further outrage.
This move, however, has raised serious questions about freedom of artistic expression and the growing practice of preemptive censorship in the name of “avoiding controversy.”
The larger picture here is about whether India’s creative ecosystem—especially its filmmakers and storytellers—can truly operate with freedom, or whether they will continue to be muzzled by social pressure, political interference, and institutional fear.
Anurag Kashyap, known for pushing boundaries with films like Gangs of Wasseypur, Black Friday, and Ugly, has long been a critic of the status quo. His remarks reflect the frustration of many in the industry who feel increasingly powerless against unofficial censorship, threats, and cultural policing.
Phule is more than just a biopic—it’s a reminder of a time when two visionaries dared to fight a system built to keep them at the bottom. And now, the film that seeks to tell their story faces resistance from the same forces they challenged.
Would you like me to also include historical background on the Phules or quotes from other filmmakers reacting to this controversy?
