An Indian Bollywood film criticised for its anti-Pakistan narrative has reached the number one position on Netflix in Pakistan, creating a striking irony at the intersection of politics, popular culture, and digital consumption.
Dhurandhar, an action-driven release built around nationalist themes, currently leads Netflix’s most-watched titles in Pakistan. The film portrays Pakistan as a central adversary, drawing on familiar tropes of regional hostility that have long characterised a segment of mainstream Indian cinema.
Its popularity in Pakistan has surprised many observers, not because such narratives are new, but because of where and how the film is being consumed.
At a time when political relations between Pakistan and India remain strained, the success of an openly hostile portrayal of Pakistan on a Pakistani streaming chart underscores a paradox of the digital age. A film framed around national antagonism is being watched most extensively by the very audience it targets.
Industry analysts point out that Netflix rankings are driven by total viewership rather than approval. Curiosity, controversy, and social media discussion often translate into higher watch numbers, regardless of whether audiences agree with a film’s message. In this context, criticism can function as promotion, pushing a title higher through increased engagement.
The trend also reflects how streaming platforms have reshaped cultural boundaries. Unlike cinema releases, which in Pakistan have historically been subject to bans or restrictions during periods of tension, platforms such as Netflix operate beyond traditional regulatory frameworks. Content travels freely, reaching audiences without mediation by censors, distributors, or state policy.
For some viewers, watching Dhurandhar appears to be less an act of endorsement than of scrutiny. Social media commentary suggests that many Pakistanis are engaging with the film critically, assessing its political messaging rather than embracing it. Others argue that the film’s success exposes a gap in locally produced, high-budget alternatives capable of competing for attention on global platforms.
The episode highlights a broader contradiction within contemporary media consumption. National narratives designed to assert dominance or hostility no longer remain confined within borders. Instead, they circulate globally, consumed by audiences they were never intended to persuade.
As Dhurandhar continues to trend in Pakistan, its success serves as a reminder that in the streaming era, cultural influence is no longer controlled by intent alone. A film may be made to project power outward, yet find its largest audience across the very border it seeks to antagonise.
