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" "If it has any chance of getting financed, it’s going to be from someone outside of Bollywood. Bollywood can't finance this film for they have no clue about this dimension of India. It’s going to be somebody who is bold enough to disrupt the status quo of an agenda-driven narrative.
Vivek Ranjan Agnihotri (born 10 November 1973) is an Indian film director, screenwriter, and author. As of 2019, he is member on the panel of Central Board of Film Certification.
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In India, people fight with all their might to kill an idea. The privileged people. The biggest problem with our establishment is that it has no space for a new idea. Art, cinema, and media haven’t developed enough to present new ideas for adoption. They are engaged in the politics of survival and therefore the outcome is mediocre and very often regressive. Most of the ideas are perceived as dissent. As disruption. As treason. Sometimes ideas like Naxalism, become violent and seditious. Despite being a democracy, in our country there is very little room for an alternate narrative. Whenever a child comes up with an innovative idea, parents, neighbours, teachers, and society crush the idea by telling him 'Kyon apna waqt barbad karte ho, yahan kuch nahin hone wala—don't waste your time.’ It can't be that all of them are idiots. They speak from their experience. 'Aise hi chalta hai … don't be stupid '…. Nothing is going to change… you don't know their power.'
[He said:] ‘Students belonging to SC/ST are attracted to Leftist propaganda because of the fraud theory of Aryan-Dravidian divide. Leftists have also misrepresented Indian epics like Manu Smriti and manipulated Indian history books to brainwash students. Students from Kashmir with a jihadi mentality easily get attracted towards Leftists as they both have a common agenda of weakening India.’
A pattern is emerging. The Urban Naxals are installed in top institutes. Institutes which matter, which engineer the narrative. They are using these campuses as ‘intellectual training zones’. Like in the military, no point of view other than the combat is allowed to enter a soldier’s mind; in these campuses, no narrative other than theirs is allowed to pass through the minds of their intellectual soldiers.