Mumbai, April 18, 2025: Renowned filmmaker Anurag Kashyap has found himself at the center of a fresh controversy after a series of heated Instagram posts and alleged comments targeting the Brahmin community amid protests surrounding the upcoming biographical film Phule. Directed by Ananth Mahadevan and starring Pratik Gandhi and Patralekhaa as Jyotirao and Savitribai Phule, respectively, the film’s release has been delayed from April 11 to April 25 following objections from Brahmin groups in Maharashtra.
The Central Board of Film Certification (CBFC) granted Phule a ‘U’ certificate on April 7 but only after enforcing multiple edits, including the removal of caste-specific references like “Mahar,” “Mang,” and “Peshwai,” and modifying the phrase “3,000 saal purani ghulami” (3,000 years of slavery) to “kai saal purani ghulami” (several years of slavery). These changes sparked debate about censorship and historical accuracy while simultaneously triggering outrage among caste activists and conservative groups.
Taking to Instagram, Kashyap voiced strong support for the film and vented his frustration over the CBFC’s censorship and what he termed “hypocrisy” among certain Brahmin groups. “If casteism didn’t exist in this country, why would Jyotiba and Savitribai Phule need to fight it?” he wrote, adding that those offended were either “ashamed, dying of shame, or living in some alternate Brahmin-only India.”
Kashyap further criticized the CBFC’s inconsistent stance on caste-based narratives, referencing other films such as Dhadak 2 and Santosh, which faced similar hurdles. According to him, during the Dhadak 2 screening, the board claimed that “Modiji had abolished casteism in India,” an assertion he found absurd given the present resistance to caste-focused films like Phule.
However, the controversy deepened when screenshots circulated online allegedly showing Kashyap responding to a user’s comment by stating, “Brahmin pe main mootunga…koi problem?” (“I’ll urinate on Brahmins…any problem?”). While this comment could not be independently verified, its circulation triggered further outrage, with critics accusing the filmmaker of promoting hate speech and expressing deep-seated anti-Brahmin sentiment.
Kashyap’s remarks have sharply divided public opinion. Supporters argue that his outburst reflects justified anger against systemic caste oppression and attempts to suppress historical narratives. Critics, however, view his language as inflammatory and dehumanizing, arguing that it undermines legitimate discourse on caste by targeting an entire community.
The backlash has reignited broader conversations about freedom of expression, the politicization of the CBFC, and the role of cinema in addressing caste. While Phule remains slated for an April 25 release, the storm surrounding its content and the filmmaker’s comments has overshadowed its artistic and historical intent.
As reactions continue to pour in from across the political and social spectrum, one thing is clear: Phule has become more than a film; it’s a flashpoint in the ongoing struggle between artistic expression, caste discourse, and identity politics in contemporary India
