Bollywood seems to have developed a new obsession — digging up old controversies and calling it “cinema with a message.” The upcoming film Haq, starring Emraan Hashmi and Yami Gautam Dhar, directed by Supan S Verma, is the latest addition to that tiring list. From the moment its trailer dropped, it was clear this wasn’t going to be an easy ride. But it was Emraan’s recent statement at the trailer launch that has already set social media ablaze.
“When I read a script, I see it as an actor but for the first time here, I’ve to bring a Muslim point of view,” said Emraan, adding that Haq is a “balanced and neutral film” that Muslims will connect to “in a very different way.” That comment alone was enough to light a fire across platforms, with many questioning why religion even had to be dragged into the conversation at all. Isn’t cinema supposed to unite, not divide?
The film, reportedly based on a real-life case that once split the nation into two, is already being seen as a ticking time bomb. Critics and viewers alike are calling it “a controversy waiting to happen.” In a time when the audience is craving light-hearted entertainment or meaningful fresh stories, Haq feels like an unnecessary reopening of old wounds — an attempt to ride on sentiments that should’ve been left buried.
Even Yami Gautam Dhar, who has been consistently delivering solid performances in content-driven films, might find herself caught in the middle of the storm. As for the direction, Kunal Deshmukh, seems to be walking a thin line — trying to balance social commentary with commercial storytelling. Unfortunately, the audience isn’t buying it.
Trade analysts predict a lukewarm opening for Haq, with early box office estimates hovering around ₹3–4 crore on Day 1 — a worrying figure for a film that was supposed to create awareness but is now creating controversy. In short, Haq feels like a cinematic misstep — not the need of the hour, not the story the audience asked for, and definitely not the film that will save Bollywood from its ongoing identity crisis. Sometimes, silence is more powerful than stirring the pot again — a memo the makers of Haq clearly missed.
Let’s be honest — dragging religion into film promotions just to grab headlines reeks of desperation, not strategy. Emraan Hashmi’s recent statement about Haq being a film that “Muslims will connect to in a very different way” feels less like an artistic reflection and more like a calculated PR stunt. In a time when audiences are smart enough to see through gimmicks, trying to lure the Muslim community by appealing to their sentiments isn’t smart marketing — it’s manipulative promotion. Somewhere, the Haq team clearly realised their film lacked natural buzz, so they decided to manufacture one through controversy. But playing the religion card to fill theatre seats isn’t just lazy publicity — it’s a sign of creative bankruptcy.