Celebrated Tamil filmmaker Vetrimaaran has sparked important discourse in the world of Indian cinema with his bold and thought-provoking assertion: “Every film is political.” This statement, though seemingly simple, holds profound meaning — not just for filmmakers and critics, but for audiences who consume stories every day without often considering the power structures they reinforce or challenge.
In This Article:
Understanding the Statement
To say that “every film is political” is not to claim that every film discusses elections, governments, or party politics. Rather, Vetrimaaran emphasizes that every cinematic creation is rooted in choices — of representation, of narrative, of perspective — and those choices inherently reflect ideologies.
Whether it’s a romantic comedy set in a metropolitan city, a rural family drama, or a big-budget action spectacle, each film embodies certain beliefs about class, caste, gender, religion, nationalism, and power. Even silence or neutrality is a stance, and that, too, is political.
Vetrimaaran’s Own Cinematic Lens
Vetrimaaran is no stranger to political storytelling. His films often delve deep into the structures of injustice in Indian society, particularly the intersection of caste, class, and systemic oppression.
- Visaranai (2015) — Based on real events, this harrowing portrayal of police brutality and corruption lays bare the plight of the voiceless under the criminal justice system.
- Asuran (2019) — A powerful film on caste-based violence and land rights, it exposes how deeply entrenched caste continues to dictate social mobility and dignity in rural India.
- Vada Chennai (2018) — Set against a backdrop of political betrayal and gangsterism, the film critiques the ways in which power operates in marginalized communities.
In each of these films, Vetrimaaran doesn’t overtly sermonize but constructs his narratives in ways that invite audiences to confront uncomfortable truths.
The Broader Context: Indian Cinema and Ideological Influence
Indian cinema — especially mainstream Bollywood and regional industries — has often shied away from confronting political realities directly, preferring escapism or neutral entertainment. However, neutrality is a myth, as Vetrimaaran reminds us.
For example:
- A film that depicts women only in decorative roles is making a political statement about gender.
- A movie that glorifies police violence without critique reflects an ideology that supports unchecked authority.
- A narrative that consistently excludes minorities from leading roles or positive representation says something about cultural hegemony.
Even mass entertainers, without explicit political content, normalize certain worldviews. This is why films can play a powerful role in shaping public consciousness — either challenging the status quo or reinforcing it.
Politics Without Preaching
Vetrimaaran’s comment also critiques the tendency to reduce political cinema to didacticism. Political films do not need to be documentaries or speeches; they must only be honest in their portrayal of reality, something the filmmaker champions through his craft. His films entertain and engage while still holding a mirror to society — a rare balance that sets him apart.
A Call for Responsibility
By declaring that every film is political, Vetrimaaran calls upon fellow filmmakers to recognize their responsibility. In a country as diverse and complex as India, stories matter. They influence public opinion, shape identities, and reinforce or challenge dominant narratives.
Cinema cannot afford to be careless, especially in times when misinformation, propaganda, and polarization are widespread. The filmmaker becomes not just a storyteller, but a custodian of truth and representation.
Moving Forward
Vetrimaaran’s statement is not merely about cinema; it’s a commentary on art, culture, and society itself. In a world where content reaches millions within seconds, filmmakers must ask themselves: Whose story am I telling? What am I choosing to ignore? Who benefits from this narrative?
Every film is political — and it’s time we started watching them with that lens.
By – Nikita
