The Bengal Files: A Film That Heals, Not Divides – Vivek Ranjan Agnihotri

Vivek Ranjan Agnihotri is currently making headlines for his upcoming film The Bengal Files. The film features veteran actors such as Mithun Chakraborty (Gouranga Chakraborty), Pallavi Joshi, Darshan Kumar, Saurav Das, Anupam Kher, Puneet Issar, Saswata Chatterjee, Divyendu Bhattacharya, and Rajesh Khera. The film is slated for release in theatres on September 5. Recently, in a media interaction, Agnihotri discussed the film, its actors, controversies, and his upcoming projects.

In the trailer of The Bengal Files, you said, “If Kashmir hurt you, Bengal Files will haunt you.” What was your thought behind this line?

This line carries a deep historical and social meaning. Just like The Kashmir Files, The Bengal Files points towards a particular strategy connected with the partition of India. At the time of partition, the Muslim League (a political party of British India) had a strategy to gradually alter India’s demographic composition, inch by inch. Their dream was that major cities like Kolkata, Mumbai, and Hyderabad would also come under their control, but that didn’t happen. Ultimately, they called partition an “unfinished project,” and the same strategy was later applied in Kashmir. The way an entire Hindu community was expelled from Kashmir through genocide and violence is a painful chapter of history. Very few people know that Sikhs were also lined up and shot dead there. Now the same model and strategy are being gradually implemented in Bengal—illegal infiltration, demographic changes, youth drifting towards radicalism, and the spread of anti-India sentiments. Today, Bengal is witnessing large-scale communal violence. That’s why, when the story of Kashmir shook people, Bengal’s reality will disturb them even more. This is the reason I said that line in the trailer.

How do you view the protests and controversies in Bengal during the trailer launch of The Bengal Files?

This controversy wasn’t created by me, but by the state machinery there. I am only a filmmaker, and I went there simply to launch my film’s trailer. But the way the state government used the police to stop the launch was extremely unfortunate. First, they pressured multiplexes to cancel the event, and then even a five-star hotel backed out of hosting it. The situation worsened when party workers barged in, chaos ensued, and several young female journalists were injured. I myself had to protect my wife Pallavi (Pallavi Joshi) from the mob and get her out safely. Witnessing all this, I felt there is no such thing as “law and order” in Bengal. This incident will haunt me forever. The Bengal Files is not just about an issue—it’s a cinematic experience that speaks volumes through its cinematography, technique, and content. I especially want the youth and Gen Z to watch this film.

At foreign screenings, many viewers said they were unaware of the real events behind The Bengal Files. Why do you think that is, and how important is it for people to know these facts today?

It’s shocking that such a massive historical truth, which the world should know, is unknown even to the people of the country where it happened. The Bengal Files is not just the story of Bengal but of the partition of India as a whole. Bengal was divided multiple times—first in 1905, then in 1947, and again in 1971 with the creation of Bangladesh. Horrific events like “Direct Action Day” and the “Noakhali massacre,” where thousands of innocents were killed and corpses littered the streets of Kolkata for months, have been buried in history. Think about it—would a Jewish child be unaware of the Holocaust, an African child of slavery, or a Japanese child of Hiroshima and Nagasaki? Then why is our younger generation ignorant of its own history? Unless we understand and learn from it, we will continue to repeat the same mistakes. That’s why even today, Hindu-Muslim communal violence is rooted in the same old wounds. Knowing and remembering history is essential so that we never have to endure the same pain again.

Why do you think we remain unaware of the truths of our own history? Who should be held responsible for this?

There are two major reasons. First, our education system has turned into a factory that only produces doctors and engineers, not thinkers, writers, or social reformers. The second is our collective mentality, which has been crushed under centuries of slavery and suffering, to the point where we stopped expressing pain altogether. In India, children are taught from an early age to stay silent, endure everything, and never question authority. This mindset prevents us from confronting our pain, even though healing always begins with acceptance. Films like The Bengal Files challenge these lies and show us a way out by making us accept our pain. Only when we honestly acknowledge our history will our youth be able to walk with their heads held high, and only then will India recognize its true strength.

While dealing with a sensitive subject like communal violence, what matters more to you—portraying history as it is or the emotional impact on the audience?

See, if watching a film alone could incite hatred, then every boy watching an action movie should come out fighting goons and police on the streets—but that doesn’t happen. The purpose of my films is not to spread hatred but, through the “art of absence,” to show how far a society can fall when humanity disappears. My aim is to make the audience think—so that such tragedies never happen again. Just as The Kashmir Files evoked empathy and compassion for Kashmiri Pandits, not hatred, The Bengal Files too is a film that unites, not divides.

Tell us about the casting process. Did you get the actors you had originally envisioned?

Yes, absolutely! The actors I had in mind from the start are the ones who were cast. For example, I had written Rajiv Lal Roy Chowdhury’s character with Debendu in mind because he’s a brilliant actor. For Gandhi’s role, we cast Kher saab. For the character of Bharat Mata, I wanted Pallavi to play it, but initially, she wasn’t ready. She felt she might not be able to portray such an elderly character convincingly. But I explained to her that acting depth is more important than age, and eventually, she agreed. Pallavi has played the role with such emotion and impact that it will leave audiences stunned. Mithun Chakraborty and Darshan also perfectly fit their roles, though scheduling with Darshan was a bit tricky. Still, I convinced him, and he delivered beautifully. All the actors have elevated the film with their remarkable performances.

Fans are eager to know what’s next for you—do you have any new films or shows lined up?

At the moment, no new project has begun because right now, releasing The Bengal Files and focusing on its promotions is the priority. After that, I will think about something new. I have already announced a film titled Mahabharat, but its research will continue for another year and a half—it has already been in progress for three years. In the meantime, I want to make a small film based on the emotions of the elderly in India. This will serve as a sort of “detox” for me, because after the suffering and pain I have endured over the last six to seven years, I need this project to heal myself

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