Why's Vivek Ranjan Agnihotri done with black?

After years, filmmaker Vivek Ranjan Agnihotri stepped out in white on a balmy Wednesday morning in Chandigarh, giving his staple black attire a miss. Describing his state as that of a father who had married off his three daughters, he was wearing light, feeling light, hoping to take a walk in the Rose Garden, a short stroll in Rock Garden and enjoy Chandigarh as he had done back in time…

His ‘three daughters’ in question — The Tashkent Files, The Kashmir Files and The Bengal Files. As the last film completed the theatre run, he brings it for a special screening at Inderdhanush Auditorium, Panchkula and talks of his famous/infamous journey, depending on which side you fall.

The trilogy of truth, justice and life

“It was back in 2012 that I decided to do a trilogy – a film each standing for truth, justice and value of life as showcased in The Tashkent Files, The Kashmir Files and The Bengal Files, respectively. Now, I want to relax, take a little time to myself before I set out for my next,” he said.

The filmmaker admits that this journey has been arduous. Each film, he says, took four to five years of intensive research. “For Shastriji’s film we researched in Tashkent, Samarkand, and every place where we could meet anyone who had had known him.”

Between applause and accusation

Agnihotri’s films have sparked polarised reactions. While some laud them for ‘speaking truths buried in Indian history’, others have dismissed them as propaganda — sometimes even calling for bans. He responds with characteristic candour, “Let me tell you a secret — those who want our movies banned, watch them first.”

As for the protests and attempts to stall releases, he insists it’s not his fight. “Once a film is cleared by the CBFC, it’s the duty of the state government to ensure it’s screened. It’s not my battle to fight.” Not one to seek confrontation, he adds, “I thought The Bengal Files would get a screening everywhere — it didn’t. From now on, I am just going to make films. It’s up to viewers to watch or not.”

From commercial to conscious filmmaking

Along with the politically charged trilogy, Agnihotri had a diverse filmography — from the crime thriller Chocolate and sports drama Goal to the political satire Buddha in a Traffic Jam and the medical drama The Vaccine War amongst others. “I started out making films that people wanted to watch. Now, I make films that I want people to watch,” he says with a smile.

Years of engaging with India’s painful past have taken an emotional toll. “Our country has gone through immense suffering. Through my films, I have carried that pain — and I wore black for years to absorb it,” he says, referring to his symbolic wardrobe shift.

Awakening the fourth lion

With his trilogy complete, that he took inspiration for from India’s national emblem, he further states, “There are three visible lions — representing truth, peace and justice. The fourth lion is you and me — the people of India,” he explains. “Instead of the fourth film, I now want to focus on activism. I’m still learning the ropes.”

He draws his strength, he says, from the resilience of the Indian middle class. “I’m deeply inspired by the sacrifices of Indian mothers and the struggle of the common man who keeps going despite endless challenges,” he shares.

Wit, humour and hard questions

At the press meet, questions flew fast — from live-in relationships to why Indians prefer sending children to Canada rather than “making Chandigarh the next Canada.” Agnihotri responded with humour. “I won’t answer the first one,” he quipped. “Live-in wali meri umar nahi hai!”On the second, he was direct, “To make India like Canada, two things are needed — those in power must ensure laws are followed, and the rest of us must question corruption. That’s all it takes to build a better Bharat.”

Defying the ‘left’ and ‘right’ divide

“Left wing, right wing — that’s the vocabulary of politics, not cinema,” he says firmly. “These phrases have been overused to divide society. Look around — aren’t we fighting more than before? Our focus should be on taking Bharat forward.”

The lonely path of conviction

Agnihotri admits the journey has been isolating and, at times, dangerous. “It’s not easy — it’s lonely, often humiliating,” he reflects. He has faced fatwas, attacks and now moves with Y-category security. “I feel safe with or without security but I miss my freedom. It’s been long since I spent carefree time with my children without security hovering over.” But that’s the price he’s ready to pay deriving his strength from a common man’s spirit.

With his trilogy behind him, white clothes replacing black, and activism beckoning, Vivek Ranjan Agnihotri seems ready for a quieter but equally driven phase of life — one where the camera may take a break, but the cause continues.