The Bengal Files sparks divided reactions on X: Netizens clash over Vivek Agnihotri’s retelling

The release of The Bengal Files, the concluding chapter in Vivek Agnihotri’s controversial “Files Trilogy,” has ignited a fierce online debate, drawing wildly divergent responses from viewers and critics alike. The film’s portrayal of the turbulent events in Bengal in 1946—namely the Great Calcutta Killings, Direct Action Day, and the Noakhali riots—has polarized public sentiment, using stark storytelling and charged imagery that many find emotionally powerful, while others label it as blatant propaganda.

Some international viewers who saw the film during early screenings have praised its visceral impact, describing it as “hard-hitting,” “gut-wrenching,” and “intense.” Performances by the cast—especially Namashi Chakraborty, Pallavi Joshi, Mithun Chakraborty, Simrat Kaur, and Anupam Kher—have been commended for their emotional depth and authenticity, elevating the narrative and leaving significant impression on many. For some, The Bengal Files is more than a historical drama. It resonates as a raw and emotional revelation of suppressed chapters, a cinematic history lesson that demands to be felt deeply.

However, the film has also provoked strong backlash. On social media channels like X, critics have accused it of rewriting history with a skewed perspective. One viewer called it “propaganda,” warning that dramatizing such sensitive events with one-sided narratives risks misleading audiences and stoking communal tensions. Others reacted more harshly—some users gave the film as low as one star, calling it “boring” and decrying it for reinforcing “age-old hatred for Bengalis.” Many questioned whether it reduces complex histories into simplistic moral battles, suggesting that its timing and tone appear driven as much by political motive as by cinematic storytelling.

Adding to the controversy is the legal storm surrounding the film’s release. FIRs have been filed by political entities in West Bengal, accusing the film of insulting regional sentiment and threatening communal harmony. The grandson of freedom fighter Gopal Mukherjee, known as Gopal Patha, has also taken legal action, insisting that the film wrongfully depicts his grandfather as a violent butcher and that such portrayals dishonor his legacy. Agnihotri, however, defends his creative choices by saying he has portrayed Patha as a hero based on documented interviews, even while allegations of ideological bias swirl.

Media critics have also weighed in. Some reviews applaud the haunting visuals and the emotional weight of the saga, while others dismiss the narrative as heavy-handed and sensationalist. A prominent reviewer described the film as a “divisive diatribe,” accusing the filmmaker of painting with overly broad strokes and sacrificing nuance in pursuit of ideological purpose. Another critic acknowledged the research behind the film’s premise but lamented its overlong, unwieldy execution and uneven performances, pointing to the need for better narrative structure.

What’s clear is that The Bengal Files has transcended being merely a film—it’s become a cultural flashpoint. For some, it’s a powerful reclamation of buried history, vital and stirring. For others, it’s a dangerous oversimplification that risks harming communal harmony under the guise of historical storytelling.

As the film continues its theatrical run, the question on everyone’s mind is not just “Should you watch it?” but “What do you do with the reaction it provokes?” In that sense, The Bengal Files may prove more enduring for how it divides opinions than for any storyline it depicts.