Showing posts with label Satluj. Show all posts
Showing posts with label Satluj. Show all posts
Bollywood has always maintained good relations with whichever government is in power-Swara Bhasker
10:12 AM
Swara Bhasker talks about her mother’s classroom, the tweet that changed everything, and why celebrity worship culture will fail us every time
Jinit Parmar (MUMBAI MIRROR; July 26, 2026)
At 38, Swara Bhasker no longer separates her life as an actor from her identity as an outspoken citizen. She moved our interview forward so she could join Friday’s student-led education protest, a cause that, for her, begins at home. “This protest is very relevant to my family,” she says.
Bhasker grew up in Delhi between two forms of public service. Her father, C Uday Bhaskar, served in the Indian Navy for nearly four decades, while her mother, Ira, taught film studies at Delhi University and JNU for 43 years. “My mom always believed education should be public, government-funded, subsidised or free,” she says.
In fact, in 2017, many academics challenged the creation of the National Testing Agency, questioning why teachers were losing oversight of entrance examinations to a system driven by contracts and tenders.
Bhasker later studied English Literature at Miranda House and Sociology at JNU, trained in Bharatanatyam, and worked with N K Sharma’s Act One and the Indian People’s Theatre Association. “I have seen the guru-shishya parampara, modern Indian education and the progressive cultural movement,” she says. “I feel very blessed to have been a student in India.”
Cinema, cable TV and the cost of dissent
When Bhasker left Delhi for Mumbai in 2008, she imagined a career shaped by films rather than politics. Vishal Bhardwaj’s Omkara remains the benchmark. “Because I was a literature student, I had studied Othello, and then I saw what Vishal Bhardwaj had done with it. It was brilliant.”
Her love affair with cinema, however, began much earlier. “I always say Chitrahaar ruined my life,” she laughs. “My dad got cable installed, but I failed a maths test the next day, so he cut it in two days. I was obsessed with Chitrahaar and Superhit Muqabla. I wanted to be in that world.”
As films such as Raanjhanaa, Nil Battey Sannata and Veere Di Wedding raised her profile, her political voice grew louder. Bhasker insists there was never a conscious decision to become outspoken. “There was never one moment when I started being vocal,” she reflects.
“I came to Bombay during the Congress government and the Anna Hazare movement. India has a really vibrant culture of protest. So many actors used to write and tweet and give their opinion. It was just normal, part of being a citizen in a democracy. It was not an act of bravery. To share your thoughts or say this is the truth, all of this became an act of bravery only after 2014.”
After a series of posts following the 2014 general election – in which she’d pointed to the country’s socio-political fractures—triggered months of online abuse, she says the threats never altered her convictions. “You fight for what you love. I love this country, and I love the version of this country envisaged in our Constitution.”
The culture of industry silence
Her outspokenness has come at a professional cost, from the backlash over her open letter on Padmaavat to her opposition to the Citizenship Amendment Act. Bhasker says many colleagues choose silence after seeing what she has faced.
“A lot of my friends would say, ‘Let your art speak.’ But how can art speak when you haven’t left any space for it to be created? Honey Trehan did create art, Satluj, but it didn’t even last two days on Zee5 and wasn’t even allowed a theatrical release. There’s so much censorship. Even when I wrote that open letter to Sanjay Leela Bhansali, more than one big director told me I shouldn’t have done that.”
She is unsurprised that Bollywood rarely takes political risks. “A producer is ultimately a businessman. I don’t expect great acts of bravery from commercial cinema. Bollywood has always maintained good relations with whichever government is in power.”
“Celebrities will grow a conscience when society does”
Bhasker’s advice to those finding their voice is, thus, rooted in collective action rather than celebrity. “The only way you can speak up and be safe is if everyone speaks up. But people should not depend on actors. Celebrity worship has ruined our politics and our films. Celebrities are products of marketing, money and glamour. They will grow a conscience when society grows that conscience.”
She is equally uncomfortable being placed on a pedestal herself. “Don’t make me your hero. Someday I will probably let you down because I am human. Don’t attach those kinds of hopes to anyone.”
Now balancing motherhood with a quieter phase on screen, she is completing The Illicit Dreams of Mrs Phalani, in which she plays 16 characters. She has also made peace with the labels attached to her. “I fought that activist tag for many days, then I said, ‘Give it to me. I am not going anywhere.’ I just hope I’m remembered as a person who had good and clean intentions and integrity.”
I&B Ministry to mandate CBFC certification for OTT films, amend the current IT Rules amid Satluj row
8:32 AM
Mohar Basu (MID-DAY; July 18, 2026)
The release and subsequent takedown of ‘Satluj’ from Zee5 may have a ripple effect on OTT films. Discussions are said to be underway within the Ministry of Information & Broadcasting (I&B) about amending the Information Technology (Intermediary Guidelines and Digital Media Ethics Code) Rules, 2021, and requiring films premièring on streamers to obtain certification from the Central Board of Film Certification (CBFC).
This comes seven months after the I&B Ministry had informed the Parliament that OTT platforms would continue to be regulated under the IT Rules.
A source told mid-day, “At present, films released directly on OTT platforms are not required to secure the CBFC certification, unlike theatrical releases. Under the new proposal, a film would not be permitted to stream in India until the certification process is complete.”
According to sources, another idea being considered is to have the CBFC examine not all, but those films whose certification proceedings remain pending.
The source added, “One proposal is to ensure that if a film has been submitted for certification, like ‘Satluj’ was, it cannot stream unless the matter has been resolved.” The discussions are at an early stage. mid-day reached out to the CBFC, which didn’t respond till press time.
- Currently, OTT content falls under the purview of the IT Rules, 2021
- Content is classified based on age groups
- Streamers have a three-tier grievance redressal mechanism, with the first level being self-regulation by the platform. An independent body forms the second tier, while Inter-Departmental Committee oversees the final tier
Indian filmmakers fear to tread many paths these days
7:58 AM
Sensitive themes being increasingly dropped at the ideation stage amid increased censoring, legal scrutiny and social media backlash
Rajesh N Naidu (THE ECONOMIC TIMES; July 18, 2026)
Mumbai: The removal of Punjabi film Satluj from a streaming platform has brought attention to a trend that writers and film-makers say has been quietly reshaping India's entertainment industry: self-censorship.
Over the past three to four years, creators say an increasing number of subjects have become difficult to touch, prompting many ideas to be dropped long before they make it to the scripting stage.
Scriptwriters, directors and producers told ET that topics such as Kashmir, communal riots, caste, religious identity, farmer protests, China, national security, the Northeast and Punjab militancy are increasingly being avoided at the ideation stage itself, narrowing the range of stories entering development.
While concerns over regulatory scrutiny continue to loom large, many creators say the fear of organised social media backlash has emerged as an equally potent constraint. Others, however, view the environment as an intellectual challenge, attempting to navigate sensitive themes through more nuanced storytelling without compromising their creative intent.
"There is fear among creative minds. Today, one has to think even about the names of the characters one writes. This speaks for the extent of self-censorship in the industry. One cannot write or create anything against the system today," said Honey Trehan, director of the film Satluj.
"Even before censorship, producers often ask us to change or remove things because they fear trouble. How much of real life or vision is left in a work after these changes," said scriptwriter Sudeep Nigam, known for the web series Illegal - Justice, Out of Order. "I wonder if we could make a film like Rang De Basanti today."
Production houses have legal teams which examine scripts line by line, said industry insiders.
Consequently, the universe of stories which writers can tell has been shrinking. "There is an unwritten but widely accepted self-censorship of certain topics among writers. It has materially shrunk the available universe of storytelling," said Jaidev Hemmady, who wrote the script for the web series Hunter - Tootega Nahi, Todega.
According to scriptwriter Sudeep Nigam, many people feel it is safer to write a romantic comedy than deal with difficult truths.
A scriptwriter who requested anonymity said: "I am tired. Today, most of my decisions are not creative but strategic in nature. I don't know what aspect in my story will trigger an unfavourable response from producers, streaming platforms, people or even the government."
Personal backlash is a key worry, said writers. "Earlier, writers would avoid certain things out of sensitivity. Today, we think twice before selecting a subject. We worry about legal action, social media attacks and even the impact on our families," said Abhishek Chatterjee, scriptwriter for the web series Sutliyan.
"What worries me most is not just whether a film will be stopped but the personal backlash that can follow. This fear is real."
But Chatterjee said he has not lost optimism. "There are challenges today. Despite these challenges, we must find ways intellectually and not compromise on our vision, like Iranian film-makers," he said.
Satluj faced this problem because it’s so explicit-Gurvinder Singh
3:39 PM
Honey Trehan and Gurvinder Singh
Disheartened by ‘Satluj’ ban, National Film Award-winning director Gurvinder Singh says the movie might have escaped the govt’s attention had Honey Trehan’s storytelling not been emphatic
Priyanka Sharma (MID-DAY; July 15, 2026)
Over the past week, Diljit Dosanjh’s Satluj has become a national talking point after Zee5 removed the film within days of its July 3 première. With many artistes and politicians debating over the sustained censorship meted out to Honey Trehan’s crime drama, where does filmmaker Gurvinder Singh — one of the most prominent voices of alternate Punjabi cinema — stand on the matter, we wondered.
“Disheartening” is how he described the ban on the movie that tells the story of human rights activist Jaswant Singh Khalra, who investigated the extrajudicial killings in Punjab of the 1990s.
“The censorship that the film has gone through is disheartening. But that’s the truth of the times we live in, and he [Trehan] should have been prepared [for this],” reflected Singh. Per him, there were “other ways” to tell the story.
“[That way] the government could have said, ‘Dekhne do logo ko.’ When the government sees my films, they feel, ‘Iss mein kya hai? Dekhne do.’ But Honey’s approach was the film should have that impact and reach everyone. In that context, it’s a very well-made movie. But the film faced this whole problem because it’s so explicit, because the government knows it will arouse people of different faiths for different reasons,” he said.
The National Film Award-winning director watched Satluj long ago at a preview in Chandigarh. What he remembers distinctly is how the film made him angry about what transpired in Punjab. “It’s not my kind of film because it doesn’t leave anything for you to imagine. It explicitly shows everything, and that’s fine if the filmmaker feels that’s the way needed to tell the story in the most emphatic manner. It made me angry about what happened at that time. So, they were successful in doing that,” shared Singh.
Satluj row: Diljit Dosanjh's film removed globally until further assessment
2:55 PM
Mohar Basu (MID-DAY; July 12, 2026)
A week after Satluj was pulled from Zee5 in India following government intervention, the Diljit Dosanjh-starrer has now been removed from the platform globally. Multiple sources told mid-day that the film’s release has been put on hold until the Inter-Departmental Committee, as per the Information Technology Rules, completes its review of the film, originally titled Punjab '95. “The idea is to maintain one uniform position globally while the process is underway given the sensitivity of the story,” says an insider.
“This isn’t necessarily a permanent decision. Everyone is waiting for the committee’s observations before deciding the next course of action,” the source adds.
While Satluj is no longer available on Zee5 worldwide, the film — which chronicles activist Jaswant Singh Khalra’s investigation into the extrajudicial killings of Sikh youths during the Punjab insurgency between 1984 and 1995 — is being widely pirated online. mid-day has learnt that it is streaming on YouTube, uploaded by several non-profit organizations, including Ensaaf, a US-based human rights organisation that has extensively documented cases of killings in Punjab.
Earlier this week, mid-day had reported that the film was being screened in gurudwaras across Punjab (No hiding our history, July 9). Those screenings are now being halted by the police.
A committee set up by the Centre to examine the content of ‘Satluj’ has recommended that the ban on its public access through online streaming platforms should remain as the film allegedly goes against India’s sovereignty and integrity, government sources said on Saturday.
Diljit Dosanjh's Satluj taken down amid fears of reviving separatist sentiment
11:04 AM
Mohar Basu (MID-DAY; July 7, 2026)
Just about 48 hours. That’s how long Diljit Dosanjh’s Satluj, formerly titled Punjab '95, was available for streaming in India before it was pulled down from ZEE5 on the evening of July 5, even as it remained accessible overseas. Sources have told mid-day that the takedown decision came after the government apparently flagged the film — a biopic on human rights activist Jaswant Singh Khalra — citing threats to national security.
Satluj chronicles how Khalra investigated the extrajudicial killings of Sikh youths during the Punjab insurgency between 1984 and 1995. Sources revealed that authorities were concerned that the film could be used to revive separatist sentiment in Punjab ahead of the Assembly elections in November.
An insider said, “The concern is the environment in which the film is releasing. There is a feeling that certain groups could weaponize the film to further their own agenda. The assessment has been made from a national security perspective, not a political one. With Punjab heading towards elections, the authorities are not willing to take chances.”
Despite the latest takedown, director Honey Trehan’s movie — that was stuck in a years-long battle with the Central Board of Film Certification (CBFC) — continues to circulate online. During a recent Instagram Live, Dosanjh acknowledged that users were downloading the film through torrent websites.
Shortly afterwards, an X account user told mid-day that over 5000 people had downloaded the movie through their link. “It started with over 300 downloads, but now there are over 5000 downloads of our print,” said the user.
The film’s journey
- On the first viewing in 2022, the CBFC sought 21 cuts. The makers approached the Bombay High Court
- In July 2024, mid-day reported that the CBFC’s list of cuts had risen to 85
- By September 2024, it sharply rose to over 120
- In January 2025, mid-day reported how the makers unsuccessfully tried a global release for the biopic
------------------------------------------
After years of censorship battles, title changes and release delays, Diljit Dosanjh’s long-delayed film finally reached audiences without cuts — only to disappear from ZEE5 within two days. As speculation grows, no official explanation has emerged
HINDUSTAN TIMES (July 7, 2026)
For years, Honey Trehan’s film on human rights activist Jaswant Singh Khalra existed more as a censorship controversy than a movie. Announced as Ghallughara, later retitled Punjab ’95 and finally released as Satluj, the Diljit Dosanjh-starrer spent nearly four years battling certification hurdles before quietly premiering on ZEE5 on July 3.
There were no promotions, interviews or marketing campaigns. Then, just 48 hours later, the film disappeared.
On July 5, ZEE5 announced that Satluj would be unavailable in India “until further notice”, citing unspecified “developments”. The platform has not elaborated further, and neither the CBFC nor the film’s producers have publicly explained the move.
HT City reached out to all stakeholders but had not received a response at the time of going to press.
ONLY ONE MAN IS TALKING — DILJIT
The most detailed response has come from Diljit, who suggested the team always feared such an outcome. During an Instagram Live session, the actor said the makers deliberately avoided announcing or promoting the release because they worried the film might never reach audiences otherwise. In fact, during a fan interaction a day before the takedown, he had predicted it could happen: “Today is Saturday. I feel it could be taken down by Monday. But no worry, you download it and watch.”
After the removal, Diljit remained defiant. “You can trouble me as much as you want. I am with Punjab till the day I die,” he said, adding that he was satisfied the film had reached viewers and urging those who downloaded it to share it further.
Beyond Diljit, most stakeholders have remained silent. Producer Ronnie Screwvala has not commented, while director Honey Trehan only reposted ZEE5’s statement with the message, “Tera bhana meetha lage” (God’s will seems sweet).
WHY WAS THE FILM CONTROVERSIAL?
The film tells the story of Jaswant Singh Khalra, the human rights activist who investigated alleged illegal cremations and extrajudicial killings during Punjab’s militancy years. Khalra was abducted and murdered in 1995, and the case later led to the conviction of several police personnel. Because it revisits one of the most sensitive chapters in Punjab’s history, the project faced scrutiny from the start. After being submitted to the CBFC in 2022, the film reportedly ran into objections and was asked to make more than 120 cuts. Trehan maintained that such changes would fundamentally alter the film. The prolonged dispute derailed release plans and eventually pushed the makers towards a direct-to-digital release.
WHY OTT?
Unlike theatrical releases, OTT platforms do not require prior CBFC certification. Industry observers believe streaming offered the makers the only realistic way to release the film in its intended form. That makes its sudden removal all the more puzzling.
SO WHAT HAPPENS NOW?
Some observers point to the film’s politically sensitive subject matter, while others have noted that Punjab is due to hold Assembly elections early next year. Film trade analyst Atul Mohan says the exact trigger remains unclear but believes the subject itself may have raised concerns. “It is definitely a sensitive issue. Elections are coming in Punjab and maybe there could be a concern that no one should use this as propaganda,” he says.
Adding to the controversy, advocate Vineet Jindal has said he filed a complaint with the Ministry of Home Affairs seeking action against the filmmakers and ZEE5, alleging that the film promotes a distorted narrative around Punjab’s insurgency years, in addition to an FIR against Diljit. There is currently no indication that the complaint is linked to the film’s removal.
Honey Trehan breaks silence on Satluj controversy: "I genuinely don't know who objected"
9:38 AM
Just two days after its Zee5 première, ‘Satluj’ — previously titled ‘Punjab '95’ — was made unavailable in India, mid-day finds out how the film got an India release in the first place
Mohar Basu (MID-DAY; July 6, 2026)
Four years after Punjab '95 was stopped in its tracks over objections from the censor board, Honey Trehan was finally breathing easy on Saturday morning when we got on a call with him. His film, now streaming on ZEE5 as Satluj, had arrived without a single cut.
For the filmmaker, it marks the end of a battle that often seemed impossible to win.
In his first interview since the film's release, Trehan told mid-day that there were moments when even he wasn't convinced the film would eventually see the light of day "Even till yesterday afternoon, I wasn't sure if the film would come out," he says with a laugh. "We've reached this point so many times before that I had stopped allowing myself to believe it. I kept telling myself, 'Let it go, let it go.' Then suddenly, it was just there."
The release, he says, belongs as much to the family of human rights activist Jaswant Singh Khalra as it does to the makers. "I spoke to them immediately. They are very, very happy. It was important because we didn't get the title Punjab '95. Naturally, people assumed the film must have been released with cuts. Paramjit aunty herself clarified that this is the same film. Hundreds of people who had watched the earlier version are now saying Satluj is exactly the same film."
For Trehan, that validation mattered more than anything else. "I'm getting messages from IPS officers in Punjab asking, 'The film is without cuts, right?' They are excited to finally watch it. That means a lot."
The director admits he was initially worried that the four-year delay would burden the film with impossible expectations. "I actually felt the opposite happened. These three years became three years of publicity. Punjab '95 had become much bigger than the film itself. My only anxiety before release was whether I could live up to what people had built in their minds. But the response has been overwhelming. Every reaction has become memorable."
Trehan credits producer Ronnie Screwvala, Diljit Dosanjh and ZEE5 for refusing to compromise. "The way Ronnie sir and Diljit stood by me and stood by the film... I can't thank them enough. And what courage ZEE has shown. Hats off to them. They simply dropped the trailer, posters and the film together. There was no release date, no countdown, nothing. It was just — streaming now. I've never seen anything like that."
Throughout the film's uncertain journey, Dosanjh remained firmly behind the project, says Trehan. Recalling how the actor came on board, he says their relationship dates back to Udta Punjab. "Even before I told him I wanted to make a film on Jaswant Singh Khalra, he immediately said, 'There's only one story from Punjab worth making if it isn't about 1984'. I showed him my research book. He looked at Mr Khalra's photograph, picked up the book, placed it on his forehead and simply said, 'Waheguru ji... tell me when and where to come. You'll find me there'."
That commitment, Trehan says, never wavered. "There were days when he reported at six in the morning and I couldn't take his first shot until four in the evening because schedules had gone haywire. I kept apologizing. Every single time he would tell me, 'Paaji, no problem. Whatever you're doing, you're doing for the film. I'm here to support the film.'"
The filmmaker also recounts how Dosanjh recently waited nearly an hour for an Instagram Live session promoting the film despite repeated technical glitches. "He waited for almost 50 minutes. We couldn't connect because of technical issues. Finally, someone got us connected. It wasn't about publicity. Somewhere, both of us felt we would connect. That's the kind of person he is."
Even today, Trehan says he doesn't know who exactly objected to Punjab '95. "If somebody asks me who had a problem with the film, I genuinely don't know. I don't have a face. I don't have a name. Everything came through third persons or lawyers."
He reveals that communication from the censor board effectively stopped earlier this year, forcing the makers to find another route. "There came a point when there was simply no communication anymore. After everything we'd gone through, there was nothing left to discuss. That's when ZEE stepped in and made this release possible."
Yet, despite the years of uncertainty, he refuses to hold grudges. "I've never been bitter. Sometimes you feel hurt emotionally because you're not getting answers. But I also remind myself that I'm talking about one film. The people running the country have much bigger responsibilities. Sometimes there must have been helplessness. I respect the people and the positions they hold."
He points out that every legal body and community organization that watched the film responded positively. "The SGPC watched the film. The Akal Takht committee watched the film. Everywhere I went, the response was overwhelming. Today the film is available across 196 countries on ZEE5 and all I'm receiving is love. So where exactly was the problem?"
Trehan also responded to Diljit Dosanjh's recent assertion that he is "not political, but an artiste". Without commenting on the actor's statement, the director says art inevitably exists alongside politics. "Art can be different from the politics of the time you're living in. Otherwise your art cannot be truthful. Everything today becomes political."
He insists Satluj was never designed to make a political argument. "We're only talking about human rights. We're not commenting on the politics of that period. We're talking about what happens when extraordinary powers are placed in the hands of a few people. That's a human issue, not a political one."
Trehan believes that is why audiences across generations are responding to the film. "Someone messaged me saying this film doesn't reopen wounds; it heals them. That stayed with me. People feel somebody has finally told their story. That's probably the greatest compliment I've received."
At the time of going to press, ‘Satluj’ had been made unavailable on ZEE5 in India.
Statement by Zee5 “The response to ‘Satluj’ since its release has been truly overwhelming. We are deeply grateful to every viewer who chose to subscribe, watch and champion the film. Your love and support have meant a great deal to us and to everyone who brought this story to life. At Zee5, we stand firmly by ‘Satluj’ and the creative vision behind it. We believe powerful storytelling has the ability to inspire, endure, and leave a lasting impact. We remain committed to championing authentic and meaningful narratives. In light of the current developments, ‘Satluj’ will be unavailable in India until further notice. We remain committed to exploring every appropriate avenue through due process to bring the film back to our audiences at the earliest opportunity. Our commitment to creators and to stories told with conviction, artistic integrity and purpose remains unwavering.”
Punjab '95 finally releases as Satluj; Diljit Dosanjh says no cuts made
9:30 AM
HINDUSTAN TIMES (July 5, 2026)
After years of delays and censorship-related hurdles, Diljit Dosanjh-starrer Punjab '95 has finally been released under a new title. The film, now called Satluj, quietly dropped on OTT on Friday. Based on the life and death of human rights activist Jaswant Singh Khalra, the Honey Trehan directorial was originally slated for release last year but remained stuck amid certification issues.
During an Instagram Live session on Friday, Diljit clarified that while the title has changed, the film itself remains untouched. “Unfortunately, we couldn’t keep the original title for certain reasons... But there are absolutely no cuts in the film. The version I watched in theatres two years ago is exactly the same one I watched at home last week. If even a single cut had been made, I would not have promoted the film,” he said.
Trehan echoed the sentiment, revealing that Khalra’s wife, Paramjit Kaur Khalra, had also confirmed that the released version remains unchanged. “Paramjit aunty also shared a post about the film and said this is the very same version she had watched earlier. Only the title has changed,” he said.
Trehan added, “Everything I objected to, every word I refused to cut or mute, is still there in the film.”
The film also stars Arjun Rampal, Surinder Vicky, Varun Badola and Geetika Vidya Ohlyan.
(Crisp) Movie Review: SATLUJ by FENIL SETA
11:47 PM
Satluj is a Hindi film starring Diljit Dosanjh, Arjun Rampal and Suvinder Vicky (who played Arjun's father in Dhurandhar The Revenge and also played a crucial role in Kohrra). It was earlier titled Punjab '95 and was stuck at the Censors for more than a year. At one point, the CBFC asked for 127 CUTS in this film. The film has now been released on Zee5 with a new title all of a sudden and without prior intimation. The film has definitely suffered cuts, but it still packs a punch. It tells the story of Jaswant Singh, who found out how the Punjab Police had been killing people, cremating them, and passing their bodies off as 'unclaimed'. The makers keep the narrative simplistic and hard-hitting. The gravity of the situation hits viewers in the intended manner. The investigation in the second half is also worthwhile. The climax is very chilling, as are the texts mentioned in the end slate. On the flipside, the film could have been shorter and a little more information could have been provided on Jaswant's activism. The change of title is a downer; it doesn't suit the film at all. Diljit Dosanjh is terrific, as expected and he does full justice to an iconic character. Suvinder Vicky, who's on a roll, is aptly cast. Arjun Rampal has a late entry but makes up for it with his superb act. Geetika Vidya Ohlyan (Pammi), Saurabh Sachdeva (Satnam), Vansh Bhardwaj (Inspector Shivender Singh), Jagjeet Sandhu (SPO Kuljit Singh), Kanwaljit Singh (DGP Bitta), Nasser (DGP S V Varma) and others also perform very well. All in all, Satluj is a must-watch film. Don't miss!
My rating - **** out of 5!
My rating - **** out of 5!
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