Ekta Kapoor's podcast claim about 'Hinduphobia' in Bollywood has stirred debate, spotlighting how Indian mythology is received in mainstream cinema. She cited personal experiences and the reception of The Vvaan: Force of the Forrest as evidence. The film, released September 25, 2026, blends folklore with fantasy. Re-
Ekta Kapoor has reignited a long-simmering debate in Bollywood, not with a film or a casting, but with a podcast confession. On Ranveer Allahbadia’s show, she called out what she described as 'Hinduphobia' in the industry — not in the sense of overt bigotry, but in the way Indian mythology and folklore are treated on screen.
The trigger? A fantasy film she produced: The Vvaan: Force of the Forrest, which released on September 25, 2026, and is rooted in the legends of Maa Van Devi Temple in Bihar. The film stars Sidharth Malhotra and Tamannaah Bhatia, with Anup Soni, Sunil Grover, Shweta Tiwari and Maniesh Paul in key roles.
It’s set in a forbidden forest, blending supernatural elements with indigenous storytelling. But it’s not the story that’s drawing heat, it’s the conversation around it. Ekta said she’s faced mockery for wearing a tika and dhaaga, even after temple visits before heading to clubs. She questioned why faith and modern life should be seen as incompatible.
Her point wasn’t about exclusion, but about discomfort. The unease people feel when religious identity isn’t neatly tucked away. She also noted a paradox: audiences embrace Western fantasy, from Harry Potter to The Lord of the Rings, yet hesitate at stories drawn from Indian epics or folk traditions. That tension, she argued, is cultural gatekeeping disguised as taste.
The film itself got mixed reviews. Some praised its visuals. Others found the narrative uneven. But the real impact may lie beyond the box office.
Her remarks have sparked a quiet reckoning. Not every filmmaker agrees. Some see her take as a call to action. Others say it’s an overreach, that representation shouldn’t be framed as persecution.
What’s clear is that the discussion is no longer just about what gets made, but who gets to make it, and how freely. The next move? No official response from studios. No public rebuttal from peers.
Just silence. And the slow burn of a question: can Indian cinema tell its own myths without apology?
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