Last Updated:February 22, 2026, 07:30 IST

Sen described the film as a ‘matter-of-fact documentation’ of certain occult practices within specific Hindu cult groups

Sen insisted the film is not an ideological provocation but an exposé of illegal and superstitious practices. File image/IANS

Two and a half years back, when The Kerala Story erupted into a nationwide political storm, its director Sudipto Sen became both a lightning rod and a rallying point. With The Kerala Story 2 already drawing pre-release controversy, Sen now finds himself in another battle—but this time not on the streets or in political studios. His upcoming film Charak: Fair of Faith has been denied certification by the Central Board of Film Certification (CBFC) and sent to a review committee, barely weeks before its scheduled March 6 release.

The teaser of Charak was released this week. Talking to News18 exclusively, Sen described the film as a “matter-of-fact documentation” of certain occult practices within specific Hindu cult groups. There are practices that allegedly include human sacrifice and ritual cannibalism.

The CBFC, he confirmed, has suggested cuts, particularly in sequences that visually depict cannibalism. Yet, according to him, the grounds for denial remain unclear. “I genuinely do not have a clear idea why the clearance was denied. I am willing to even opt for certain cuts and sacrifice some visuals for the film’s sake. But now the bigger question is lurking on my film itself. At this juncture, I can only be hopeful,” said Sen.

“In our last meeting, I was told the film would be evaluated sympathetically. We have presented documented material, not fiction. However, truth is always uncomfortable,” he added.

Sen insisted the film is not an ideological provocation but an exposé of illegal and superstitious practices. “If something illegal is happening in the name of faith, should the cinema look away?” he asked. “My work is to bring facts before society,” he added.

Charak reportedly also touched upon the issues of missing children or persons, drawing an implied link between disappearances and ritualistic practices. Sen argues that uncomfortable themes are often mistaken for deliberate offence.

The irony, of course, is hard to miss. Sen’s earlier films were accused by critics of targeting a particular community. Now, as his lens turns inward, the institutional response has become the story. “Even though I do not know the reasons for such resistance, ideological or otherwise, the first and the basic response to the film did not seem encouraging to me. However, after the release of the teaser, I got a huge response from my well-wishers,” Sen said.

With the film now before a review committee and the release date approaching, the uncertainty lingers. Another legal battle cannot be ruled out. But for Sen, the pattern seems familiar. “Controversy is not my goal,” he said, “But silence in the face of uncomfortable truth is not an option either.”

Once again, Sudipto Sen stands at the intersection of faith, politics and cinema, waiting for clearance, and perhaps, for another storm.

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