Exploring the Dark Legacy of Punjab ’95: A Film on Human Rights Violations

A Gripping Narrative of Power and Consequences

Honey Trehan’s film, Punjab ’95, offers a harrowing and insightful look into the ramifications of unchecked authority.

This Hindi-Punjabi film revisits the troubling events of the 1980s and 1990s, highlighting the disappearances, extrajudicial killings, and unlawful detentions linked to security forces combating Khalistani separatists. Its unflinching portrayal of this well-documented chapter in Indian history has drawn scrutiny from the Central Board of Film Certification.

Initially named Ghalughara (Massacre), the film centers on human rights advocate Jaswant Singh Khalra, who was abducted in September 1995 while investigating police misconduct. His wife, Paramjit Kaur, accused a Punjab police unit of detaining him without charges and subsequently murdering him in October 1995.

In 2005, six Punjab police officers were convicted for Khalra's murder, with two receiving life sentences and four getting seven years. The Punjab and Haryana High Court later acquitted one officer but increased the sentences of the others to life imprisonment, a decision upheld by the Supreme Court in 2011.

Human rights organizations have noted that Khalra was one of the more prominent victims of a counterinsurgency strategy that indiscriminately targeted innocent civilians while claiming to combat terrorism. Investigations revealed that both state and central governments granted the Punjab police unchecked authority to operate death squads, incentivizing them with promotions for meeting targets.

In Punjab ’95, the character Jaswant (played by Diljit Dosanjh) uncovers a disturbing pattern of murders while searching for a missing neighbor. He learns that the orders for abductions, torture, and killings originate from the police chief, Bitta (Kanwaljit Singh), with his ruthless enforcer Sugga (Suvinder Vicky) carrying out the orders.

With the assistance of a conflicted policeman, Satwant (Saurabh Sachdeva), Jaswant discovers an alarming rise in firewood orders from state-run crematoriums and bodies accumulating in canals between Punjab and Rajasthan.

Bitta and Chief Minister Anant Singh (SM Zaheer) dismiss Jaswant’s findings. When he travels to Canada to garner international support against human rights abuses, he is labeled a traitor.

Despite receiving threats to his safety, Jaswant remains determined. After his disappearance, the responsibility of activism shifts to his wife Paramjit (Geetika Vidya Ohlyan) and a dedicated Central Bureau of Investigation officer, Samudra (Arjun Rampal). Samudra’s attempts to uncover the truth about Jaswant’s fate unsettle Sugga and ultimately Bitta.

Punjab ’95 is not merely a biopic of Khalra, who came from a politically active family. The screenplay, crafted by Trehan, Niren Bhatt, and Utsav Maitra, is designed as a tension-filled thriller.

The film opens with a scene that hints at the normalization of violence, featuring a convoy with Sugga and his crew on a night shift, their casual banter masking the horrific reality of their cargo.

Cinematographer KU Mohanan employs a shooting style characterized by steady shots and subtle movements, accentuating the theme of the banality of evil. His work shines in scenes where Sugga terrorizes Satnam and his family, as well as when he threatens Paramjit.

Diljit Dosanjh and Suvinder Vicky deliver standout performances, with Dosanjh portraying a quietly charismatic figure and Vicky embodying a chilling menace. Trehan, who transitioned from casting director to filmmaker with his debut Raat Akeli Hai (2020), has crafted a compelling narrative.

Similar to Raat Akeli Hai, Punjab ’95 is a collaboration between Ronnie Screwvala’s RSVP and MacGuffin Pictures, co-founded by Trehan and filmmaker Abhishek Chaubey. While the film merits viewing, its release in its original form appears uncertain.

The film has faced significant censorship challenges since its submission to the Central Board of Film Certification in 2022. Over the months, the board has requested numerous cuts, totaling over 120, which has hindered its release, according to Trehan.

A legal case filed by RSVP and MacGuffin Pictures against the censor cuts at the Bombay High Court remains unresolved. Without a censor certificate, Punjab ’95 cannot be screened in Indian theaters or submitted to international festivals due to its sensitive content.

Trehan expressed concern that excessive cuts would render the film unrecognizable. In an interview, he discussed the importance of Khalra’s story and the challenges facing Punjab ’95.

What inspired you to create Punjab ’95?

During my time as an assistant director, I shared stories from my childhood in Punjab with Abhishek, who encouraged me to tell them. Punjab ’95 is dedicated to my parents and Abhishek, whose support has been pivotal in my journey.

I initially envisioned this film as my debut. Khalra is a well-known figure in Tarn Taran, where I grew up. His surname is actually Sandhu, but he is referred to as Khalra due to his origins. The year of his death, 1995, coincided with my family’s move from Tarn Taran to Allahabad.

During the first wave of Covid in 2020, I fell ill and spent 14 days in quarantine. I read Amandeep Sandhu’s Panjab: Journeys Through Fault Lines, which includes a chapter on disappearances. Amandeep suggested I make a film on this topic, especially since I am from Tarn Taran and knew Khalra’s daughter.

Coincidentally, I called Amandeep on September 6, the day Khalra disappeared, and decided to pursue the film.

After the success of Raat Akeli Hai, Ronnie and I agreed to collaborate again. I presented my idea to him during the Covid lockdown, and he was deeply moved by the narration.

How did Diljit Dosanjh become involved?

In January 2021, I reached out to Diljit while he was traveling from Amritsar to the United States. I convinced him to visit my office during his layover.

Most narratives about Punjab focus on the events of 1984, particularly the Blue Star operation. I expressed my desire to tell the story of what transpired in Punjab afterward. Diljit emphasized that the only story worth telling post-1984 is that of Jaswant Singh Khalra. He had previously attempted to make a film about Khalra but was unable to secure the rights.

I shared my research on Khalra with Diljit, who respected the subject and agreed to portray him. I requested that he grow out his beard for authenticity.

Was Punjab ’95 always intended as a thriller?

Yes, that was the vision. The opening sequence illustrates the normalization of violence. I aimed to establish the world before introducing the main character.

This is why the film is not a biopic; it explores the insurgency period in Punjab through Khalra’s perspective.

Niren Bhatt joined the project to develop the script, which took several months. After some delays, we had two drafts ready by September 2021.

Niren’s return to the project was beneficial, as I appreciate his writing style. I took him to Punjab for inspiration.

We had many lengthy scenes that needed to be condensed, and Niren excelled at this.

For instance, when Satnam explains why he cannot leave the police, his response is succinct: 'I am riding a tiger. I can’t dismount it, or it will eat me.'

I also needed a line to conclude Arjun’s voiceover, and Niren suggested that 'floating corpses carry their own history.'

A notable quote from Jaswant about how many lights can dispel darkness is derived from a speech he delivered in Canada.

What are your memories from filming in Punjab?

We commenced shooting in February 2022. Suvinder Vicky’s schedule conflicted with his work on the series Kohhra, but we managed to coordinate.

Diljit was supportive throughout the shoot, and the first shot of him in the film features Jaswant bowing before the Guru Granth Sahib.

After about ten days of filming, we faced opposition from individuals claiming we could not make a film about Khalra, whom they regarded as a martyr. They questioned whether we had permission from the family or the Akal Takht, leading to a temporary halt in production.

Ronnie suggested relocating the shoot to Bombay, but I assured him I could manage the situation. I consulted with members of the Akal Takht, who deemed the project noble.

What discussions did you have with cinematographer KU Mohanan regarding the film's aesthetic?

Mohanan has always been supportive and was deeply affected by the narration. He had previously visited Harike, where Khalra’s body was disposed of, making the subject personal for him.

I enjoy night shoots, which is why many scenes are set in darkness. Initially, we considered shooting Punjab ’95 entirely handheld, but ultimately opted for a more classical approach.

We drew inspiration from films like Steven Spielberg’s Schindler’s List and Alan Parker’s Mississippi Burning. The red car in which Khalra is kidnapped pays homage to the girl in the red coat from Schindler’s List.

Gulzar’s Maachis also served as a reference, as one of its characters shares the name Jaswant Singh. I cast the same actors, Kanwaljit Singh and SM Zaheer, who portrayed corrupt cops in Maachis.

What was your direction for Diljit Dosanjh?

I instructed Diljit to focus on portraying Jaswant’s ordinariness. He is a family man with a wife and children who gradually transforms into an activist.

Diljit is an incredibly dedicated actor, fully committed to the subject matter. He delivers his lines with precision and remains focused throughout.

How did Suvinder Vicky approach his role as Sugga differently?

Suvinder Vicky is an exceptional actor. His theater background allows him to infuse depth into his characters.

I cast Suvinder in his first Bollywood film, Udta Punjab. In Panjab ’95, his character represents more than just a cop; he embodies a rank. I advised him to delay his responses to enhance the tension.

When did you first realize Punjab ’95 was facing challenges?

I have never thought of it that way; I remain hopeful it will be released eventually.

Punjab ’95 was submitted to the Central Board of Film Certification in December 2022, still under its original title, Ghalughara.

In December, we were informed of several cuts, and by February 2023, we received a list of 21 objections.

Any references to reality, including Jaswant Singh’s name and Tarn Taran, were to be removed. We could not depict the police as part of the Punjab police, nor mention the actual number of killings Khalra investigated.

The sequence involving saag had to be reduced by 80%, and the murders that prompted Khalra’s investigation were to be omitted. Arjun Rampal’s monologue about the case’s significance was also cut, along with terms like 'extrajudicial killings' and 'human rights.'

The beginning of Bitta’s speech, based on an actual letter, and references to the anti-Sikh riots in Delhi were also deemed unacceptable.

In June 2023, a legal case was filed in the Bombay High Court challenging the censor board’s decisions. During the hearings, both the opposing lawyers and the presiding judge viewed the film.

Despite being selected for a global premiere at the Toronto International Film Festival, we were compelled to withdraw it, even though Indian films do not require a censor certificate for international screenings.

Currently, the demand stands at around 127 cuts. I commend Ronnie for his unwavering support for the film amidst pressure.

I have shown the film to Sikh religious bodies, including the Shiromani Gurdwara Parbandhak Committee and Akal Takht, who have not raised objections.

I have created a film about a person who fought for a cause despite knowing the risks to his life and family. If I cannot stand by him or the film based on his life, I have no right to make it.

Jaswant Singh Khalra has been silenced once again after 30 years, which is why I am addressing this issue now.