The Indian theatrical release of the Oscar-nominated Tunisian docudrama The Voice of Hind Rajab has been effectively blocked by the Central Board of Film Certification (CBFC), sparking debates over censorship, political sensitivities, and India’s foreign relations.

According to an exclusive report by Variety published in March 2026, the film’s local distributor, Manoj Nandwana of Mumbai-based Jai Viratra Entertainment, revealed that the CBFC has refused to grant certification, preventing the movie from screening in Indian theaters. Nandwana submitted the film for review in February 2026, targeting a March 6 release to capitalize on momentum ahead of the Academy Awards on March 16, where it was nominated for Best International Feature Film.

Hind’s car was found smashed and riddled with bullet holes

However, clearance never materialized. Nandwana told Variety that CBFC officials described the film as “very sensitive.” More pointedly, he claimed a board member warned that releasing it could “break up” India-Israel relations. “I told them: the India-Israel relationship is so strong that it’s idiotic to think this movie will break it,” Nandwana said. He highlighted that the film has already screened in countries like the United States, United Kingdom, Italy, and others with established ties to Israel, yet India appears to be taking a more restrictive stance.

The CBFC has not issued an official public statement confirming the exact reasons for the denial, and the rejection appears to have been communicated orally rather than in writing, according to reports from outlets like The Hindu and others covering the story.

The Story Behind ‘The Voice of Hind Rajab’

Directed and written by acclaimed Tunisian filmmaker Kaouther Ben Hania—who previously earned Oscar nominations for The Man Who Sold His Skin (2020) and the documentary Four Daughters (2023)—The Voice of Hind Rajab is a powerful docudrama that reconstructs the tragic final hours of five-year-old Palestinian girl Hind Rajab in January 2024.

335 Bullet holes found during scan by Forensic Architecture Team at Goldsmith University in London

During the intense conflict in Gaza, Hind and her family attempted to flee bombing in Gaza City. Their vehicle came under attack, leaving family members dead around her. Trapped and terrified, the child made a harrowing phone call to Palestinian Red Crescent emergency operators, pleading for rescue as she reported being shot at. The audio from that real call forms the emotional core of the film. Ben Hania chose not to cast an actress as Hind out of respect for the real child, instead using the authentic recording while actors voiced the operators. An ambulance dispatched to save her was also reportedly attacked, resulting in further deaths.

The car belonging to the Palestinian Red Crescent paramedics who tried to help was completely burnt out

The film premiered at the Venice Film Festival in 2025, where it received a remarkable 23-minute standing ovation and multiple awards. It has since been praised internationally for its raw, unflinching portrayal and its use of hybrid documentary-fiction techniques to bear witness to a real atrocity. Ben Hania has described the project as a way to ensure “this little girl’s voice echoes around the world,” emphasizing memory and accountability over mere symbolism.

As Tunisia’s official entry, it secured a nomination at the 98th Academy Awards for Best International Feature Film, standing out as one of the few Arab-directed films in contention and the only one by a woman that year. Though it did not win the Oscar, the nomination amplified global attention to Hind’s story, with screenings, discussions, and even related advocacy efforts like proposed legislation in the U.S. referencing the case.

Kaouther Ben Hania at an event for 39th Film Independent Spirit Awards (2024)

Broader Context of CBFC’s Political Sensitivities

The CBFC’s decision fits into a long-standing pattern of caution—or perceived selectivity—around politically charged content, particularly films touching on international relations, communal issues, institutional portrayals, or historical sensitivities. India and Israel have strengthened ties in recent years, with Prime Minister Narendra Modi’s visits and multiple bilateral agreements in defense, technology, and trade. A recent high-profile visit by PM Modi to Israel saw several pacts signed, underscoring the diplomatic priority placed on the relationship.

Critics often point to inconsistencies in how the board handles different films. For example, controversial films like The Kerala Story (2023) and its sequel The Kerala Story 2: Goes Beyond (facing major controversy in early 2026) received U/A certification after modifications, despite widespread accusations of promoting propaganda, communal division, and exaggerated narratives around “love jihad” and forced conversions. The first film was cleared despite backlash, while the sequel underwent around 16 cuts (including reductions in violent and intimate scenes, modifications to dialogues, and an extended disclaimer asserting it was based on true events) before certification—yet still faced Kerala High Court intervention, notices to the CBFC, and temporary stays over concerns about public order and social harmony. Director Sudipto Sen has publicly accused the CBFC of “double standards,” arguing that ultra-violent mainstream films often clear quickly, while real-life-inspired narratives touching on sensitive topics face prolonged scrutiny or propaganda labels.

In contrast, other films critical of institutions or exploring uncomfortable themes have faced outright blocks or extreme demands. The internationally acclaimed film Santosh (starring Shahana Goswami and Sunita Rajwar), which portrays misogyny, violence, and alleged Islamophobia within the Indian police force, reportedly did not receive clearance despite initial script approvals. The CBFC’s concerns led to demands for extensive cuts that the director found unacceptable, effectively halting its Indian theatrical (and later OTT) release, even as it garnered global praise and an Oscar shortlist spot.

A prominent recent case is Diljit Dosanjh’s Punjab ’95 (also known as Punjab 95), a biopic on Sikh human rights activist Jaswant Singh Khalra. Submitted to the CBFC in December 2022, the film has remained unreleased in India for over three years as of March 2026. The board reportedly demanded an extraordinary 127 cuts—far beyond typical requests—including changes to the title, removal of historical references, and alterations to sensitive content. Director Honey Trehan and Dosanjh have refused to comply, stating that such edits would render the film meaningless and politically compromised. The standoff has led to threats of overseas or OTT releases being withdrawn, court challenges, and public appeals (including from retired judges) for uncut clearance, highlighting accusations of politically motivated censorship.

The CBFC has a documented history of intervening in films perceived as sensitive, including delays, cuts, or denials for content addressing communal tensions, police brutality, historical events, or foreign policy matters. Critics argue such interventions amount to preemptive censorship that prioritizes geopolitical optics, institutional protection, or ruling party alignments over artistic freedom and public discourse. Supporters of the board’s approach maintain that certification prevents potential social unrest or diplomatic fallout in a diverse society.

In this case, Nandwana and others have pushed back, questioning why a film already released in Israel’s allied nations poses a unique risk to India. The incident has drawn coverage from international outlets like The Guardian, The Telegraph India, and Al Jazeera, as well as Indian media, highlighting tensions between free expression, foreign policy, and cultural gatekeeping.

As of March 20, 2026, The Voice of Hind Rajab remains unavailable in Indian cinemas, though it continues to resonate globally through festivals, streaming in select markets, and awards-season discussions. For many, the film’s “blockage” in India only underscores the very issues it seeks to address: the power of a child’s voice, the weight of silence, and the complexities of bearing witness in a polarized world. Whether the decision will be revisited or appealed remains unclear, but the controversy has ensured that Hind Rajab’s story—and the questions it raises—continues to be heard.

Censor board blocks The Voice of Hind Rajab.

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