In 2010, My Name Is Khan captured the hearts of audiences worldwide with its poignant narrative about Islamophobia, identity, and the struggles of a Muslim man with Asperger’s Syndrome navigating a post-9/11 world. The film, led by Shah Rukh Khan, was deeply political yet humane, urging viewers to revisit their biases and assumptions. However, 15 years later, one must wonder – would Bollywood dare to tell such a story today?

How Bollywood has changed

Bollywood has always been a mirror to society, but in recent years, that reflection has shifted. Instead of hard-hitting social dramas, we’re seeing more patriotic films, historical epics, and larger-than-life nationalistic stories. Think Uri: The Surgical Strike and The Kashmir Files – films that ride high on national pride and the current political sentiment.

Meanwhile, films that take a critical look at society or challenge mainstream narratives seem to be disappearing. Remember when we had movies like Mulk that made us question the system? Today, filmmakers are treading carefully, maybe a little too carefully.

The politics of today’s Bollywood

A lot of today’s films wrap their political messages in patriotism. Movies like Mission Majnu and Sam Bahadur celebrate national security and heroism. There’s nothing wrong with that, but where are the films that spark difficult conversations?

Take Bheed, for example. This film draws parallels between India’s COVID-19 lockdown and the Partition because of the mass migration both events caused. But guess what? Its trailer got pulled, and the film struggled for visibility even after receiving generally positive reviews from the critics. Then there was Afwaah, which tackled misinformation and communal tensions but barely made a dent at the box office. It’s clear that challenging narratives don’t always get a warm welcome these days.

Would My Name Is Khan work in 2025?

A film like My Name Is Khan, which openly critiques racial profiling and religious discrimination, would probably stir up controversy before it even hit the screens. The political climate now is more polarised than ever, and films that question dominant ideologies often face disproportionate backlash.

That said, not all hope is lost. Filmmakers are still finding ways to tell bold stories, especially on streaming platforms with more creative freedom. Recent films like Joram, which highlights tribal displacement, prove that some filmmakers are still willing to push boundaries, even if cautiously.

It’s not that Bollywood can’t make films like My Name Is Khan – it’s a matter of whether they will. Right now, mainstream cinema seems more focused on simple, chest-thumping patriotism rather than thought-provoking social issues. But audiences are always evolving, and maybe, just maybe, we’ll see the return of films that challenge us, make us think, and start important conversations.

Until then, My Name Is Khan stands as a reminder of what Bollywood can do when it dares to be fearless. The real question is – when will it dare again?

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