The Central Board of Film Certification’s decision to award an ‘A’ certificate to the teaser of Ranveer Singh’s Dhurandhar 2 has sparked renewed debate about the relevance, consistency and effectiveness of India’s censorship system in an era dominated by digital platforms.
While the rating may appear routine, the controversy lies in its context. The teaser was certified not for online release but because it was attached to the theatrical prints of Sunny Deol’s Border 2. Under the Indian Cinematograph Act, 1952, any content exhibited in cinemas—films, trailers or teasers—must undergo CBFC certification, regardless of whether it is freely available elsewhere.
This distinction explains why Dhurandhar 2 came under scrutiny while Yash’s Toxic teaser, which featured explicit visuals and triggered complaints from multiple statutory bodies, did not. Since Toxic was released only on YouTube and not screened in theatres, it remained outside the CBFC’s jurisdiction. CBFC chairman Prasoon Joshi has previously clarified that most content on digital platforms is not certified, despite public perception suggesting otherwise.
The logic behind theatrical certification rests on the nature of public exhibition. Cinema halls cater to mixed audiences, including families and minors, who may not have consciously chosen to view a specific teaser. Digital platforms, by contrast, operate on voluntary consumption, where viewers actively seek content, often aided by parental controls and age filters—though their effectiveness remains debatable.
However, this dual system exposes a glaring contradiction. An A-rated teaser restricted in theatres can be accessed moments later on social media by viewers of any age. As content circulates freely across YouTube, Instagram, X and other platforms, censor certification risks becoming symbolic rather than protective.
The Dhurandhar 2 episode underscores a certification framework struggling to keep pace with technological change. Designed for a time when theatrical exhibition was the dominant mode of consumption, the system now operates in a fragmented media ecosystem where content exists simultaneously across multiple platforms with different rules.
As Indian cinema increasingly embraces graphic, violent and adult themes, the need for a comprehensive overhaul of certification norms has become urgent. Rather than maintaining separate standards for theatrical and digital content, a unified, age-sensitive framework that reflects modern viewing habits may offer a more meaningful solution.
Ultimately, the controversy surrounding Dhurandhar 2 and Toxic is not just about certification—it raises larger questions about whether India’s current censorship model is still relevant, effective, or merely performative in the digital era.
