*Empuraan* delves into the backstory of Zayed Masood, portrayed by Sukumaran, a character whose family falls victim to communal violence. The film opens with a harrowing sequence where Masood's family, among other Muslims, is brutally attacked by Hindu mobs during riots in Gujarat. This portrayal has been interpreted as an indirect reference to the 2002 Gujarat riots, a period marked by severe communal clashes. The film does not shy away from depicting the brutality of the violence, including graphic scenes of assault and murder.
The Kerala Congress has lauded the film for its bold narrative. Through its social media channels, the party praised *Empuraan* as a "world-class film" that exposes the "Sangh agenda," alleging a strategy to divide Kerala and control its strategic coastline and ports. This sentiment was echoed by Bineesh Kodiyeri, son of former CPIM secretary Kodiyeri Balakrishnan, who commended the filmmakers for their courage in addressing such a sensitive topic.
Conversely, right-wing groups have criticized the film, accusing it of propagating an anti-Hindu narrative. The depiction of a Hindutva leader as the antagonist, orchestrating the massacre of Masood's family, has been a particular point of contention. Some supporters of the Sangh Parivar have initiated campaigns against the film, labeling it as biased and detrimental to social harmony.
In response to the backlash, writer Murali Gopy defended the film, asserting that it merely portrays historical events and does not intend to target any community. He emphasized that the narrative aims to shed light on the consequences of communal violence and the human tragedies that ensue.
Despite the controversy, *Empuraan* has achieved significant commercial success. The film recorded a remarkable opening, grossing ₹22 crore on its first day in Kerala alone—a record for a Malayalam film. This box office performance indicates that the political debates have not deterred audiences from flocking to theaters.
The Kerala BJP, while acknowledging the film's content, has stated that it does not oppose any movie. The party's spokesperson remarked that artistic expressions are subjective and that audiences are free to interpret them as they see fit. This stance contrasts with reactions from certain right-wing factions, highlighting a nuanced approach within the party's state unit.
The film's release has also rekindled discussions about cinematic portrayals of historical events and their impact on contemporary politics. Comparisons have been drawn to previous films that addressed political themes, with debates centering on the responsibilities of filmmakers in representing sensitive subjects.
As *Empuraan* continues its theatrical run, it remains a catalyst for conversations about art, politics, and history. The film's reception underscores the complex relationship between cinema and societal narratives, reflecting the diverse perspectives within India's democratic framework.
In the broader context, *Empuraan* exemplifies how regional cinema can influence national discourse. The film's impact extends beyond entertainment, prompting introspection about past events and their portrayal in popular culture. This development highlights the power of storytelling in shaping public opinion and fostering dialogue on pertinent issues.