

Vivek Agnihotri’s ‘Files’ Trilogy: A Cinematic Journey
With the third instalment, The Delhi Files, he asks the ultimate question: What is India?
We live in an era dominated by escapist entertainment, where mindless consumption reigns the scene. But in this chaotic crowd, Vivek Agnihotri’s Files Trilogy stands out as a courageous exploration of untold stories.
With The Tashkent Files (2019), The Kashmir Files (2022), and the upcoming The Delhi Files (2025), Agnihotri masterfully weaves narratives that delve into India’s historical narratives, justice, and the value of life, presenting a cinematic journey that compels audiences to confront uncomfortable truths.
The Trilogy: A Framework of Truth, Justice, and Life
The Files Trilogy is rooted in Agnihotri’s belief that cinema can be a medium for truth-telling, research, and societal reflection, as depicted in most of his work. He explains, “In the trilogy, we first made The Tashkent Files, which was about the right to truth. Then we made The Kashmir Files, which was about the right to justice. And this film (The Delhi Files) is about the right to life.”

Through this thematic exploration, the trilogy seeks to uncover hidden domains of India’s socio-political landscape while engaging audiences in meaningful conversations.
1. The Tashkent Files: A political thriller that questioned the mysterious death of former Prime Minister Lal Bahadur Shastri, this film boldly examined institutional disclarity and the struggle for truth in a fractionated society.
2. The Kashmir Files: A mind-baffling portrayal of the Kashmiri Pandit diaspora, this film highlighted justice denied to a displaced community while sparking widespread debates on historical accountability.
3. The Delhi Files: The final chapter, described as “an experience in history,” explores India’s identity in the face of cultural and political conflict, with a particular focus on Bengal’s forgotten narratives.
The Delhi Files: A Question of Identity
At the heart of The Delhi Files lies a profound question: What is India?
Agnihotri has sought to understand India’s cross-cultural identity, spanning regions, religions, languages, and castes, and how these often conflicting identities coexist under one national umbrella. “We live in a conflict of language, religion, caste… But ultimately, we have an umbrella identity. That identity is India,” he says.

This film promises to explore unity amidst separation, urging viewers to reflect on what it means to be Indian in today’s polarised world.
A Brave Approach to Storytelling
Agnihotri’s films are not just cinematic works but acts of rebellion, they have always been. They challenge deeply rooted narratives and aim to disrupt the status quo.
“In a polarised world, when you bring a thought that shakes the status quo and puts forward the truth… people react. That reaction is often seen as controversial, but it starts important discussions,” Agnihotri observes.

The Files Trilogy epitomises this “brave cinema” by taking on controversial subjects, relying on rigorous research, and presenting stories that mainstream narratives often sidestep. The Delhi Files, for instance, draws from over 20,000 pages of documents and interviews with survivors and their families, offering an authentic depiction of Bengal’s overlooked history.
The Role of Courageous Cinema
Through his work, Agnihotri emphasises the power of storytelling to inspire reflection, research, and action. The purpose is for people to react and start a dialogue.
“Every film of mine has taken people toward research,” he shares. Whether it’s questioning history or revisiting forgotten tragedies, the Files Trilogy serves as a modern archive of untold truths, challenging audiences to see beyond propaganda and dig deeper into the facts.

Conclusion: A Cinematic Movement
The Files Trilogy is more than just a series of films—it’s a movement toward reclaiming history and restructuring narratives that matter. With The Delhi Files, Agnihotri continues to push boundaries, dissecting the complexities of identity, history, and truth.
As audiences await the final instalment, one thing is certain: Vivek Ranjan Agnihotri’s pieces of work have changed the way we look at Indian cinema—not just as entertainment but as a tool for societal introspection and a catalyst for transformation.