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: This paper examines how the film reconstructs memory and trauma related to the 1990 exodus of Kashmiri Pandits. It discusses the "war of narratives" and the ethical dilemma of portraying historical genocide on screen.

Udaysingh Mohite's cinematography is noted for contrasting the natural beauty of Kashmir with "grime and gore". The film uses a muted color palette to emphasize the bleakness of the refugee experience. thekashmirfiles20221080pzee5 new

argue that the film is one-sided, claiming it lacks nuance and risks inciting communal tensions by painting a monolithic picture of the conflict. Some historians and journalists have questioned the dramatization of specific events, though the director maintains the script is based on thousands of first-hand testimonials. Conclusion : This paper examines how the film reconstructs