“Saffron Kingdom” is a film produced in the United States by members of the Kashmiri diaspora, positioned as a response to the 2022 release “The Kashmir Files.” While the latter focused on the exodus of Kashmiri Pandits and framed Kashmiri Muslims as perpetrators of violence, “Saffron Kingdom” seeks to present an alternate perspective—highlighting the experiences of Kashmiri Muslims facing alleged abuses by Indian security forces.
The film takes inspiration from the 2003 disappearance of noted Kashmiri singer Ghulam Nabi Sheikh, who vanished while traveling with his daughter on a train from Jammu to Delhi. His family claimed it was a case of enforced disappearance, while the Punjab Police maintained he died accidentally after falling from the train. Two decades later, his son, Arfat Sheikh, now based in Atlanta, has revisited this personal tragedy through “Saffron Kingdom,” portraying it as part of a wider story of loss and trauma endured by many families.
The narrative follows Masrat, a Kashmiri woman whose husband is allegedly taken into custody and never seen again. Forced to leave Kashmir, she rebuilds her life in Atlanta with her son Rizwan. The storyline interweaves themes of exile, identity, and resilience, reflecting on events such as the Gawkadal massacre of 1990 and the revocation of Article 370 in 2019.
The film also plays on the symbolism of saffron—both as a crop closely tied to Kashmiri heritage and as a political reference to the ruling Bharatiya Janata Party (BJP). Shot mainly in Atlanta, the production features a non-Kashmiri cast. According to the filmmakers, many Kashmiri actors in the diaspora declined to participate due to fears of repercussions for their families in the Valley. Despite this, the ensemble cast attempts to capture the emotional and intergenerational consequences of conflict.
“Saffron Kingdom” has found receptive audiences abroad, with screenings in the United States attracting strong attendance. It has also received recognition on the international festival circuit, winning Best Feature at the LA Film & Documentary Awards, competing at the 2025 Chicago Filmmakers Awards, and being selected at festivals in Rome, Berlin, and Florida, among others.
The film stands in contrast to “The Kashmir Files,” which in 2023 received government support in India, including tax exemptions, mandatory screenings for certain groups, and extensive promotion by political organizations. By comparison, “Saffron Kingdom” is unlikely to receive similar treatment in India, and its release there remains uncertain.
At its core, the film attempts to present a counter-narrative to prevailing depictions of Kashmir, framing it as a story of exile, memory, and survival told through the lens of the Kashmiri Muslim experience.
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*Journalist based in Chennai
Hello, as the writer of Saffron Kingdom and, while I appreciate your views on the film, I can confidently say I’ve never seen the Kashmir Files. I have not heard about the enforced disappearance of Arfat’s father until you. Despite your opinion, I’m sure you can still grasp that this highly traumatic topic isn’t something Arfat would toss around in public. I think I can speak for our incredible cast and crew in saying, we are thrilled to be a counterpoint to the Kashmir Files and the stereotypical treatment of Kashmir and Kashmir Muslims, but it was not the goal. Concurrent with the Bhat-Shah family’s struggle through an India occupied Kashmir (like an Israel occupied Palestine), was my homage to, what I was affectionately calling, a “maritime matriarchy”, or women that carry, endure and unlearn the shared traumas and generational burdens of war and occupation. Their experiences and that sentiment was more my angle and universal access point while writing Saffron, and I hope, one of the reasons why the film has resonated with our diverse audience around the world. Thank you for watching!!
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