‘It’s Plain Ugly’: Neeraj Ghaywan slams violence in Tere Ishk Mein, Says ‘Toxicity is being glorified’

In a recent candid conversation with Yuvaa, Neeraj Ghaywan spoke at length about the emotional impact of violence in films, arguing that filmmakers often rely too heavily on shock value instead of thoughtful storytelling.

Known for his nuanced narratives and socially conscious filmmaking, Ghaywan questioned the mainstream belief that violence must be shown explicitly in order to be understood.

“People often say if you don’t show violence, how will you talk about it? That’s true to an extent, but there are far more intelligent ways to make audiences feel the brutality without overexposing them to it,” he explained.

The director pointed out that repetitive or graphic scenes of abuse can deeply affect viewers, especially survivors who may have lived through similar trauma. According to him, such depictions don’t just tell a story they can reopen wounds.

During the conversation, Ghaywan specifically referred to the trailer of Tere Ishk Mein, directed by Aanand L Rai and starring Dhanush and Kriti Sanon.

He highlighted a scene where the male lead appears to carry a bottle, seemingly suggesting an acid attack, and admitted the sequence disturbed him.

Calling the moment unnecessary, Ghaywan remarked that such visuals are not “smart filmmaking” but rather an example of how toxicity is increasingly packaged as something stylish or dramatic.

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“It’s not even smart. It’s just plain ugly,” he said, adding that filmmakers need to be more responsible about what they choose to normalize on screen.

Beyond violence, Ghaywan also touched upon another major issue caste and social representation in Indian content. He brought up The Viral Fever (TVF), acknowledging its strong body of work while questioning the lack of diversity in its storytelling.

He argued that despite creating relatable stories, many of TVF’s narratives continue to center upper-caste characters while excluding marginalized communities and minority voices.

For Ghaywan, this isn’t just a casting issue it reflects a broader pattern in Indian storytelling where certain lived experiences remain invisible.

The filmmaker’s latest project, Homebound, continues his long-standing engagement with themes of caste, class, and identity.

His latest remarks have reignited important debates: How far should cinema go in depicting violence? And more importantly, whose stories are still missing from the screen?