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Ideology and cinematic representation are crucially linked even though a film’s positioning of itself with respect to dominant state ideology may differ thus contesting the idea that films always serve as ideological state apparatus. In this context, the paper reflects on the complex ways in which the ideological positioning – advertently or inadvertently – of cinematic representations of Partition in Hindi films of the 2000s interacts with dominant state ideology to frame the relationship between self and other with the terms denoting India/Hindu and Pakistan/Muslim, respectively. Through an analysis of the representation of the India–Pakistan border in four films –  Pinjar  (2003),  Veer-Zaara  (2004),  Uri: The Surgical Strike  (2019) and  Kya Dilli Kya Lahore  (2014) – the paper argues that mainstream Hindi films are largely reflective of the state ideology, although to varying degrees and at times in spite of themselves. In contrast, a low-budget film as  Kya Dilli Kya Lahore  completely subverts the dominant ideology through its sensitive but incisive critique of the border.

Ideological positioning in the representation of borders: an analysis of recent Hindi films