The love of Indian cinema for Kashmir is beyond its beauty. Stunning sky, colorful Shikare Dancing in the middle of the dal lake, and the dazzling ice -covered mountains look at every frame as it was painted by God itself. However, this is not the only reason that filmmakers keep returning to the valley despite their disturbed history.

The history of Kashmir has been written with so much pain and drama that the existence of the place looks directly from a complete commercial Hindi film. The more you seek, the more it resembles an epic story – incredible, yet the real persecutor. The language of the place attracts a creative mind to dig more about its history, its people, culture and future.

Kashmir is used as the background of any story, which means the valley looks like an uninterrupted character in the film. Something that director Vishal Bhardwaj did in ‘Haider’. Or that Shakti Samanta did in 1964 by establishing a love story between Sharmila Tagore and Shammi Kapoor in ‘Kali’. In 1965, Kashmir again worked as a background for a new love story – between the owner (Shashi Kapoor) of a Shikara (Shashi Kapoor) and a rich tourist (Nanda) – in ‘Jab Jab Phool Khule’ of Suraj Prakash.

Actor John Abraham, who is shooting extensively in Kashmir, decoded why filmmakers could not only get enough for the valley. The 52 -year -old recalled the shooting of ‘Veda’, and remembered how this place hosted both calm and ‘restlessness’. while talking India digital todayThe popular action star stated that Kashmir became a character in his film, and it does the same for many other films as it can never be just one place.

“There was a very important character in the film Kashmir. If you have seen Vedas, (you know) that he (the male lead) has lost his wife, that is why we shot there. It was very important to get the characters in the film properly. Kashmir was not just a cinematic journey for us. It was a character and backstory of our film.”

Abraham, who has worked with the country’s largest production houses and has been working for two decades, he said that he experienced strangeness there. He remembered, “So I shot there for a long time. I don’t remember how many days were there, but we found a very long program there. In fact, when I shot there, I think I was shooting a certain shot. I was shooting by a mosque and, I was thinking, it was a drone shot.” Restlessness. “

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But, what about security? On April 22 this year, 26 innocent people, most of the tourists were shot by terrorists, while they were soaking the beauty of Kashmir in the popular Basaron grassland in Pahgam – an incident that sent the whole country into mourning. Even with all its unmatched beauty on the surface, Kashmir has run deep wounds of Pakistan-supported terrorism. History is not able to fix the valley. But, those who have shot there and they say that its people wake up and welcome new sunlight every day, even though the most cloudy, depressed and dark days.

Director Siddharth P Malhotra, known for ‘Hichki’ and ‘Maharaj’, shot a TV show called ‘Kafir’ and ‘Pashmina’ in the valley. He recalled, “Kashmir is Switzerland in India, every frame is naturally surprising. But, what it makes it is not just an idea; these are people. These are people. During our shoot, I first experienced the first hand that Kashmir is how deeply hospitalized and compassionate.”

The beauty of Kashmir lies in its people and culture that they are such a treasure so deeply. Malhotra explained, “If you are lost at 2 o’clock, they will take you home, present you KahwaLend their phone, rich or poor. This is their soul. he is KashmiriyatSummer, dignity and generosity. ,

“Yes, filmmakers will always have security concerns, especially after recent events. But Kashmir’s legacy and hearts are its food, its culture that makes it unforgettable. It changes you. And that’s why the cinema will return to the valley,” he concluded.

The beauty of Kashmir is one thing, but its truth is something else. The truth of the valley is that terrorism has attacked him, looted his peace, and is forced to see more destruction than any other place in the country. And yet he made himself again – frequently. For filmmaker Vivek Ranjan Agnihotri, it is important that cinema continues to show the pain and wounds of Kashmir in its entirety.

His film ‘The Kashmir Files’ was one of the saddest events in history that took place in the valley – The Exodus of Kashmiri Pandits (1990). In a special interview with Today IndiaAgnihotri said that the valley will be completely cured when the world accepts its previous injuries and understands the struggle that tears it into pieces.

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The 51 -year -old refers to the unknownness of the West of Kashmir issues and how cinema can become so much by reading and learning from its history. He said, “We need to use it as our soft power to make more films on Kashmir and fight the world.

The director said, “Now, in India, we keep inquiring, argue around it, and that is why in this struggle with Pakistan, suddenly, American diplomats have questioned Kashmir because they do not know, they are not aware (about real issues). Human touch, very care, softness.

Understanding Kashmir is not a day’s work. This is about learning and ignoring the years of their silence, and see your silkon green grasslands with pain.

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A few days ago, actor Sunil Shetty shared a post on social media after the Pahgam terror attack, and said he would go back to Kashmir for his next family holiday. Equal emotions are echoed by the filmmakers we spoken. Do we leave a family member to suffer from pain if they are going through a difficult time? Do we just leave behind them to deal with our problems? Do we cut relationships? No, because this is not the spirit of India. We value our relationships and ourselves more than ourselves. For us, Kashmir is still there and will always be the cradle of the mountains where heaven sleeps. And as long as the chinner shames in the arms of air, cinema will continue to pay a journey.

Kashmir wears his wounds like ancestral gold, and filmmakers will ensure that we stand with snow in his hair. As Malhotra beautifully concluded, “We will return to a heartbeat.”