CBFC rules explained: What the new guidelines say about China, violence, drugs and titles
The CBFC guidelines state that films should not strain India’s friendly relations with foreign states. This provision could assume significance for films such as Salman Khan’s Maatrubhumi, which is based on the India-China military tensions surrounding the 2020 Galwan clash.
CBFC issues revised guidelines for films certification process
The guidelines lay down the objectives that the CBFC is expected to consider before granting certification to films for theatrical exhibition. Among other provisions, they state that films should remain responsible and sensitive to the values and standards of society, while certification should be responsive to social change. They also state that violence should not be glorified and that the modus operandi of criminals, or visuals and words likely to incite the commission of offences, should not be depicted.
Films shouldn’t strain friendly relations with foreign states
The guidelines further state that “visuals or words promoting communal, obscurantist, anti-scientific or anti-national attitudes should not be presented.” They also say that “films should not strain India’s friendly relations with foreign states.”
The provision could assume significance for films dealing with India-China tensions, particularly against the backdrop of the two countries’ ongoing efforts to improve bilateral ties.
Against this backdrop, Salman Khan’s upcoming war drama Maatrubhumi: May War Rest In Peace, formerly titled Galwan Attack, has drawn attention. The film is based on the India-China military tensions surrounding the 2020 Galwan clash. A recent report said the film is facing delays in obtaining CBFC certification, with its China connection reportedly among the issues surrounding the hold-up.
Previously, speaking about the uncertainty surrounding Salman Khan’s film, a source close to the development told SCREEN: “Since the mention of the Battle of Galwan has ruffled many feathers, the aim is now to avoid any more such controversy. So, there’s no direct mention of China. It’s like how Pakistan was referred to as ‘padosi mulk’ back when relations between the two neighbouring nations were looking up. Unlike Dhurandhar, which lived, breathed and then ate up Pakistan, Salman’s film can’t afford that because China isn’t in the same place as Pakistan for India.”
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‘Say No To Drugs’
The revised certification framework also contains specific provisions concerning the depiction of narcotic drugs and psychotropic substances. Scenes involving their consumption, use or trafficking are required to carry a statutory warning or disclaimer: “Illicit Narcotics Destroy Health and Guarantees Imprisonment. Say No To Drugs.”
The guidelines also caution against content that may hurt the “sentiments or sensibilities of people”, as well as depictions of child abuse, crimes against women and unnecessary or avoidable violence.
Films to be categorised under UA, UA 7+, UA 13+, UA 16+ or A
Films that meet the prescribed criteria can be certified under the categories UA, UA 7+, UA 13+, UA 16+ or A, depending on their nature, content and themes.
The guidelines state that films considered unsuitable for non-adults despite meeting the other criteria should be certified for adult audiences only.
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For films receiving unrestricted public exhibition, the board is also required to ensure that the content is suitable for family viewing — meaning that all members of a family, including children, should be able to watch the film together.
If the board believes that a film’s nature, content or theme requires parental guidance, it can be placed under the UA 7+, UA 13+ or UA 16+ categories.
Despite controversies, certain guidelines remain the same
In recent years, several films have made headlines over their interactions with the CBFC, including instances where filmmakers were asked to alter titles or other elements before certification.
One prominent example was the Malayalam film Janaki vs State of Kerala. The CBFC objected to the original title because the name “Janaki”, which is also associated with Goddess Sita, was used for the film’s lead character, a sexual-assault survivor. The dispute eventually went before the Kerala High Court, and the film was cleared after the title was changed to Janaki V vs State of Kerala.
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The controversy also prompted wider debate, with the Kerala High Court questioning the objection and pointing to the existence of several films using names associated with Hindu deities.
Against the backdrop of such controversies, the guidelines’ provision on film titles has particular relevance. They state that the board should “scrutinise” film titles carefully and ensure that they are not provocative, vulgar, offensive or in violation of the certification guidelines.
The latest provisions, therefore, place several considerations before filmmakers and the certification board — from violence, drugs and social sensitivities to depictions that could affect India’s relations with other countries.
Jyothi Jha is an incisive Copy Editor and multi-platform journalist at The Indian Express, where she specializes in high-stakes entertainment reporting and cinematic analysis. With over six years of diverse experience across India’s leading media houses, she brings a rigorous, ethics-first approach to digital storytelling and editorial curation.
Experience & Career
Jyothi’s career is characterized by its breadth and depth across the media landscape. Before joining the editorial team at The Indian Express, she honed her expertise covering the entertainment beat for premier national broadcasters, including NDTV, Republic Media, and TV9. Her professional journey is not limited to digital text; she has a proven track record as an on-air anchor and has successfully managed production teams within the high-pressure segments of Politics and Daily News. This 360-degree view of newsroom operations allows her to navigate the complexities of modern journalism with veteran precision.
Expertise & Focus Areas
Guided by the Orwellian principle that "Journalism is printing what someone else does not want you to do," Jyothi focuses on transparent, accountability-driven reporting. Her core areas of expertise include:
Cinematic Deconstruction: Analyzing the social subtext of mainstream Bollywood and South Indian cinema (e.g., Kantara, Masaan, Dabangg).
Toxic Masculinity & Gender Studies: A vocal critic of regressive tropes in Indian cinema, she often highlights the industry's treatment of women and social progress.
Box Office & Industry Economics: Providing data-backed predictions and analysis of film performance and superstar fee structures.
Exclusive Multimedia Coverage: Conducting deep-dive interviews and long-form features that bridge the gap between archival history and modern pop culture.
Authoritativeness & Trust
Jyothi Jha has established herself as a trusted voice by prioritizing substance over PR-driven narratives. Her background in hard news and political production provides her with a unique lens through which she views the entertainment industry—not merely as gossip, but as a reflection of societal values. Readers rely on her for "Journalism of Courage," knowing her critiques are rooted in a deep respect for the craft and a refusal to settle for superficiality. Her ability to pivot between daily news and specialized entertainment analysis makes her a versatile and authoritative pillar of The Indian Express newsroom.
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