Honey Trehan’s Satluj (formerly Punjab '95) has become one of the most discussed films of recent times, not just because of its powerful subject but also because of the long struggle behind its release. The biographical drama, starring Diljit Dosanjh as human rights activist Jaswant Singh Khalra, went through years of uncertainty, multiple rounds of censorship discussions, legal battles, and controversy after being removed from the Indian catalogue shortly after its ZEE5 premiere.
Based on Khalra’s investigation into enforced disappearances and alleged extrajudicial killings in 1990s Punjab, Satluj attempts to portray a deeply sensitive chapter of history. Directed by Honey Trehan, the film also stars Arjun Rampal as a CBI officer and Geetika Vidya Ohlyan as Khalra’s wife Paramjit. While the film has received appreciation for its emotional storytelling and grounded approach, its release journey has remained at the centre of debate.
In a detailed conversation about the film’s difficult journey, Honey Trehan revealed that the project was completed years ago but remained stuck in the certification process. "So I have finished the film in 2022. I started shooting in January 2022 and by December we were done with the film and we submitted the film to CBFC certification board," he said.
Trehan added, "December 22nd, 2022, it's going to be three years and it's still not released. It's still hanging on to hope that it will be." His statement highlighted the frustration of waiting for a film based on a real-life figure to reach audiences after completing the entire filmmaking process.
Recalling the early stages of certification, Trehan said the process itself began with questions about the film’s language and certification. "First they watched half an hour and they switched off the film. So they said, 'This is a Punjabi picture, why do you need a Hindi certificate?'" he recalled.
The director explained that after discussions, the board eventually viewed the complete film and raised concerns. "They said we have certain issues and we want this film to be watched by the revising committee which is a 13 people body," Trehan said.
According to Trehan, the revising committee suggested several changes, including objections related to the portrayal of Jaswant Singh Khalra and the film’s connection to real events. "These things we want to be changed including the name of Jaswant Singh Khalra in the film," he said.
When asked about the film being based on true events, Trehan recalled the response he received. "They said this is not based on any true incident. Then certain kind of 21 cuts were there and we were not ready to adjust or accommodate those cuts because they had no reason to say all these things," he said.
The filmmaker then approached the Bombay High Court, where the legal battle continued for months. Trehan described how the court proceedings raised questions about the basis of the objections. Recalling one exchange, he said, "Then please tell me my friend, since when the court started working on assumptions."
Trehan also discussed concerns raised regarding possible reactions to the film. According to him, arguments were made about potential law-and-order issues. He recalled the court’s response: "I agree law and order situation can happen in Punjab with this film if you say so, but since then that has become a state government's issue. Their job is to give the certificate."
The director also claimed that discussions during the legal process revealed concerns beyond the CBFC. "It's not only me, it's not only CBFC but the I&B ministry also has a problem with the film," Trehan quoted during his conversation. He further recalled the court questioning why the film had reached other authorities before receiving certification. "How come the film can be shown to anybody when it's not censored?" Trehan said while describing the hearing.
According to Trehan, the court also emphasized the independent role of the certification body. "The CBFC was formed in India as an independent body to protect the creative right, freedom of speech and expression of an artist and the sanity of the film," he recalled.
After the legal proceedings, Trehan said the makers eventually decided to withdraw the court petition and enter discussions for an out-of-court resolution. However, he claimed the number of requested changes continued increasing. "We agreed those 21 cuts, new DCP got made, went to CBFC, they said we have further more observations," he said.
Describing the growing list of changes, Trehan added, "It became to 35 cuts, another DCP, 45 cuts, another DCP, 65 cuts, another DCP, 85 cuts." The director said the process continued despite repeated revisions.
Trehan also shared a moment when the committee reportedly acknowledged the factual foundation behind the film. He said he submitted extensive documentation supporting the story. "I gave them a compilation of 1,800 pages, that how each and every scene is based on legal testimony and the papers," he explained.
He recalled a powerful reaction from one committee member after reviewing the material. "He looked at me and asked me, 'Who speaks the truth so loudly in today's time?'" Trehan said.
Eventually, according to the filmmaker, the requested changes crossed the 100-mark. "Those 16 changes materialized into 37 more cuts. So we've crossed 100 now, 127 plus," he stated.
At that point, Trehan decided he could no longer compromise on the original version. "I am cancelling all the cuts. Now the original film remains. Whenever it will come, the original will come, otherwise this film will not be out," he said.
The film finally premiered on ZEE5 on July 3, but its availability in India was reportedly discontinued within 48 hours, leading to renewed legal efforts and public discussion. The makers and supporters have continued seeking clarity over the film’s availability.
With Satluj, Honey Trehan has not only attempted to tell Jaswant Singh Khalra’s story but has also highlighted the complicated journey filmmakers sometimes face while portraying real events. Whether viewed as a historical drama, a political conversation, or a story about creative freedom, the film’s journey has already become as significant as the story it aims to tell.