Despite generally avoiding loud concerts, I make an exception for Diljit Dosanjh, a singer who excels in multiple artistic fields. When his latest film, Satluj, became a subject of controversy and was banned, I felt compelled to watch it. The two-hour-and-43-minute movie left me deeply moved and emotionally unprepared by its conclusion.
Known for electrifying live performances, Diljit transforms completely in Satluj, portraying Jaswant Singh Khalra, a human rights activist who exposed the secret cremation of thousands of Sikhs during enforced disappearances in Indian Punjab. The charismatic star becomes quiet, vulnerable, and profoundly human, making his portrayal hauntingly powerful.
Directed by Honey Trehan, the film took three years to complete and underwent two title changes—from Ghallughara to Punjab ’95, and finally Satluj. It premiered uncut on Zee5 on July 3 but was removed just two days later.
Set in mid-1990s Punjab, the story follows Jaswant, a banker whose life is upended as people around him begin to vanish mysteriously. His quest to find a missing woman leads him to morgues, cremation records, and the discovery that many bodies were labeled “unclaimed” despite known identities and addresses. What starts as a personal mission evolves into an investigation exposing abductions, extrajudicial killings, and covert cremations.
As Jaswant digs deeper, his work becomes increasingly perilous. He confronts police officials, collects evidence, and demands accountability from institutions more intent on self-preservation. Despite repeated warnings and the murder of his friends, Jaswant persists. Even sympathetic police officers find themselves ensnared in the oppressive system. His refusal to back down drives the narrative forward.
Jaswant’s efforts extend beyond local authorities to courts and international bodies. He rejects asylum and personal security offers, unwilling to abandon the families of the disappeared. Ultimately, he is abducted by police and disappears, leaving his wife Pammy to continue the fight as legal proceedings press for his production and investigations target those responsible. The film’s final testimony confirms the grim truth: Jaswant was tortured, killed, and his body disposed of in the Sutlej River, which lends the film its title.
Diljit delivers an extraordinary performance as Jaswant. Known for his role in Amar Singh Chamkila, he brings a restrained strength to the character. Jaswant’s courage unfolds gradually, shaped by each encounter with grieving families and official denials. His bravery is tempered by fear, visible in his cautious interactions and concern for his family, yet he presses on.
Importantly, Diljit preserves Jaswant’s warmth and humanity. He remains a devoted husband, father, and friend, sharing moments of joy and tenderness that prevent the character from becoming a mere symbol. This portrayal reflects the reality of ordinary people caught in extraordinary injustice.
Even with knowledge of Jaswant’s fate, Diljit sustains hope for his survival, mirroring the fragile optimism of families of the disappeared who cling to the possibility of reunion. His physical transformation in the final act—bruised and battered yet dignified—adds emotional weight. A particularly haunting scene shows a tortured Jaswant describing the coldness of his wounds with quiet exhaustion, a moment made unbearable by Diljit’s subtle delivery.
Following the film’s removal, Diljit expressed a complex mix of satisfaction and frustration. He welcomed the fact that Jaswant Singh Khalra’s story was finally reaching audiences and sparking conversation, though he had anticipated the ban. He questioned why Khalra’s story remains suppressed in 2026, despite court rulings affirming the facts.
Carrying the unreleased film for years weighed heavily on Diljit, affecting him even during other projects. Yet the brief release offered some closure. He declared, “This is your film now. It cannot be stopped anymore,” underscoring the film’s enduring impact and his powerful, restrained portrayal that refuses to be silenced.
The film sheds light on Indian Punjab’s darkest decade, a period marked not only by conflict between Sikh militants and security forces but also by widespread human rights abuses. Families endured raids, arbitrary detentions, disappearances, and the constant fear that their loved ones might never return. While the state justified its actions as counterinsurgency, human rights groups documented torture, extrajudicial killings, and a system prioritizing state power over accountability.
Jaswant Singh Khalra’s investigation sought to restore names and dignity to those secretly cremated without their families’ knowledge. His own disappearance and murder in 1995 highlighted the dangers of challenging official silence. Although some Punjab police officers were convicted, justice has been limited compared to the scale of abuses uncovered. For many families, the battle was never solely about punishment but about being heard, believed, and allowed to mourn.
This struggle continues beyond the insurgency, shifting to courtrooms, archives, media, and cinema. It is a contest over memory—deciding which narratives of Punjab’s darkest decade endure, which records are accepted, and whether families of the disappeared can tell their stories on their own terms.
