The premiere of Harmukh, the first-ever Kashmiri-Kannada feature film, at INOX Srinagar has come as good news for film lovers in the Valley. From the 1960s to the late 1980s, some of Bollywood’s most iconic films were shot in the Valley, earning Kashmir the reputation of being Bollywood’s second home. The cinema-going culture was equally strong, with theatres like Regal, Broadway, Naaz, Neelam, Firdous, Shiraz, Khayam and Palladium regularly drawing full houses. Watching films was an essential part of public life, deeply embedded in the Valley’s cultural fabric. However, the early 1990s brought a sudden halt. As conflict gripped the Kashmir valley, cinema halls were forced to shut down completely. Kashmir’s long-standing connection with the Indian film industry faded into silence. Yet in recent years, signs of renewal have begun to emerge. The government’s support for film production—through policy, infrastructure, and location facilitation—has opened the door for filmmakers to return. The Valley’s landscapes remain as compelling as ever, and the current environment offers a more practical space for creative work. In this changing backdrop, Harmukh arrives as a timely development. Its premiere in Srinagar was a special occasion especially for the local actors and film makers. Produced by Ayash Arif, Mushtaq Wani, and Masarat Kanji, and directed by Ashok Kumar K, the film blends regional storytelling with cultural reflection. Shot in both Kashmir and Karnataka, and featuring a cast and crew drawn from both regions, Harmukh reflects the possibilities of collaboration grounded in mutual respect. It is also a reminder that Kashmir is no longer waiting for outside filmmakers to rediscover it—it is actively producing its own stories, told with its own voice. During the event, National Conference president and former J&K chief minister Dr Farooq Abdullah spoke about the need to encourage regional cinema across languages and states. He expressed hope that films would be made in the Kashmiri language and then dubbed for wider audiences, while emphasising the importance of quality. He recalled how early efforts under the Kashir Channel suffered due to a lack of cinematic understanding and called for a more serious approach to storytelling. Dr Abdullah also pointed to the creative potential of the Valley’s youth, stating that renewed film activity could offer them meaningful opportunities to grow professionally. Ayash Arif, who also played the lead in the film, described Harmukh as a step towards cultural integration. He highlighted how the cast included experienced actors who worked across languages without relying on dubbing—Kashmiri actors speaking Kannada and vice versa—making the film feel genuine and grounded. With technicians brought in from outside and a conscious effort to uphold high production standards, the team aimed to deliver work that could stand on its own merit. Arif expressed hope that Harmukh would spark further interest in serious cinema from and within Kashmir. With continued support and focus on quality, this revival could mark the beginning of a sustainable and creative film culture in the Valley—one that builds on its history while embracing its present.
Cultural Reconnect
