A Pakistani spy loses his memory and begins believing he is an Indian patriot in Udta Teer. However, the film’s India-Pakistan storyline has reportedly become a source of concern in Nepal. Starring Ayushmann Khurrana and Sara Ali Khan, the spy comedy has been denied permission for theatrical screening in Nepal just days before its scheduled release on October 23, 2026. The decision followed a review by Nepal’s Central Film Censor Board, after which the Ministry of Communications and Information Technology informed distributor National Cine Group that the film could not be publicly screened. The restriction raises a broader question about how Nepal’s cinema laws apply when fictional stories touch on sensitive international relationships.
Directed by Aakash Kaushik, Udta Teer follows Bilal Ahmed, a Pakistani spy played by Ayushmann Khurrana, who enters India on a mission. An accident leaves Bilal with memory loss, causing him to believe that he is an Indian counterterrorism officer. The man sent to infiltrate India begins identifying himself with the country instead, turning his mission into a comedy of mistaken identity.
This reversal distinguishes the film from a conventional spy thriller. Bilal’s problem is not simply keeping his identity secret; he has forgotten it himself. His unexpected patriotism drives the comedy, while the India-Pakistan backdrop provides the story’s political context.
Nepal’s Ministry of Communication and Information Technology informed National Cine Group that Udta Teer had not received permission for public screening. The decision cited Section 8(3) of the Film (Production, Exhibition and Distribution) Act, 1963, which restricts approval for films considered harmful to Nepal’s security, peace and order, relations with friendly countries, or harmony among different communities.
The restriction therefore extends beyond whether a film contains objectionable scenes. The law also considers the potential impact of cinematic content on diplomatic relationships and public harmony.
Nepali film writer and critic Samipyaraj Timilsina has linked the decision to the film’s treatment of India-Pakistan tensions. He has explained that Nepal’s legal provisions allow restrictions on films that could damage another country’s image or adversely affect relations with friendly nations.
However, Timilsina’s comments offer a possible explanation for the controversy and should not be mistaken for a detailed statement of the government’s reasoning. The connection between the film’s storyline and the restriction has emerged through reporting and his account.
Timilsina has also questioned whether banning films about international conflicts is the most appropriate way to address sensitive subjects. He has argued that authorities should consider both a film’s subject and how carefully it handles that subject before deciding to prevent its release. He has cited earlier screening controversies involving Alpha and Bantwara 1947 as part of the wider discussion.
His argument raises an important question for cinema. A film can explore a political conflict without necessarily endorsing hostility, although its treatment of that conflict can influence how audiences interpret it. Examining a film’s actual story, rather than treating every film about a sensitive relationship in the same way, becomes particularly important when censorship decisions cross national borders.
Produced by Karan Johar’s Dharma Productions and Guneet Monga Kapoor’s Sikhya Entertainment, Udta Teer also features the late actor Mukul Dev in a posthumous appearance.
The film remains scheduled for release in Indian cinemas on October 23, 2026. Nepal’s decision concerns its theatrical screening in the country, and no confirmed announcement indicates that the Indian release has been affected.
Nepal’s cinema law also allows the censor board to approve a film after cuts or modifications if the changes bring it within the law. Whether that option will be considered for Udta Teer remains unclear.
While Udta Teer uses mistaken identity to drive its comedy, its release in Nepal has been affected by concerns surrounding its India-Pakistan storyline. The case highlights how a film’s journey to the big screen can depend not only on the story it tells, but also on how that story is received in different countries.