Such a bold debut in cinema, centered on a highly contentious subject, is a rarity among filmmakers. Defying Bollywood industry norms, Pallavi Gurjar has debuted with her maiden production – Match Fixing- The Nation At Stake. Her film delves into a dark and intricate conspiracy unfolding on two fronts: the political maneuvering within India, particularly around the controversial notion of ‘Saffron Terror,’ and the calculated strategies of neighbouring countries aimed at destabilizing India.
On 21 July 2025, a special NIA court in Mumbai exonerated Sadhvi Pragya and others in the Malegaon blast case, dismantling the narrative of ‘Hindu terror’ coined by vested interests in the country.
Here is an overjoyed Pallavi Gurjar in an exclusive conversation with Paresh B Mehta, Editor of FilmyTown.com:
How do you feel now that a special National Investigation Agency (NIA) court has demolished the narrative of ‘Saffron Terror’?
As a proud Hindu, nurtured in a cultured, educated, and deeply spiritual family, I find the very idea of associating the word ‘terror’ with Hindu completely unacceptable and fundamentally flawed. Our way of life is rooted in the philosophy of Vasudhaiva Kutumbakam — the belief that the entire world is one family. We strive to connect with every anu-renu (atom and speck) of the universe with respect, compassion, and mindfulness. Being true to oneself, honouring others, and living in harmony with nature is the core of Sanatan Dharma.
To have carried the burden of such a false narrative for 17 long years was a painful injustice — not just to individuals, but to the idea of Bharat itself.
This verdict by the NIA court is not just a legal relief — it is a moral and spiritual victory. For me, the most fitting response to this moment in just these words:SATYAMEV JAYATE.
Read the review of MATCH FIXING – The Nation at Stake here –
https://filmytown.com/movies/match-fixing-the-nation-at-stake-movie-review/
Why was your film ‘Match Fixing – The Nation at Stake’ stalled by the courts?
When Match Fixing – The Nation at Stake was announced, the proceedings in the NIA court were already in their final stages. Although we had duly submitted our film for certification and complied with all required formalities, certain individuals raised concerns that the film could potentially influence the course of justice.
Despite the roadblocks, thanks to a committed legal team that stood firm and argued our case on merit, the stay was eventually lifted. As an independent producer — with no corporate lobby behind me — this delay definitely hurt. But I wasn’t here to play it safe. I was here to say something that needed to be said.
And by the grace of God, and the unwavering belief in truth and storytelling, we were able to release the film on 10th January 2025.
What made you take up such a controversial issue in your film?
I wouldn’t call it controversial. I call it the truth — one that I believe in, to the core.
Yes, I dared to take up a subject that many hesitated to even speak about, let alone portray on screen. While others feared being labelled or judged, I chose not to hide behind the excuse of “controversy.” This wasn’t about chasing headlines — it was about exposing a narrative that deliberately distorted the truth.
The term “Hindu Terror” was used carelessly, and it hurt not just individuals, but the soul of this nation. What disturbed me even more was how national security — the backbone of any sovereign country — was compromised in the process, and most citizens remained unaware of it.
For me, it wasn’t about commercial success, and I was not trying to play safe!! It was about my national responsibility. By God’s grace, I simply had the courage to say what many knew deep down but were too afraid to show.
As the film was based on the book ‘The Game Beyond Saffron Terror’ by Kanwar Khatana, how much of cinematic liberties were adopted for your film?
While the film is based on this book, our intention was never to recreate the book word for word — but to hold on tightly to its soul. Our screenplay writer, Anuj Mehta, was clearly briefed to preserve the essence and emotional gravity of the subject. However, as with any cinematic adaptation, certain characters, locations, and situations were modified for visual storytelling and logistical feasibility.
For instance, the book mentions key meetings taking place on the streets of Dubai. But given Dubai’s drastically changed skyline, shooting there wouldn’t have conveyed the intended period authentically. So we made a conscious creative shift to Turkey — a location that allowed us to capture the secrecy, mood, and international backdrop of such scenes more effectively.
Similarly, scenes that referred to covert meetings in London were reimagined aboard a private cruise on the Thames. To preserve the timeline and period accuracy, we had to lean on VFX to subtly erase modern architectural elements — a technical challenge, but worth the effort.
Yes, some cinematic liberties were taken — but never at the cost of truth. In fact, they helped make the story more realistic, immersive, and emotionally engaging. A special mention must go to our DOP, Kedaar, whose vision and execution brought a visually rich and intense cinematic experience to life.
Ultimately, our goal was to respect the source while creating a compelling film that connects with today’s audience — and I believe we’ve done just that.
How was the response of audience after the theatrical release of Match Fixing – The Nation at Stake?
The response to Match Fixing – The Nation at Stake has been both powerful and emotional. The film, which made people introspect and an eye-opener. Audiences connected deeply with the story, appreciating its honesty and the courage to address what many feared to speak about. We received heartfelt messages from veterans, officers’ families, and citizens who felt the film finally gave voice to a buried truth.
Despite having no mainstream stars, the film resonated because of its sincerity, strong performances, and gripping narrative. Beyond entertainment, it sparked introspection— and that, to me, is the real success.
How much of the media within the country and western countries twist or manipulate the issue of Saffron Terror?
I think it was strategically constructed. Unfortunately, a section of the media, both within India and in certain Western narratives, played a significant role in amplifying it without evidence, without context, and often without accountability. What disturbed me most was how quickly this term was accepted and circulated. The nuances were lost, and the headlines took over the truth.
For those who have missed watching the film in cinema halls, which platform can one watch it now?
We’re currently in talks with several OTT platforms. While a few reputed international platforms have declined to take it up, citing the subject as “controversial” and refusing further discussion, others have their own operational limitations regarding licensing.
It won’t be long before the film finds its home on a popular platform. Stay tuned—I promise it’s coming soon!
In one of your earlier interviews published in mid-day, you mentioned that you have huge footage which could even be turned into a web series out of it. Any update on this front?
Yes, I did explore that idea and pitched it to Netflix. Unfortunately, they rejected it, stating they are currently focused on original content and not willing to consider a web series adaptation of an already released film.
What was disheartening is that, during our interaction, I pointed out that if I had approached them earlier—without having released this film—they might not have even given me a chance to stand at their doors in their self-driven fortresses. Now that I’ve delivered and proved my caliber, their response remains the same, with no initiative even to ask for a screening.
Would you continue to take up such issues plaguing society in your films in future?
Absolutely, yes. I will definitely continue to take up such relevant and thought-provoking issues. In fact, I’m already working on a few projects along these lines. The pitch decks are currently in the works, and I’m truly excited to dive into the new unknown!
What are future plans of Artarena Creations? A bit about your upcoming films?
There’s a lot in the pipeline at Artarena Creations! We’re currently working on new scripts for web series and feature films—continuing our focus on bold, thought-provoking, and culturally rooted storytelling. A few pitch decks are already in place, and discussions are on with like-minded collaborators.
This year, I’m especially looking forward to returning to my core strength—theatre. We’re planning a new stage production under the Artarena banner, and for the first time, I’ll also be trying my hand at direction—a space I’ve always worked in closely, but never taken the front seat until now.
We’ve also recently launched Artarena Studio in Thane, a creative hub for auditions, rehearsals, content shoots, editing, and workshops. It’s become a vibrant space for collaboration and nurturing fresh talent.
Any plans for re-releasing the film MATCH FIXING – The Nation at Stake theatrically now after the court’s verdict?
I’m currently exploring a few special screenings and am in talks with key distributors for a limited and focused theatrical release. However, considering that today’s audience often prefers watching content at home or on their mobile devices, my primary aim is to ensure the film reaches as many people as possible. It’s important that these untold stories are seen and heard.
Could you provide a brief background about your production house, yourself and the director Kedar Gaekwad?
Artarena Creations is a young, independent startup production house with a deep-rooted passion for telling stories that resonate—stories inspired by Indian culture, socio-political realities, and unheard voices. While we’re still finding our ground, our commitment to meaningful, impactful storytelling is unwavering.
Personally, I have been immersed in theatre for over 20 years. Trained with the National School of Drama, my journey has taken me across stages and continents—working closely with stalwarts like Hema Malini on her ballet productions and managing over 100 shows of Anupam Kher’s Mera Woh Matlab Nahi Tha globally. I’ve worked extensively across the creative and technical spectrum—from lighting and projection to content creation and production design.
This film marks my debut as an independent woman producer in cinema, and I’m humbled to have received the Mid-Day Award for Breaking Boundaries, which felt like an acknowledgement of the risks and resistance I’ve had to navigate to bring this story to life.
Our director, Kedar Gaekwad, is a passionate and talented DOP known for his rich visual style. This film is his commercial debut in Hindi as a director, and his deep understanding of cinematography has added a layered, immersive quality to the storytelling.
