Cinema has always served as a complex medium for the representation of marginalized communities, particularly in the portrayal of Muslim women. Historically, their narratives have been reduced to two extremes: the “oppressed victim” desperate for outside salvation or the “rebel” who must forsake her faith for freedom. However, the upcoming film Haq (2025) presents a refreshing departure from these stereotypes, offering a nuanced and sensitive exploration of communal and marital rights grounded in a radical, feminist reinterpretation of Islam.
At the heart of Haq is its compelling protagonist, Shazia Bano, played by Yami Gautam Dhar. Her performance is poised to redefine her career, as she embodies a character that transcends conventional representations. Shazia is depicted neither as a mere symbol of piety nor as a secular dissenter; instead, she is a devout woman who understands that the injustices she faces—most notably the practice of Talaq-e-Biddat (instant triple talaq)—are misinterpretations of the faith she holds dear.
The film carefully sidesteps the common pitfall of vilifying the entire Muslim community. Instead, directors Suparn S. Varma and writer Reshu Nath emphasize the internal diversity within it, showcasing individuals from both genders who oppose the misuse of religious laws. This perspective frames the central conflict as one of “Justice vs. Patriarchy” rather than presenting a binary struggle of “Islam vs. Modernity.”
Haq makes significant strides in addressing how Islamic jurisprudence could be viewed through a gender-sensitive lens. It acknowledges that the Quran speaks of marriage as a union founded on love (Mawaddah) and mercy (Rahmah). As Shazia navigates the fallout from her husband Abbas’s (played by Emraan Hashmi) abrupt betrayal, the narrative underscores her right to maintenance—a crucial reminder that such obligations exist even in the wake of divorce. Key Quranic verses are referenced, highlighting the notion that financial support is not merely a legal obligation but a sacred duty to ensure a woman’s dignity post-marriage.
The film also tackles the theological flaws associated with instant divorce practices. By shedding light on Quranic procedures surrounding divorce, Haq educates its viewers on the importance of mediation and reconciliation, portraying family councils as essential venues for restorative justice. This approach aligns with Islamic teachings that emphasize the need for thoughtful resolution over impulsive separation.
While deeply rooted in spiritual themes, Haq does not ignore the constitutional protections afforded to citizens. Shazia’s quest for justice resonates with the historic battles fought for Muslim women’s rights in India, particularly drawing parallels to the landmark Shah Bano case. Her story reinforces the integral connection between personal rights and constitutional guarantees which ensure equality, non-discrimination, and the right to live with dignity.
The emotional core of Haq is reflected in the solidarity among women. Shazia is not alone in her struggle; she receives unwavering support from a network of female allies, including her lawyer, Bela Jain, and her father, both of whom amplify her voice in the courtroom. Director Varma carefully crafts a visual narrative that reflects Shazia’s journey from entrapment to empowerment, with Gautam’s performance shifting seamlessly between vulnerability and fierce defiance.
Ultimately, Haq stands as more than just a film; it is a powerful cinematic statement advocating for a synthesis of constitutional rights and an egalitarian interpretation of Islamic teachings. By empowering individuals to reclaim their rights while honoring their faith, the film offers a hopeful vision for a society where dignity, justice, and equality are upheld for all, especially for women.