Sitaare Zameen Par: an important contribution to Indian cinema in the larger context of the film industry as well as society

Sitaare Zameen Par is original, progressive and empowering.

How is Sitaare Zameen Par an original film? Since this is an adapted film, the obvious burning question needs to be addressed first. The answer depends on how one defines originality for a film. The prism of originality need not be limited to the plot or the characters and what is at the surface, but rather what we find when we start looking within the layers — the filmmaker’s intent and core values, the process, the cultural rootedness and the effective use of film language. Also, the film’s significance goes beyond originality in the form of the creation itself but reflects in the outcome it creates. To examine the subject deeper, from a ‘von above view’ looking at the idea of originality, nothing really is created from a void, but everything builds on the foundation of someone else’s work as there is an interconnectedness to our living, and originality is relative.

Stating the basic facts, firstly there was a Spanish film titled Champions (Campeones) made in 2018 that was loosely inspired by the true story of Aderes, a Valencia based basketball team with special learning needs that won 12 Spanish Championships between 1994 and 2014. Secondly, Aamir Khan an Indian star as a producer acquired the legal rights for the original Spanish film and made his film Sitaare Zameen Par which was released in June 2025.

The film is very similar to the Spanish film in terms of its plot and characters at first glance but if we look beyond, its thematic exploration unfolds the common thread between its spiritual twin Tare Zameen Par (directed by Aamir Khan). In keeping with the close bond it’s important to note the title of this film is Sitaare Zameen Par and not Champions. The title of the discussed film has an endearing quality that is absent in the title of the original Spanish film. It is a small difference but could mean a shift in focus, from viewing the film through the prism of a sports genre to now a human drama. And the film is therefore relying less on cinematic devises of the sports genre but is in the playing field of emotions. If we can take this point further, the film is shaped by the Indian tradition of the Rasa theory of heightened emotions and a key scene that depicts that well is the victory of Guddu when he overcomes his fear and phobia of water(bathing) which is treated melodramatically, or rather I would say treated with a ‘larger than life’ aesthetic, beautifully retaining its core truth.

The filmmaker’s intentions feel rooted in Indian culture and alive with a personal struggle and commitment reflected in their own lives to the cause of seeking to understand oneself and growing to a larger consciousness with society. The makers are aware they might not be ideal human beings or ideal parents for that matter, but by accepting their human flaws and being vulnerable about it is portraying honesty on and off screen. The film utilises the same vulnerability to its full effect in the film with the choice of the comedy genre to highlight characters with their flaws, but they are not looked down upon, the weaknesses are either improved or celebrated. The film has been careful with the treatment of humour to connect to the audiences but has managed to maintain the fine balance between entertaining and critiquing and not laughing at but with the characters. In tune with the true spirit of the comedy genre the main stars of the film are the neurodivergent individuals who share the spirit of the character of the archetype of the clown being pure, honest and rebellious at the same time.  An important progressive outcome of the film is also in its casting of these actors; they are not only fun and authentic to watch but now are the leaders of their own cause and are empowered by the film.

The filmmaker and specifically Aamir through this film and his body of work as a human being is softly whispering beneath the veil of stardom, a voice seeking innocence and authenticity, a purity and acceptance of love in society. While Aamir, the star in the film is the protagonist taking the journey who we identify with no doubt, he hands over the reins of his growth this time to the rest of the cast to shine the light on him. His journey in the film is about realising that his intellectual capabilities might be normal, but his moral imperfections make him abnormal and miserable. And the film makes us reflect on – what we label as normal and our current state of existence as individuals and as a society. In the film’s silences, it yearns for utopia with a moral purity of heart. With the success at the Indian box office it probably seems like the audiences are smitten by the innocent fools who are more wise than clever men claiming to have wisdom.

As a Producer Aamir Khan has refused to release his film on any OTT (Over The Top) platform and dedicated it to a theatrical release which could have caused him a negative financial impact, but it seems he showed supreme confidence in his work and surrendered it to the audience. He also stayed loyal to cinema with this film as a format of exhibition where the audience with their volition visit the sacred space of the theatre to experience emotions, ideas and reflections of themselves. This bold step could revitalise the theatrical business and cause some filmmakers and the government to pause and reflect on the value of cinema viewing as an important tradition in society.

In India there are many films made each year, but there are a few films that are not just a casual means of entertainment or a product of commerce to be consumed, rather they are living instruments of a community that can heal and transform.

Photo courtesy of the clown: Firefly AI. The clown embodies innocence, deep wisdom, joy and sorrow and is something that I feel Aamir is reflecting in his body of work.