Whether the film has tried to conceal, even twist, the truth is of course up for debate but, interestingly, the way in which it has chosen to portray the Muslims of Gujarat, and this can be extended to the Muslims of India, actually reflects many of the socio-political ground realities that the community faces. The young Muslim boy's character has about as much depth as a piece of paper. Ali Hashmi is mostly silent in the film, at times angry, always dressed in kurta pyjama and often in a skull-cap. His father similarly has hardly any on-screen time apart from having to regularly defend his secular political credentials. When giving a speech the father calls on a Hindu leader to address the largely Muslim audience. The lack of agency in a way is illustrative of one of the main problems that Muslims face in India today: that they are voiceless. Interestingly, the only Muslim woman shown in the film, apart from Burqa wearing extras, is Ali’s mother. As opposed to the main female character Vidya—sister of Ishaan and love interest of Govi— who is developed as a secondary character, all we see of the Muslim mother is that she is a housewife. Although the usual generalisations about dandia-waving, dhokla-eating Gujaratis are kept to a bare minimum, interestingly, the new stereotype that is depicted is of tight-knit very devout communities that are hungry for success and development.