by Shameem Shakat-Hussain

Haq stands out as a compelling contribution to Indian cinema, shifting the spotlight toward Muslim women’s lived realities and rights. Rather than dwelling on themes already widely discussed, this review focuses on the film’s nuanced portrayal of women, its critique of cultural distortions of religion, and its resonant call for knowledge and empowerment.

 

Emaan Hashmi delivers one of the strongest performances of his career. Known for lighter, commercial roles in the past, he steps into a more grounded and serious space with surprising ease. Yet the true strength of Haq lies not in its cast, but in its narrative integrity. The film intentionally avoids the typical Bollywood formula—elaborate dance numbers, disjointed musical interludes instead offers a raw, focused, and purpose-driven story.

 

It’s a female‑centred narrative. At the heart of the film is Shazia Bano, portrayed with remarkable depth by Yami Gautam Dhar. Although surrounded by authoritative male characters—her husband and a set of Mulanas (Islamic scholars)—who often dominate the space through dismissiveness or misuse of authority, the film consistently reinforces Shazia’s agency. Gautam’s performance balances vulnerability and resilience, presenting Shazia as a woman whose strength is grounded in dignity, clarity, and unwavering moral conviction.

Several moments in Haq poignantly highlight the struggle for women’s rights in a socio‑religious context. 

“Mein Sahi Hoon” – the assertion of justice. Throughout the film, Shazia grapples with self-doubt, yet instinctively recognises her moral and religious correctness. The conflict arises not from Islam but from cultural misinterpretations imposed upon her. The Qur’anic verse “Indeed, Allah commands justice and good conduct” (16:90) echoes this central theme. One of the film’s most striking courtroom lines is Shazia’s firm statement that Islamic rulings are clear, and that it is people who complicate them. This sentiment cuts to the core of the film’s message.

 

In one memorable exchange, Shazia challenges her husband, whose legal background contrasts sharply with his limited religious understanding. Her knowledge—self‑acquired and applied with intelligence—exposes the gap between formal education and true comprehension. Her direct questioning of his inconsistencies—his drinking, neglect of prayer, and selective religiosity—adds depth to the narrative and emphasises the consequences of moral double standards.

Shazia’s father emerges as a crucial figure of support. His insistence that the scholars address her by name, and his refusal to speak on her behalf—“I’ve educated her; she knows what she needs”—is a subtle yet powerful assertion of her autonomy. 

The inclusion of the second wife, who supports Shazia’s claims and affirms that she is only asking for what is right, adds emotional complexity. Yet the husband’s refusal to concede underscores the central theme of ego overriding justice.

 

A marketplace scene serves as a symbolic turning point. After facing dismissiveness, Shazia recalls the first Qur’anic command: Iqra(Read). This is a reminder not only to seek knowledge but to understand one’s rights directly—without intermediaries. The verse “Read in the name of your Lord” (96:1) reinforces the film’s message on religious literacy.

 

The themes explored in this film resonates strongly with the cases encountered in many Muslim community organisations like Muslim Women’s Network UK. Women often lack access to impartial Islamic knowledge, relying instead on hearsay, cultural norms, or inconsistent interpretations. When presented with authentic religious sources, their common response—“We didn’t know”—reflects a broader systemic issue. The film mirrors this reality with clarity and honesty.

 

Haq is a significant and timely film. It challenges misconceptions, critiques the misuse of religious authority, and highlights the importance of knowledge—especially for women navigating complex socio‑cultural structures. 

 

The Qur’anic verse “And do not deprive people of their rights” (26:183) encapsulates the essence of Haq. Through Shazia Bano’s story, the film reaffirms that women’s rights in Islam are clear, inherent, and divinely sanctioned—and that reclaiming them begins with understanding them.