Aadujeevitham: The Goat Life And India-Gulf Relations – OpEd

The controversy surrounding the release of Aadujeevitham: The Goat Life on Netflix has ignited a storm of criticism in the Gulf, with many arguing that the film perpetuates harmful stereotypes and demonizes Arab culture. Directed by Blessy and starring Prithviraj Sukumaran, the film tells the story of an Indian migrant worker subjected to brutal treatment while working in Saudi Arabia. Though based on a real-life account, many in the region feel that the film unfairly targets Saudi Arabia and the wider Arab world, casting them in a negative light.

The portrayal of the protagonist's life in Saudi Arabia has sparked considerable outrage. Many viewers see the film as an exaggerated attack on the Arab labour system, with some even going as far as to label it a conspiracy aimed at defaming the Kingdom of Saudi Arabia. Critics argue that the film is just another example of Indian cinema's long history of demonizing Muslims and Islamic culture—only this time, the focus has shifted to the Arab world.

The film’s depiction of the protagonist’s suffering paints a harrowing picture of life as a migrant worker under the kafala system. It shows the protagonist as a victim of a cruel, heartless sponsor who reduces him to a near-animalistic existence as a goat herder in the middle of the desert. This exaggerated portrayal has struck a nerve in the Gulf, where critics accuse the filmmakers of failing to provide a balanced perspective. The kafala system, while undoubtedly flawed and in need of reform, is presented in the film as an all-encompassing evil that defines Arab culture. Such a depiction ignores the complexities of the labour system, as well as the steps that countries like Saudi Arabia and the UAE have already taken to reform and regulate their labour markets. It’s worth noting that many of these reforms have been lauded by international organizations. However, Aadujeevitham disregards this progress in favor of a narrative that places all the blame squarely on the shoulders of Arab employers.

Indian cinema has a long and controversial history when it comes to its portrayal of Muslims. From depicting Muslim characters as violent extremists to casting entire Islamic societies in a negative light, Bollywood has faced frequent accusations of Islamophobia. Movies like Padmaavat and Mission Kashmir have portrayed Muslims as aggressors or villains, feeding into harmful stereotypes. Now, with Aadujeevitham, the focus seems to have shifted from Indian Muslims to Arabs. The film portrays the Arab world as a place of hardship and cruelty for migrant workers, reinforcing stereotypes about the region’s treatment of foreign labourers. While it is important to highlight the struggles faced by migrant workers, it is equally essential to present a balanced view. The one-sided depiction of Arabs as heartless oppressors continues Indian cinema’s troubling trend of demonizing Muslims, now extended to Arabs as well.

Many of the film’s detractors have pointed out the hypocrisy of how migrant labour issues are presented in Indian films versus how they are handled domestically. India itself has faced scrutiny for its treatment of migrant workers, particularly during the COVID-19 pandemic when millions of workers were stranded without food, transportation, or employment. Yet, films that criticize Indian treatment of migrant workers are rare in comparison to those that target other cultures. In this context, Aadujeevitham’s focus on Saudi Arabia appears selective and biased. While the plight of the protagonist is undeniably tragic, the film’s narrow focus on the Arab world as the villain raises questions about the filmmakers’ true intentions. Is the goal to bring attention to migrant worker issues, or is it to cast Saudi Arabia and the wider Arab world in a negative light?

The debate over Aadujeevitham is not just about a single movie—it’s about the broader issue of how Arab culture is portrayed in international media. While it is crucial to shed light on human rights abuses and mistreatment of migrant workers, it is equally important to avoid painting an entire culture with a broad brush. The film's portrayal of Arab society as inherently cruel and oppressive does a disservice to the millions of Arabs who are working to reform the system and improve conditions for foreign workers. Indian cinema, which has a history of demonizing Muslims, now seems to have found a new target in the Arab world. As the conversation around Aadujeevitham continues, it’s essential to ask whether such portrayals are truly meant to raise awareness about social issues—or whether they simply serve to perpetuate harmful stereotypes about Arab culture.