Actor Unni Mukundan’s film Marco has faced a major roadblock as the Central Board of Film Certification (CBFC) refused to grant clearance for its television screening. The film, which was criticized for its extreme violence, has been labeled as “unsuitable” for family audiences by CBFC officials. However, the movie is still available for streaming on SonyLIV.
The film’s producer, Shareef Mohammed, has responded to the controversy, defending the movie’s content and criticizing the ban. “It is not cinema that should change, but our perspective,” he said in a statement to PTI.
He emphasized that Marco is not the first film to depict violence on screen and argued that the necessary warnings were appropriately displayed in theaters before screenings.
The film, directed by Haneef Adeni, is set in Kerala and revolves around a high-stakes action-driven narrative. However, a section of the audience deemed it excessively violent and unfit for television.
During the CBFC’s review for TV screening, Regional Officer Nadeem Thufali T denied the film’s satellite rights, citing “extreme violence.” He also sought the intervention of the board’s chairperson to prevent the film from being aired on television or other family-oriented platforms.
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In a statement to Manorama News, Thufali called Marco “unsuitable to be viewed by the family audience.” He elaborated, “Marco has already been certified ‘A’ by the CBFC. Parents should exercise caution when allowing children to watch such films. The CBFC’s role is limited to certification and does not involve censorship. We have rejected the satellite rights for Marco as it’s not suitable for a family audience.”
Despite the ban on television, Marco continues to gain traction on digital platforms. The film has been streaming on SonyLIV since February 14. In response to the controversy, Shareef Mohammed stated that he would reconsider the kind of films he produces in the future. “I will not make any film that apparently promotes violence from here on,” he added.
The CBFC’s move has sparked discussions within the industry about the classification and broadcasting of films with violent content. While some filmmakers believe that artistic expression should not be curbed, others argue that stricter content guidelines are necessary for television audiences. As the debate continues, Marco remains at the center of a growing conversation about censorship, certification, and the role of filmmakers in balancing artistic integrity with audience sensitivity.
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