Kashmir has been cinematised through various thematic ‘colours’ in the Bollywood ranging from the 1960s Hindi films, which romanticised the valley for its scenic beauty and used it as a visual backdrop for the mainstream storylines, to the post-1990 film representing it as a highly politicised land marred by insurgencies and conflict. The indigenous image and voice have been more or less absent or passive in the narrative of the ‘national’ cinema. This chapter, therefore, primarily focusses on the politics of cinematic representation of Kashmir and its people in the larger Indian national cinema vis-a-vis Kashmir’s meagre indigenous cinematic production and representation. The chapter discusses the cinema as an instrument of ‘imperialist gaze’, which Knopf calls the “lens of power” to see and create discourse on and about indigenous people. The discussion traces the power play that controls and is controlled by the filmic lens to represent “other” or to spread some particular narrative or discourse. Tracing the historical trajectory of both the Kashmir films produced by Bollywood as well as the indigenous film, especially documentary film, the chapter looks into the politics of representation/misrepresentation by the mainstream cinema and the reversal of ‘gaze’ by the indigenous films and documentaries. For this purpose, it explores the history of cinematic representation of Kashmir right from the classical Bollywood era of 1960s through the post-1990s conflict-ridden era to the present day attempts at ‘reversal of gaze’ by the indigenous ‘lens’. It lays more focus on the ‘New Kashmir films’ post 1990 and the attempts to counter-narratives produced by the indigenous documentary and film. It is the politics of representation and narratives that takes central place in this chapter rather than the cinematic styles and techniques given the historical, cultural as well as all political singularity of the region. The political-cultural struggle of Kashmiri indigeneity in countering (mis)representation in the mainstream media and cinema therefore assumes centrality in this discussion. However, the chapter concludes with an argument that the mainstream national cinema misrepresents the Kashmiri indigeneity and identity. The counter representation and reversal of the ‘cinematic gaze’ by the indigenous film-makers is equally subject to excesses of misrepresentation—focusing the lens selectively and deprived of the larger image.