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Rajinder Dudrah, senior lecturer at the University of Manchester, contrasts Veer-Zaara with Main Hoon Na, writing that while the former 'explores the pleasures and trials of border crossing', the latter 'extols the virtues of overcoming the border through diplomacy and personal actions.' He notes that they show different depictions of borders that the protagonists need to overcome. Д«harat and Kumar feel that Veer-Zaara and Main Hoon Naa (2004), also starring Khan, accepts Pakistan's status as a separate entity from India. Varia too agrees that the shared heritage of the Punjabis is one of the film's themes, explored in the song 'Aisa Des Hai'. Daiya further feels that Veer's poem challenges the differences between the nations of India and Pakistan and establishes resemblance between the nations and citizens. Daiya feels that the Punjabi village in Veer-Zaara acts as a model for India, and Zaara's positive to a song describing India, feeling similarities with Pakistan, exposes an incomplete 'utopian' affiliation between the two lovers. She perceives this as the transition from 'living death to fruitless life'. Nandini Bhattacharya, author of the book Hindi Cinema: Repeating the Subject, differs and instead feels that Veer's character is 'partially feminized'вЂ“'men are meant to be captors, not captives.' Sangita Gopal, associate professor of English at the University of Oregon and author of the book Conjugations: Marriage and Form in New Bollywood Cinema, notes that Veer's identity dies after 22 years and even after reuniting with Zaara, they are too old to reproduce.

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Kabil movie songs.Дaiya establishes that Veer's 'Indian masculinity' is shown through his sacrifice of spending 22 years in jail. Kush Varia, author of the book Bollywood: Gods, Glamour, and Gossip, whilst agreeing with Bharat and Kumar about Chopra, notes that the lovers are reunited as compared to Chopra's earlier romances, where they remain separated.

Philip Lutgendorf agrees and also notes the influence of Sufi tradition, where Veer's ultimate reward is union with Allah, much like a Sufi pir. They compare it to Chopra's earlier films, where 'hate-filled encounters' are generally avoided. Meenakshi Bharat and Nirmal Kumar, authors of the book Filming the Line of Control: The IndoвЂ“Pak Relationship through the Cinematic Lens, concur with Daiya and feels this shows maturity on Chopra's part, who ignores the issue of Jammu and Kashmir and was able to 'overcome the phobia of Pakistan' usually present in Indian films. Daiya notes that no person faces animosity by being either Indian or Pakistani in the film. She refers to the encounter between Zaara and Choudhary Sumer Singh, where Zaara persuades Singh to promote women's education as an instance of the theme. In her book Violent Belongings: Partition, Gender and National Culture in Postcolonial India, Kavita Daiya, associate professor of English at the Columbian College of Arts and Sciences feels that Zaara represents secularism in Pakistan.

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