Even while the discursive registers of the film open and engage with a series of questions ostensibly regarding the legitimacy or justifiabilitSy of war, at no point does 'Border' ever visually deviate from the representation of the battle as a 'dharmyudh', a war of righteousness. Consequently, when the heroic Indians/Hindus die, they must be seen to do so spectacularly, yet without disintegration, and with dignity, concealing both vulnerability and indignity.
