Category: Cinema

Cannes, the iconic French Riviera destination, is where cinematic dreams come alive in a breathtaking display of films, glamour, celebration, and opportunity. The Cannes Film Festival, since its inception in 1946, has evolved into a dazzling spectacle of international cinema and culture. Over the decades, it has also become a vibrant reflection of India’s growing soft power and cultural influence on the global stage. With his extensive experience at the festival, Bhuvan Lall captures this essence in his new book Namaste Cannes, offering readers an intimate journey through the history and grandeur of the event while highlighting India’s significant role in this global cinematic celebration.

Through Namaste Cannes, Lall offers a front-row seat to the most celebrated film festival in the world. He transports readers to the heart of Cannes, where the Indian film industry has not only participated but thrived—bringing its rich storytelling traditions, vibrant performances, and technical excellence to a global audience. This book is more than just a chronicle; it is a tribute to the filmmakers, artists, and visionaries who have carried India’s cinematic legacy to new heights at Cannes.

With first-hand insights and stories gathered over many years, Lall shares an insider’s perspective on India’s evolving presence at the festival. He reflects on the early milestones and pivotal moments when Indian cinema received worldwide recognition, recounting instances when Indian films earned standing ovations and prestigious awards on the international stage. These moments not only brought glory to the Indian film industry but also redefined the global perception of Indian storytelling and creativity.

One of the key themes of Namaste Cannes is the homage it pays to legendary filmmaker Satyajit Ray. The book honors Ray’s enduring legacy and the foundation he laid for Indian cinema’s global success. His pioneering work continues to influence filmmakers around the world, and Namaste Cannes pays respect to this legacy while also spotlighting the contemporary visionaries who have followed in his footsteps. These trailblazers have pushed creative boundaries and opened new doors for Indian cinema in international markets.

The book also focuses on the behind-the-scenes figures—producers and distributors—who have been instrumental in expanding the reach of Indian films across the globe. At Cannes’ bustling Marché du Film, these professionals have forged important connections, negotiated global deals, and positioned Indian cinema in the global entertainment ecosystem. Their contributions, though often away from the limelight, are crucial in shaping India’s success at Cannes.

In a particularly captivating part of the book, Lall recounts exclusive anecdotes involving Indian film stars who have left a lasting impression at the festival. These stories bring a human element to the narrative, offering readers a glimpse into the real-life experiences of celebrities and their impact on the global audience. From red carpet appearances to emotional reactions from international viewers, these moments reflect the pride and admiration that Indian cinema continues to evoke worldwide.

Through these recollections, Lall taps into a deep sense of patriotism and cultural pride. As Indian films find appreciation on the global stage, the book reminds readers of the powerful role that cinema plays in shaping national identity and projecting it to the world. Indian storytellers are no longer confined by geographical boundaries; their voices are now resonating in theaters, festivals, and living rooms across continents.

As India steps confidently into its next chapter in the global entertainment landscape, Namaste Cannes serves as a source of inspiration. It uplifts aspiring filmmakers, writers, producers, and cinema lovers, encouraging them to dream bigger and believe in the power of their stories. The book not only looks back at the triumphs of the past but also ignites hope for a future where Indian cinema continues to influence and inspire audiences around the world.

“Namaste Cannes inspires optimism and energizes dreamers, storytellers, and achievers,” writes Lall, underscoring the book’s central message of hope and ambition. His passion for cinema and dedication to India’s cultural narrative shine through in every page, offering readers a powerful mix of nostalgia, pride, and aspiration.

The excitement surrounding the book is set to culminate at the 79th edition of the Cannes Film Festival, where a star-studded global launch of Namaste Cannes will take place in the South of France next month. This grand event promises to be a fitting tribute to the themes of the book and the spirit of Indian cinema’s ongoing journey.

“An invitation for the star-studded Global Launch of Namaste Cannes at the 79th Cannes Film Festival in the South of France next month will follow,” announces Lall, hinting at what will surely be one of the major highlights of this year’s festival.

In addition to the upcoming launch, the book will also soon be available for pre-order on Amazon worldwide. Cinema lovers and readers interested in the history of Indian cinema’s international rise will be able to secure their copy and delve into the fascinating narrative crafted by Lall.

“Namaste Cannes will soon be available for pre-order on Amazon worldwide,” he confirms, signaling the book’s broad accessibility to a global audience.

In a warm and personal note, Lall concludes his message by expressing his anticipation of meeting fellow cinema enthusiasts in Cannes, reinforcing the festival’s role as a global gathering of storytellers and dreamers.

“Looking forward to seeing you in Cannes!” he writes, inviting readers to be part of the celebration.

And with a heartfelt salute, he ends on a patriotic note that echoes the spirit of the book and the journey it represents:

“Jai Hind ”

Bhuvan Lall

Through Namaste Cannes, Bhuvan Lall delivers more than just a book—it is a cinematic tribute, a cultural chronicle, and a celebration of India’s artistic triumphs on one of the world’s most prestigious platforms. It reminds us that storytelling knows no borders and that the spirit of cinema can unite hearts across the globe.

Kunchacko Boban is relishing the success of his latest film Officer on Duty, which turned profitable within just three days of its release. This swift success, he believes, marks a pivotal moment in his long and diverse career. Although the actor, known affectionately as Chackochan, has acted in over 100 Malayalam films, he openly admits that he often looks back on his performances thinking he could have done better. However, his portrayal of CI Harishankar in Officer on Duty might be one of the rare instances where he feels a sense of true accomplishment, especially considering the widespread praise he has received for the role.

Reflecting on his approach to acting, Kunchacko Boban shared in an interview with Hindustan Times that continuous growth is a key part of his journey. “I’m constantly learning and honing my craft. You try to take up different movies or different characters which might not be in your league or zone, in which you have to put in extra effort and take risks, both emotionally and physically. I’m still trying to learn the trade, the basics and try out different combinations, different characters and novel ideas which come my way. I’m charged up to work in such exciting movies and willing to support new creators,” he explained.

The actor’s commitment to evolving his artistry has led him to embrace roles outside his comfort zone. He is particularly enthusiastic about venturing into characters that challenge him, not only as a performer but also as a person. According to him, roles like Harishankar are rare but rewarding, and they fuel his desire to explore further in the world of cinema.

Interestingly, despite his popularity in Malayalam cinema, Kunchacko Boban has not ventured into Tamil or Telugu films like many of his peers. When asked why, he offered a compelling explanation. “I think content-wise, the Malayalam film industry is in its golden phase right now. Other industries are actually envying us because of the kind of unique films we have been churning out – be it the quality, theme or story. Our films, even though locally rooted, are going pan-Indian and global because of their content and with OTT coming in, the language barrier is blurred too,” he said.

He added that the Malayalam industry is currently offering him some of the most exciting characters and stories, which leaves him content. However, he is not ruling out opportunities in other languages. “But I am open to other languages, especially Tamil because I want to dub for myself. If an exciting character or movie comes my way in other languages, I will give it a try. I’m waiting for that,” he added with optimism.

Throughout his 27-year journey in the film industry, Kunchacko Boban has showcased his range in a variety of roles. Films like How Old Are You?, Take Off, Traffic, Bougainvillea, Nizhal, Virus, 2018, Nna Thaan Case Kodu, Anjaam Pathiraa, Nayattu, and Ariyippu have each demonstrated different facets of his acting abilities. These performances helped him move away from his earlier ‘chocolate boy’ image and establish himself as a serious, versatile actor. Yet, the journey has not been without its setbacks.

Despite experiencing both success and failure, Chackochan maintains a pragmatic outlook on his career. He believes that mistakes are valuable lessons and that growth comes from perseverance. “Basically, no regrets,” he said when asked about any past disappointments. “I don’t analyse the negative side of my life too much, and I don’t brood over it. I always tried to find positivity in my career – when I was stuck doing formulaic films and characters, I just took a break from cinema and returned to do different kinds of roles.”

He acknowledged that many people question why he didn’t make that shift sooner, but he believes everything happened at the right time. “People ask me now why it took me so long to make that change when I could have done it long ago. But I believe this was the right time to make that attempt – if you fall, just pick yourself up and keep moving. You should always move a step forward, even if you crawl,” he said.

Kunchacko Boban also attributes his journey to a higher power and to the vision of filmmakers who have shaped his path. “I always believe in God’s plan. I’m just a tool in God’s hands and a tool in the hands of great creators in the film world,” he added, underscoring his faith in divine timing and creative collaboration.

The actor’s openness to working with fresh talent has also been a notable part of his evolution. He frequently reiterates his willingness to collaborate with new filmmakers, especially if the script and role are fresh and stimulating. “I’m open to any character, role or movie that can portray me in an unthinkable way and is beyond my imagination. I’m welcoming every director and scriptwriter – experienced or newcomer – to create enticing and exciting roles. I’m waiting for them as an actor,” Kunchacko Boban concluded.

With Officer on Duty reinforcing his credibility and reaffirming his place in the industry, Kunchacko Boban stands at a promising juncture in his career. As he continues to embrace roles that defy typecasting and encourage artistic risks, the actor is more energized than ever to contribute to the evolving narrative of Malayalam cinema. Whether exploring challenging characters, supporting new talent, or venturing into other language films, his journey forward promises to be one of creative exploration and continual reinvention.

Actor Prithviraj Sukumaran has officially started filming his next venture titled ‘Nobody’, which stars Parvathy Thiruvothu and Hakim Shajahan in key roles. The production kicked off with a traditional pooja and switch-on ceremony held at Wellington Island in Ernakulam, marking the formal beginning of the much-anticipated film’s shoot.

The film is directed by Nissam Basheer, a well-regarded name in Malayalam cinema, and is written by Sameer Abdul. Together, they are working to craft what is expected to be a gripping and emotionally rich film. ‘Nobody’ is being jointly bankrolled by Supriya Menon, Mukesh Mehta, and C.V. Sarathi. The movie is being produced under the notable banners of Prithviraj Productions and E4 Experiments, both known for supporting high-quality and innovative Malayalam cinema.

The musical score for ‘Nobody’ is being composed by Harshavardhan Rameshwar, whose previous work includes the widely recognized and intense music in the film ‘Animal’. His involvement is expected to contribute significantly to the emotional depth and dramatic weight of the film, enhancing the overall cinematic experience. With such a strong team in place—both in terms of actors and the technical crew—’Nobody’ is quickly shaping up to be an engaging and distinctive film that could leave a lasting impression on audiences.

While excitement builds around ‘Nobody’, Prithviraj Sukumaran has also been in the news recently due to his other major project, ‘L2: Empuraan’. This film, which he is directing, has sparked some controversy in recent weeks over its portrayal of certain real-life incidents. Even amid the controversy, ‘L2: Empuraan’ remains one of the most eagerly awaited films of the year. The buzz surrounding it only seems to be growing, driven by both curiosity and the high expectations audiences have from Prithviraj’s directorial vision.

In an interview back in March, Prithviraj spoke candidly about the experience of directing while also acting in the same movie—a demanding process that few in the industry undertake. Reflecting on his dual responsibilities for ‘L2: Empuraan’, he shared, “I’ve never really found it to be very challenging. The toughest part is having to stay in costume and makeup while directing, which I don’t usually enjoy. But beyond that, it’s all part of one giant process.” His remarks offer a glimpse into the complexities of multitasking on a film set, but also show his level of comfort and confidence with handling both roles simultaneously.

Despite the inherent difficulties that come with managing both acting and directing, Prithviraj has demonstrated a rare ease in toggling between the two demanding roles. His ability to lead from behind the camera while performing in front of it has only increased the public’s admiration for his talents. This seamless balancing act is one of the key reasons for the growing anticipation surrounding ‘L2: Empuraan’. As someone who has consistently challenged conventional filmmaking boundaries, Prithviraj is increasingly seen as a driving force behind the evolving landscape of Malayalam cinema.

‘Nobody’, meanwhile, presents another opportunity for Prithviraj to showcase his strengths as an actor. Paired with the powerful presence of Parvathy Thiruvothu and the rising popularity of Hakim Shajahan, the cast sets the stage for some powerful performances. The script by Sameer Abdul is expected to delve deep into human emotions, while Nissam Basheer’s direction is likely to bring a nuanced and sensitive touch to the storytelling. The synergy between the script, the direction, and the music could create a potent mix that elevates the film beyond conventional storytelling.

The presence of Supriya Menon as one of the producers under the banner of Prithviraj Productions ensures that the film stays rooted in quality, as the banner has been associated with several critically acclaimed projects in recent years. Collaborating with Mukesh Mehta and C.V. Sarathi of E4 Experiments also brings in an experienced team known for their innovative film choices and production values. Together, the producers are aiming to craft a film that is not only artistically fulfilling but also commercially viable.

Music composer Harshavardhan Rameshwar’s involvement also signals the importance of sound in the film’s overall design. Known for crafting emotionally resonant music, his score for ‘Nobody’ is expected to underline key moments in the narrative and add another layer of engagement for viewers. His previous work in ‘Animal’ was widely praised for its intensity and emotional gravity, and fans will be eager to see how he approaches the tone of ‘Nobody’.

The choice of Wellington Island in Ernakulam as the launch location also hints at the aesthetic the filmmakers are aiming for. The island, known for its scenic beauty and historical significance, could serve as a powerful visual backdrop that adds atmosphere to the unfolding story. The formal pooja and switch-on ceremony held there not only mark the beginning of the shoot but also reflect the respect for tradition that continues to inform many aspects of Indian cinema.

Although the narrative of ‘Nobody’ has been kept under wraps for now, the involvement of a strong creative team and a solid cast suggests that the film will explore themes that are both compelling and relevant. The collaboration between Prithviraj, Parvathy, and Hakim Shajahan hints at a layered and performance-driven film, one that aims to leave a deep impact on the audience.

Meanwhile, Prithviraj’s directorial venture ‘L2: Empuraan’ continues to remain in focus for reasons beyond just the storyline. The recent controversy may have stirred debate, but it has also added to the intrigue. As viewers wait to see how Prithviraj balances his roles in both ‘Nobody’ and ‘L2: Empuraan’, it’s clear that he is positioning himself as one of Malayalam cinema’s most versatile and ambitious talents.

By effortlessly moving between acting, directing, and producing, Prithviraj is not just delivering quality films—he is also helping redefine the boundaries of Malayalam cinema. Whether it is through a deeply emotional performance in ‘Nobody’ or a complex directorial undertaking like ‘L2: Empuraan’, he is consistently pushing the envelope. His dedication to storytelling and commitment to cinematic excellence ensure that his projects remain among the most talked-about and eagerly awaited releases of the year.

With both ‘Nobody’ and ‘L2: Empuraan’ in the pipeline, Prithviraj Sukumaran continues to prove that he is a powerhouse of talent whose work is worth watching. Audiences can expect nothing short of brilliance as he takes on new challenges and raises the bar for Malayalam films across genres and styles.

Malayalam cinema has long been known for its ability to convey deep emotions through simple yet powerful storytelling. Some films go beyond mere entertainment, leaving viewers with a lingering sense of warmth, joy, and nostalgia. These movies are rich with themes of love, friendship, hope, and perseverance. With visually captivating scenes, gentle music, and heartfelt narratives, they create a soothing escape, offering comfort and optimism. Here’s a look at some Malayalam films that promise to lift your spirits and touch your soul.

Madhuram

Set within the confines of a government hospital, Madhuram tells the story of a group of strangers brought together by their shared experiences while caring for their ailing loved ones. Despite their personal struggles, these characters form deep connections as they navigate through moments of sorrow, uncertainty, and hope. The hospital becomes a space not just for healing the sick but also for nurturing friendships and emotional recovery. Through its heartfelt storytelling, Madhuram delves into themes of love, loss, and the profound human need for connection. The film emphasizes that even in the darkest times, kindness and companionship can create lasting warmth.

Jacobinte Swargarajyam

Inspired by a real-life story, Jacobinte Swargarajyam centers around a family suddenly thrown into financial turmoil. Faced with immense adversity, the family’s strong sense of unity and determination drives the narrative forward. Their unwavering bond becomes the foundation of their strength, showcasing how familial love and support can triumph over even the most trying challenges. The story’s optimistic tone is consistently uplifting, and the characters’ resilience resonates with viewers. As the family battles their crisis, the film becomes an inspiring reminder that “with faith, strength, and togetherness, anything is possible.”

Aanandam

Aanaandam is a refreshing tale that follows a group of college students on their first road trip, capturing the vibrant energy of youth and the evolving nature of friendships. The journey becomes a transformative experience, filled with laughter, self-discovery, and emotional growth. Each character faces personal fears and insecurities, but it is through their bond with one another that they find confidence and joy. The film encapsulates the carefree yet meaningful days of college life. With its light-hearted tone and memorable moments, Aanandam leaves viewers with a “nostalgic smile and a heart full of fond memories.”

Charlie

A unique and visually enchanting film, Charlie follows the life of a young woman who embarks on an adventurous search for a mysterious man named Charlie. His eccentric and free-spirited lifestyle leaves behind clues that slowly unravel his story. As she pieces together his past, the film takes the audience through a series of colorful characters and heartfelt encounters. The narrative moves beyond romance, reflecting on the importance of living life on your own terms. With vibrant cinematography and soulful music, Charlie offers “a magical ride full of surprises, warmth, and wonder,” making it an unforgettable experience.

Philips and the Monkey Pen

This charming film revolves around Ryan, a mischievous yet intelligent fifth-grade student who struggles with mathematics. His life takes a turn when he finds a magical monkey-shaped pen that helps him tackle his academic problems. However, the story delves deeper than just a fantasy adventure. It highlights the emotional struggles children face and the importance of understanding and encouragement from parents and teachers. Through Ryan’s journey, the film explores how empathy, support, and love can help a child thrive. As one scene subtly conveys, “Every child needs not just lessons, but also belief and care.”

Bangalore Days

A beloved classic in modern Malayalam cinema, Bangalore Days tells the story of three cousins who move to Bangalore and begin new chapters in their lives. The city becomes the backdrop for their individual and collective journeys as they navigate through love, careers, and personal challenges. The film beautifully weaves the emotions of nostalgia, youthful energy, and deep-rooted family ties. It captures the bittersweet nature of growing up and the comfort of having loved ones nearby. “No matter where life takes us,” the film suggests, “our roots and relationships shape who we become.”

Ustad Hotel

This soul-stirring film follows Faizi, a young man who dreams of becoming a professional chef. His plans take an unexpected turn when he returns to Kozhikode and reconnects with his grandfather, the owner of a modest seaside hotel. Initially reluctant, Faizi gradually comes to understand the significance of the simple meals served at Ustad Hotel and the values behind them. His grandfather, with quiet wisdom, teaches him not just about food but about life itself. The bond between the two forms the emotional core of the film. As the story unfolds, it becomes clear that “cooking is not just about taste—it’s about love, care, and compassion.”

In conclusion, these Malayalam films go beyond the screen to touch something deep within us. They are not merely tales of love, loss, and laughter, but reflections of our own journeys, relationships, and dreams. Each film, in its own way, celebrates the human spirit—its ability to love, to endure, to connect, and to hope. From the youthful joy of Aanandam to the soulful reflections in Ustad Hotel, these stories stay with you long after the credits roll. They remind us that life, despite its challenges, is filled with beauty, kindness, and magic.

The highly anticipated Malayalam action-thriller L2: Empuraan, starring Mohanlal, hit theatres on Thursday (March 27), serving as a sequel to the 2019 hit Lucifer. The film had a phenomenal opening, raking in ₹22 crore at the box office on its first day, according to industry tracker Sacnilk.

Strong Occupancy Across Shows

The film witnessed an impressive overall occupancy rate of 61.02% in the Malayalam market on its release day. Show-wise occupancy figures stood as follows:

• Morning shows: 63.32%
• Afternoon shows: 54.32%
• Evening shows: 60.43%
• Night shows: 66.00% (highest turnout)

Critical Acclaim and Industry Reactions

Film critic and trade analyst Taran Adarsh took to X (formerly Twitter) to praise L2: Empuraan, calling its debut a “historic start across Kerala.” He noted that theatres in major cities, including Thiruvananthapuram, Kochi, Kozhikode, Kottayam, Thrissur, and Palakkad, were experiencing packed shows, signaling an “earth-shattering opening.”

He further stated, “Empuraan is on track to rewrite opening-day records. If this momentum continues, it could very well be a game-changer for the Malayalam film industry!”

Star-Studded Cast and Production

Directed by Prithviraj Sukumaran, L2: Empuraan is backed by Aashirvad Cinemas, Sree Gokulam Movies, and Lyca Productions and produced by Antony Perumbavoor, Gokulam Gopalan, and Subaskaran.

Apart from Mohanlal in the lead, the film boasts a star-studded cast, including Prithviraj Sukumaran, Tovino Thomas, Manju Warrier, Sachin Khedekar, Abhimanyu Singh, Jerome Flynn, Eriq Ebouaney, Suraj Venjaramoodu, and Indrajith Sukumaran in pivotal roles.

Director’s Vision

Speaking about the film’s narrative, Prithviraj Sukumaran emphasized the importance of maintaining a coherent visual communication. He stated, “With so many events unfolding back to back, it’s easy for the audience to lose focus. L2: Empuraan is a fast-paced film that shifts rapidly between timelines, locations, and different parts of the world, often depicting simultaneous events across multiple timelines. Because of this, I had to be constantly aware of where the narrative was headed and ensure that the pacing remained consistent throughout.”

With a powerful opening and strong word-of-mouth, L2: Empuraan is poised for a record-breaking run at the box office.

On March 22, 2025, the Indian Consulate in New York, in collaboration with the Indian Heritage & Cultural Association (IHCA), organized an engaging seminar titled “The Evolving Landscape of Indian Cinema: The Impact, Challenges, and Future of Indian Cinema on the International Stage.” The event took place at the Lake Chateau Banquet Hall in Woodbridge, New Jersey.

The keynote address was delivered by Padma Shri awardee Dr. Mohan Agashe, a highly respected and versatile actor who is also trained as a psychiatrist. Throughout his career, Dr. Agashe has earned numerous accolades, including the Sangeet Natak Akademi Award in 1996 for theater, the Filmfare Award Marathi for Best Actor for his role in Astu, and the Punya Bhushan award in 2023. During his speech, he explored the intersection of psychology and acting, shedding light on how both disciplines are deeply intertwined.

The event commenced with remarks from opening speaker Archana Joglekar, an accomplished actress and classical dancer known for her contributions to Marathi, Odia, and Hindi cinema and television. A skilled Kathak dancer and choreographer, Joglekar also runs a dance academy for young students.

Consul General Binaya Srikanta Pradhan, introduced by IHCA co-host Dr. Ashok Chaudhary, highlighted the Consulate’s focus on celebrating Indian cinema throughout the year with various events across the Northeastern United States, including two upcoming programs in New York dedicated to fashion and Odia cinema.

Speaking on the relevance of the seminar, Pradhan remarked, “Today’s event is more contextual in the sense that we are not watching a movie. To a great extent, there is no point in watching a movie because we get to see movies in cinema halls here, we get to see movies on OTT platforms.So today’s event is rather more relevant when we talk about the evolving landscape of Indian cinema.”He lauded Dr. Agashe for his vast experience and deep understanding of both theater and film, as well as his expertise in psychology.

Joglekar reflected on her early days in the entertainment industry, describing her transition from theater to film in the 1980s. “When I started my career way back in 1984, close to 40-plus years back, it was a transition from Marathi professional theater,” she shared. She noted how different the industry was at the time, explaining that she did not go through formal auditions or casting calls. Instead, filmmakers often scouted actors from theater productions, and her performances in Marathi drama quickly caught their attention. “I was fortunate to be pampered and appreciated by everybody,” she recalled, adding that this recognition led to roles in both Marathi and Hindi films. She described the film set as a “very warm affair” where actors, co-actors, and senior artists interacted like family.

Dr. Agashe offered insights into the connection between psychology and communication. He emphasized the complexity of human interaction, stating, “When we are talking to each other in person, we are talking in three languages.” These include verbal language, body language, and sound language. “So the language of words goes through your brain for deciphering, body language from the subconscious, and the sound goes through the unconscious.”

To explain his point further, he drew an analogy to computer systems, comparing the unconscious mind to a hard drive and the conscious mind to RAM (random access memory). “That is why, unless you use proper commands, the unconscious doesn’t come to the conscious.” As a psychiatrist, he noted that he pays closer attention to how people communicate rather than what they say. “I go with what they communicate,” he explained.

Speaking to ITV Gold after the event, Dr. Agashe emphasized the significance of the discussion, calling it both “very important and very timely.” He underscored the necessity of understanding cinema’s evolution, stating, “We should know where we were, where we are, and where we are going. Because if we need some correction, that can be done at this stage. That enables the culture to retain its identity even as it becomes part of the world.”

Padma Shri recipient Dr. Sudhir Parikh, chairman of Parikh Worldwide Media and ITV Gold, also shared his appreciation for the seminar. He praised the organizers for their efforts in hosting numerous cultural events throughout the year and described the current seminar as a “signature event” that offered valuable insights into Bollywood’s evolution over the past century.

Following a remarkable theatrical run, the Kunchacko Boban-starrer Officer on Duty is now preparing for its digital premiere.

For those who missed the opportunity to watch this gripping thriller in cinemas, Officer on Duty will be available for streaming on Netflix starting March 20. The film will be accessible in multiple languages, including Malayalam, Hindi, Telugu, Tamil, and Kannada.

Netflix officially announced the release through a social media post, which read, “Puthiya officer etheetund, stand in line and salute. Watch Officer on Duty on Netflix, out 20 March in Malayalam, Hindi, Telugu, Tamil, Kannada #OfficerOnDutyOnNetflix.”

Directed by Jithu Ashraf, with a screenplay penned by Shahi Kabir, the movie features an ensemble cast, including Vishak Nair, Priyamani, Jagadish, and Aadukalam Naren in significant roles.

Kunchacko Boban recently took to social media to express his gratitude toward his wife and the entire team behind the film. Sharing a heartfelt note alongside a picture with his wife, the actor wrote, “Officer On Duty. With His Beauty. I know how much you yearned for this acceptance, my love!! You have been my constant support, critic, friend, tension-breaker, and the biggest fan!!! And this success is more deserving for you!! Love and salute from your officer …or rather, HUSBAND ON DUTY. And a big big thaaank you to each and everyone who made OFFICER ON DUTY the biggie in my life.”

According to recent reports, Officer on Duty has emerged as the highest-grossing Malayalam film of 2025, surpassing Asif Ali’s Rekhachithram.

The film has received a mixed critical reception. ETimes awarded Officer on Duty a rating of 3 out of 5 stars. The review noted, “While Officer on Duty is a gripping, well-crafted thriller that keeps viewers on edge, it also serves as a stark reminder of how crime films continue to exploit the suffering of women for shock value. The film may entertain, but it also demands reflection—how much longer will we keep witnessing the same cycle of violence on screen?”

Looking ahead, Kunchacko Boban will next be seen in Mahesh Narayanan’s upcoming multi-starrer film, which will also feature Mammootty, Mohanlal, Nayanthara, and Fahadh Faasil in prominent roles.

Robert De Niro’s latest Netflix series, Zero Day, continues to maintain a strong presence in the streaming platform’s top 10 most-watched list, even weeks after its debut.

This successful collaboration appears to be just the beginning, as Netflix has now revealed initial details about an upcoming crime thriller film featuring the legendary actor in a significant role.

Titled The Whisper Man, the movie is an adaptation of Alex North’s bestselling novel of the same name. If the name rings a bell, it’s because the book gained widespread popularity upon its release.

Netflix’s Tudum website has shared an official description of the film, which suggests an intense and suspenseful narrative. According to the logline:

“When his 8-year-old son is abducted, a widowed crime writer looks to his estranged father, a retired former police detective, for help, only to discover a connection with the decades-old case of a convicted serial killer known as ‘The Whisper Man.’”

A Star-Studded Cast Joins the Project

While De Niro’s role has not been explicitly stated, it is widely speculated that he will portray the retired detective. Alongside him, Netflix has confirmed two other key actors: Adam Scott, known for his role in Severance, and Michelle Monaghan, who has been gaining attention for her performance in the third season of HBO’s acclaimed anthology series The White Lotus.

This trio makes for an exciting lineup. Scott’s involvement is particularly noteworthy, as he continues to expand his range with serious roles, while Monaghan brings prior experience in the crime thriller genre, having starred in the 2007 film Gone Baby Gone.

Behind the scenes, James Ashcroft has been brought on as the film’s director. His latest psychological thriller, The Rule of Jenny Pen, was just released in theaters last Friday, March 7. The screenplay adaptation of The Whisper Man will be penned by writers Ben Jacoby and Chase Palmer.

Netflix’s Sixth Collaboration With the Russo Brothers’ AGBO

This project also marks Netflix’s sixth partnership with AGBO, the production company run by the Russo brothers. Their fifth joint venture, The Electric State, a sci-fi blockbuster starring Millie Bobby Brown and Chris Pratt, is set to premiere on the streaming platform this Friday, March 14. However, early reviews have been overwhelmingly negative, with the film currently holding a disappointing 21% rating on Rotten Tomatoes.

While Netflix has confirmed that The Whisper Man will enter production this spring, the streaming giant has not provided a specific release timeline. Given that filming has yet to begin, the movie is likely to be released in 2026.

A Promising Thriller on the Horizon

Regardless of the wait, The Whisper Man is shaping up to be a must-watch thriller. The combination of a strong cast and well-received source material suggests a promising film. The key question remains: will the final product meet expectations?

For now, if you’re looking for gripping content to watch, Netflix has recently added a new psychological thriller full of unexpected twists. Additionally, there’s a complete rundown of everything new arriving on the platform in March 2025, offering plenty of options to keep viewers engaged.

Renowned director Sundar C, currently helming the pan-Indian film Maha Shakthi (Mookuthi Amman 2 in Tamil), featuring Nayanthara in the lead, asserts that the film will go beyond regional boundaries, resonating with audiences across India and beyond.

Known for his expertise in franchise films within Tamil cinema, Sundar C promises that Maha Shakthi will offer breathtaking visuals, high-intensity action sequences, and an emotionally gripping storyline. Expressing his enthusiasm for the project, he remarked, “I believe in making films that entertain, engage, and leave an impact. With Maha Shakthi, we are taking everything to the next level—bigger action, deeper rooted storytelling, and a visual grandeur like never before. This is a film that will truly transcend regional cinema and connect with audiences across India and globally. With Nayanthara leading this franchise, the journey has just begun.”

Although the Tamil version carries the title Mookuthi Amman 2, the makers clarified in a statement that Maha Shakthi is a standalone narrative that marks the beginning of a fresh cinematic franchise. The film is being produced on a grand scale by Ivy Entertainment and Vels Film International, under the leadership of Dr. Ishari K. Ganesh, with a staggering budget of ₹100 crore. A grand muhuratam ceremony was held in Chennai to mark the official launch of the project.

Designed to captivate audiences across India and beyond, the film stars Nayanthara as a divine protector, with Regina Cassandra playing an intense role and Yogi Babu adding a comedic element to the storyline. The ensemble cast also features the seasoned actress Urvashi, alongside Garuda Ram and Ajay Ghosh. Additionally, it was revealed that actor Duniya Vijay will portray the antagonist, bringing a powerful and intense performance that heightens the conflict between good and evil.

Nayanthara, known for her commanding screen presence and acting versatility, is set to portray a powerful divine force, promising to bring both grace and intensity to the role. She shared her thoughts on being part of the project, stating, “Playing this role is more than just a performance—it’s an emotion. Maha Shakthi carries a power beyond cinema, and with Sundar sir’s vision, we are bringing a story that will leave an impact on every audience member. I’m thrilled to be part of this grand journey.”

Dr. Ishari K. Ganesh, the producer of Vels Film International, emphasized the ambitious vision behind the film, saying, “At Vels Film International, we have always pushed the boundaries of storytelling and scale. Along with Ivy Entertainment, we wanted to bring a film that is deeply rooted in our culture but speaks to audiences everywhere. Maha Shakthi is not just another grand production; it’s a phenomenon that will redefine commercial cinema and take Indian films to an even bigger global stage.”

Among the eight Indian films that have crossed the remarkable Rs 1000 crore milestone, only two—Dangal and Pathaan—are pure Bollywood productions. The remaining six? Five are entirely Southern films (Baahubali, Pushpa 2, RRR, KGF: Chapter 2, and Kalki 2898 AD), while the sixth, Jawan, was helmed by a South Indian director. This raises a crucial question: Is Southern cinema excelling in a way Bollywood isn’t, or is Bollywood making critical missteps?

To find answers, one would need to explore the Southern film industry or, as the Screenwriters Association (SWA) recently did, invite experts from the South to share their insights at its seventh conference. A panel featuring representatives from all four Southern film industries laid out their approach to filmmaking. If Bollywood pays attention, it could apply these five key lessons to regain its box-office dominance.

1. Rootedness: Staying True to the Soil

Vivek Athreya, a Telugu director known for Mental Madhilo, Brochevarevarura, Ante Sundaraniki, and the recent vigilante hit Saripodhaa Sanivaaram, succinctly explained why South Indian films resonate deeply: “In South cinema, the films are rooted. The ideas are rooted. KGF and Pushpa worked not because of the scale of the film, but the rootedness of the characters and emotions.”

Imagine pitching a story to Bollywood producers about a hot-headed villager who turns to looting jungle redwood. The typical response might be dismissive: Who would relate to a village nobody? Too small for the big screen! Not pan-India enough—maybe OTT? Can you make it for two crores? Yet this very concept became the Pushpa franchise, now worth over Rs 2000 crores.

Bollywood’s obsession with creating ‘pan-India’ films often leads to superficiality. In attempting to cater to everyone, it satisfies no one. Like Trishanku, a mythical figure suspended between worlds, Bollywood finds itself neither fully connected to its roots nor successfully universal.

Consider the biggest Indian hits of 2024. Bollywood had Stree 2, a film rooted in the Hindi heartland, featuring ordinary local boys in extraordinary circumstances—eerily similar to the Malayalam blockbuster Manjummel Boys. Tollywood’s biggest success was again the deeply local Pushpa 2.

Ironically, many of Bollywood’s greatest hits—Awara, Mother India, Hum Aapke Hain Kaun, Andhadhun, Piku, 3 Idiots, Lagaan, and Bajrangi Bhaijaan—were not grand spectacles but small stories firmly anchored in their social and cultural milieu.

Tamil filmmaker C. Prem Kumar, known for 96 and Meiyazhagan, even included Imtiaz Ali’s Amar Singh Chamkila in this category. He admired the film and believed, “If it had been released in theatres instead of straight to OTT, it would have been a blockbuster.”

Contrast this with Bollywood’s post-pandemic failures, such as Bade Miyan Chote Miyan. Despite a large-scale premise where heroes save the nation, they couldn’t save the film from bombing at the box office.

2. Single Producer: Cutting Through Corporate Red Tape

Bollywood takes pride in being ‘corporatized,’ which does offer benefits, particularly in contractual security for writers. However, it has created inefficiencies.

Kannada filmmaker Hemanth M. Rao (Godhi Banna Sadharana Mykattu, Kavaludaari, and the Sapta Saagaradaache Ello series) described the advantages of pitching to an individual producer: “I go into a room, pitch my idea to an actor or producer, and if he likes it, the film is on. We’re already discussing release dates. I get to make the story I want to make.”

Prem Kumar shared a frustrating contrast: he once waited six months for a corporate studio’s response, only to receive feedback from a different person than he initially spoke to. “He spoke like he was the other person, starting where the other had left off. I had to ask him, Who are you?” The audience laughed, but the inefficiency was evident.

3. Feedback: The Danger of ‘Autopsy Panels’

Throughout the SWA conference, one word unsettled screenwriters: notes—the dreaded studio feedback process. Sometimes valuable, these notes often originate from executives with little understanding of cinema.

A Mumbai production house reportedly outsourced screenplay feedback to film school students, passing their critiques to directors and writers. Imagine legends like S.S. Rajamouli or Mani Ratnam receiving notes from 19-year-olds with minimal cinematic experience.

A fellow screenwriter analyzed the psychology of corporate executives compelled to give feedback. Many, he suggested, once aspired to be filmmakers but settled for stable jobs in studios, leading to subconscious resentment and unnecessary critiques. One renowned Bollywood director once told an executive, “Don’t try to justify your salary with ridiculous notes on my film.”

Hemanth Rao aptly called these groups autopsy panels—but autopsies are for things that were once alive, whereas these critiques target films not yet made.

4. Algo Filmmaking: Prioritizing Metrics Over Talent

Bollywood increasingly relies on algorithms to select actors based on social media metrics rather than acting ability. The logic appears sound—if an actor has millions of followers, even a fraction watching their film should guarantee success.

However, this approach leads to absurd casting decisions. Filmmakers report being forced to work with actors solely due to their online presence, even if their performances are subpar. This explains why some wooden actors repeatedly land roles while skilled performers struggle.

This metric-driven approach is more prevalent in Bollywood than in Southern industries, where casting prioritizes role suitability over digital influence.

5. Marketing Laziness: The ‘Pan-India’ Trap

Bollywood’s fixation on the ‘pan-India’ label often results in diluted narratives that fail to connect with any specific audience. Instead of tailoring marketing strategies to different viewer groups, studios prefer films that can be mass-marketed without additional effort.

Hemanth Rao warned against creating with a broad audience in mind: “I never want to reach everyone. Out of 10 people, I know only eight will watch the film. My job is to be honest with those eight and ensure they see it.”

Filmmakers create for specific audiences, but corporate studios often fail to market films effectively. As Rao put it, “That’s not the job of the writer, director, or actor. It’s the marketing department’s job to ensure the film reaches the right audience.”

Additional issues raised included the undervaluing of writers. Christo Tomy, writer-director of Ullozhukku, noted that in Malayalam cinema, writers and directors sometimes receive equal IP rights alongside producers—unthinkable in Bollywood, where even securing fair royalties has been a struggle.

Ultimately, the key takeaways for Bollywood are clear:

• Stay true to cultural roots, even in fantastical stories.
• Avoid excessive bureaucratic interference.
• Resist unnecessary corporate feedback that dilutes creative vision.
• Prioritize acting talent over social media popularity.
• Demand more from marketing teams instead of making films overly generic.

These principles seem like common sense, yet Bollywood remains resistant to change. High-paid executives prefer the status quo, and producers continue making money regardless of a film’s artistic merit. The real casualties are fresh ideas, frustrated creators, and audiences deprived of great cinema.

If Bollywood doesn’t course-correct, something will eventually give—but what that will be remains to be seen.

It felt like déjà vu. After watching Kunchako Boban’s latest crime thriller Officer On Duty, I couldn’t shake off the familiarity—it had the same essence as Mohanlal’s 2012 hit Grandmaster. A cop with a fractured family, a crime that ties into their past—it was gripping, well-crafted, and fast-paced, yet undeniably a case of old wine in a new bottle. That’s when it hit me: Malayalam cinema’s crime thriller wave might be coming full circle.

Malayalam cinema has long been a sadhya—a feast offering a little of everything, balancing taste and texture. It had the comforting dal of family dramas, the fiery achar of political narratives, the crisp pappadam of comedies, and the sweetness of payasam in experimental films. This variety made it a distinct and exciting experience, with something new to savor each time. But now? The industry seems to be serving up the same dish over and over—crime thrillers.

A well-made thriller is like a solid plate of Kozhikode biryani—spicy and intense, making you crave more. But what happens when you’re served the same thing for breakfast, lunch, and dinner? Sooner or later, you’ll start longing for something else. Malayalam cinema seems to be approaching that point. Every film involves a chase, a murder, or gaslighting, followed by a last-minute twist—either leaving viewers stunned or prompting a weary, “Oh, this again.”

Thrillers dominate for a reason. They’re engaging and perfectly suited for today’s attention-deficient audience. In an era where viewers scroll past videos if they don’t captivate within three seconds, a gripping thriller wastes no time—it grabs you by the collar and doesn’t let go. But the real question is: Is Malayalam cinema tilting too far toward this genre? Has it begun sidelining the very diversity that once made it exceptional?

Credit where it’s due—Malayalam cinema has mastered thrillers. Unlike Bollywood, where “thrillers” often mean slow-motion shootouts and villains delivering monologues longer than a train ride across Kerala, Malayalam films thrive on silence, subtlety, and atmosphere. Drishyam (2013) didn’t need high-speed chases, Anjaam Pathira (2020) avoided excessive jump scares, and Joji (2021) transformed Shakespeare’s Macbeth into such an eerie experience that even broad daylight felt unsettling.

Thrillers are also cost-effective. Unless a filmmaker insists on making a half-baked KGF lookalike, they don’t require extravagant sets or CGI-heavy sequences. A sharp screenplay, an efficient crew, and a talented cast—things Kerala has in abundance—are all it takes to create a compelling thriller.

Then, there’s the social media factor. Movies today aren’t just made for theaters; they’re crafted for Instagram reels and viral memes. They’re filled with moments meant to be clipped and shared. Think of the jaw-dropping courtroom scene in Drishyam 2 (2021)—it wasn’t just watched, it was circulated widely. The unsettling silences in Rorschach (2022) were perfect for short video edits. That one-line revelation in Iratta? Instant meme material. Thrillers naturally lend themselves to this formula—a gripping moment, a shocking reveal—exactly the kind of content that trends online. Compare that to a slow-burning family drama—it may be great cinema, but it’s not exactly viral material.

However, an overdose of thrillers makes them predictable. Every film now feels obligated to have a twist, even when it doesn’t make sense (The Priest, 2021, comes to mind). Psychological breakdowns have become so commonplace that it seems like every Malayali character is just one bad day away from losing it (Joji did it well, Theerppu, not so much). Serial-killer thrillers, too, are becoming repetitive (Forensic’s creepy kid subplot—what was the point of that?).

If the industry keeps chasing viral twists, it risks losing the kind of cinema that set it apart: its range. When was the last time we saw another Maheshinte Prathikaram (2016), Kumbalangi Nights (2019), or Nanpakal Nerathu Mayakkam (2022)?

That’s not to say thrillers should stop being made—they work. But a mix is necessary. Malayalam cinema became great because of its variety. The same Padmarajan who directed the romantic classic Thoovanathumbikal (1987) also gave us Ee Thanutha Veluppan Kalathu (1990), one of the first serial-killer movies in Malayalam. Sathyan Anthikkad, known for his lush portrayals of rural Malayali life, also made the vengeance drama Pingami (1994). Anjali Menon, who gave us the meditative Manjadikuru (2008) and the vibrant Bangalore Days (2014), later adapted the Marathi psychological drama Happy Journey (2014) into Koode (2018).

There’s still so much left to explore! How about a cyberpunk thriller set in a futuristic Kerala, like the upcoming comedy Gaganachari (2024)? A post-apocalyptic survival story? A psychological sports drama delving into the mental toll of competition? Malayalam cinema has yet to produce a proper war film, a folk horror based on Theyyam, or a Pan’s Labyrinth-style dark fantasy drawing from Kerala myths. Even a rural musical, where the narrative unfolds through songs, could be groundbreaking.

The best films aren’t made for algorithms—they’re made because they deserve to exist. Malayalam cinema didn’t become one of India’s finest film industries by following trends; it created them. Imagine if the ’80s and ’90s had been dominated solely by slapstick comedies—we wouldn’t have gotten Adaminte Vaariyellu (1983), Yavanika (1982), Moonnam Pakkam (1988), or even Ramji Rao Speaking (1989). If the industry keeps pushing thrillers just because they sell, it risks missing out on the next great classic.

Crime thrillers will always be a vital part of cinema. But for Malayalam cinema to keep evolving, it must take bigger risks. It has already proven that it doesn’t need big budgets or heavy VFX to create masterpieces. What it needs now is fresh thinking. The films that stand the test of time aren’t just those with shocking twists—they’re the ones that dare to tell unique stories with exceptional craftsmanship.

Cinema has long romanticized marriage which is often portrayed as a promise with a happily-ever-after. But there are films that choose to tell a different truth, one that many women live but rarely speak about. Stories that explore how a woman’s identity often dissolves into a pile of silent sacrifices after she says ‘I do.’ With Mrs., now streaming on ZEE5 Global, that conversation has reached a new peak. It joins a league of films that have made audiences pause, think, and rethink the realities of womanhood in marriage.

Here are four films, across major streaming platforms, that challenge the very notion of marriage, especially for a woman.

Mrs.

Cast: Sanya Malhotra, Nishant Dahiya and Kanwaljit Singh

Language: Hindi

A woman’s life changes after marriage. But how often does anyone ask her how she feels about it? Mrs. does not tell a loud story. It does not show physical violence or overt cruelty. But in its silence lies its power. Sanya Malhotra delivers a performance so hauntingly real that it is impossible to look away. She plays Richa—a woman who was once full of life, but slowly dissolves into the expectations placed upon her. Since its premiere on ZEE5 Global, Mrs. has not only shattered streaming records but has also become the most searched film on Google. But beyond all this, it has become a cultural conversation, with women across the world seeing their own self in Richa’s journey.

English Vinglish

Cast: Sridevi, Adil Hussain, Priya Anand and Navika Kotia

Language: Hindi

Marriage gives women many things, such as companionship, security and a family. But sometimes, it takes away something that is far more important, i.e. self-worth. Sridevi’s English Vinglish is the story of a woman who is loved, but not respected. Shashi is a devoted wife and a perfect homemaker. And yet, to her family, she is ‘just’ those things. Her inability to speak English becomes a source of mockery and an excuse to look down on her. Streaming now on ZEE5 Global, English Vinglish is a film about reclaiming dignity. And in doing so, it reminds every woman that she is more than the roles she plays.

Thappad

Cast: Taapsee Pannu, Dia Mirza and Pavail Gulati

Language: Hindi

It was just one slap. That’s what everyone tells Amrita after her husband hits her in front of a room full of people. They tell her that one slap isn’t a reason to leave and that it was a moment of anger. But that is exactly what Thappad forces you to question—why is a woman always expected to tolerate and endure? Taapsee Pannu’s performance is breathtaking in its restraint. Her character doesn’t seek revenge. She simply decides—if one slap is acceptable, then this is not the life she wants. Thappad started a national conversation on domestic violence and emotional neglect in marriages, a topic that was long ignored. Currently streaming on Prime Video, this film and its message remains powerful even today.

Tribhanga

Cast: Kajol, Tanvi Azmi, Mithila Palkar and Kunaal Roy Kapur

Language: Hindi

Not all battles are fought inside a marriage. Some are fought after it. Some women walk away, not just from their husbands but from the entire idea of what a woman should be. Kajol’s Tribhanga tells the story of three generations of women. Each one chose to live on her own terms, and each one paid the price for it. It explores the judgment and the loneliness left by choosing yourself in a world that wants you to conform. Streaming on Netflix, Tribhanga is an emotional reminder that women who break the rules are always punished for it. But as these women prove, choosing yourself is always worth it.

Following a remarkable 2019 in which he delivered some of his most critically acclaimed performances in Kumbalangi Nights, Athiran, and Super Deluxe, Fahadh Faasil began 2020 by reuniting with acclaimed filmmaker Anwar Rasheed. The two had previously collaborated on the Aami segment of the 2013 anthology 5 Sundarikal. However, their new project, Trance, stood out not just from their previous works but also from other Indian films that explored similar themes.

Despite receiving varied reactions, Trance exposed the contradictions within Kerala society’s so-called progressiveness and its reluctance to critically analyze religion and its messengers. At the same time, the film highlighted the risks of pursuing grand ideas without a solid foundation. It served as a reminder that no matter how visually captivating a film is or how impressive the performances are, a weak screenplay can still undermine its success.

At its heart, Trance delves into a broad spectrum of themes, including the hypnotic power of theism, the essence of atheism, the commercialization of faith, the exploitation of human suffering, existentialism, nihilism, the impact of mental health struggles, and the devastating effects of substance abuse. However, one of its greatest strengths lies in how all these ideas are embodied within a single character. Every shift in his psyche creates ripples in the external world, making Viju Prasad’s (Fahadh Faasil) mind a personification of the concept of Everything Everywhere All at Once.

While films like PK (2014) and Oh My God! (2012) highlight the emptiness of superstitions and pseudo-gurus by adopting an outsider’s perspective, Trance takes a different approach. Instead of focusing on those who reject blind faith, the film closely examines the very institutions that manufacture these beliefs and the skilled individuals who recruit the gullible as believers using persuasive tactics. Unlike its Bollywood counterparts, which treat these subjects with humor and only scratch the surface of the consequences of challenging religious enterprises, Trance fully immerses itself in the dark realities beneath the glossy façade, exposing the metaphorical bloodstains that remain hidden from public view.

The story follows Viju, a motivational speaker living in Kanyakumari with his younger brother Kunjan (Sreenath Bhasi), who suffers from severe clinical depression. The first act of Trance focuses on their lonely and impoverished existence. Although Viju conducts motivational sessions to help others unlock their potential, he himself remains trapped in financial struggle. Having lost their mother to suicide as children, Viju assumed the role of caretaker for Kunjan, working odd jobs at the expense of their education. The film makes it evident that their unconventional upbringing had a lasting impact on their mental health.

Interestingly, Trance critiques the superficiality of motivational speaking through Viju’s journey. It draws a direct parallel between self-help seminars and religious gatherings, both of which rely on unwavering faith in a central figure who is believed to possess transformative powers. Notably, the primary audience for Viju’s “Success Juice” sessions consists of elderly individuals, mirroring the demographic that later flocks to Pastor Joshua Carlton, the identity Viju adopts in his new role. However, despite positioning himself as a guide to self-improvement, Viju is unable to prevent Kunjan’s suicide—a tragedy that sends him into a downward spiral.

Struggling with insomnia and auditory hallucinations, Viju begins taking his brother’s anxiety medication, which amplifies his energy but does little to numb his grief. Feeling lost, he leaves Kanyakumari for Mumbai, but his troubles persist. In one particularly striking sequence, he is seen through a broken dormitory windowpane, sitting under dim light in disheveled off-white clothing, symbolizing his fragile mental state. As the camera zooms out, revealing the building’s exterior, the presence of trippy purple and yellow decorative lights on the floor above visually hints at his descent into a trance-like state—marking the moment the film’s title appears on screen.

The narrative then shifts focus to how an atheist like Viju is transformed into Pastor Joshua Carlton, a self-proclaimed miracle worker. The film highlights how religious leaders, much like movie stars, can be meticulously manufactured through image-building. Initially hesitant when approached by a corporate firm that wants him to pose as a pastor, Viju receives what could be interpreted as a sign—he slips and falls while answering the phone call inviting him to meet the company’s heads, Solomon Davis (Gautham Vasudev Menon) and Issac Thomas (Chemban Vinod Jose). Perhaps this was a warning, but for someone on the brink of mental collapse and extreme poverty, recognizing such signals is a privilege he does not have. Hearing the financial incentives, Viju accepts the offer without hesitation.

A closer look at Solomon and Issac’s conversation with Viju reveals another parallel—just as Joshua later exploits his followers’ pain and desperation to rise in power, Solomon manipulates Viju’s suffering to make him feel trapped.

Once Viju’s transformation into Joshua begins, the film’s visual tone undergoes a drastic shift. The muted colors of the first act are replaced by vibrant hues, the pacing quickens, and the editing becomes sharper, emphasizing the staged nature of his newfound persona. Trance also deconstructs its own imagery, revealing the changing power dynamics. In training, Avarachan (Dileesh Pothan) asserts that he is Jesus while Viju is merely a servant. Later, Joshua assumes a Christ-like role himself, even symbolically resurrecting on the third day after being attacked by Solomon’s men for defying their control.

Despite struggling to gather 50 attendees for his motivational sessions, Joshua’s first prayer meeting attracts at least 1,500 people—demonstrating the immense power of religion as a commercial product. As he exploits vulnerability and blind faith, Joshua rises in influence, losing his sense of integrity in the process. Once too self-conscious to clap for himself in private, he later begins applauding his own success publicly, growing bolder with each step. The deeper Trance delves into its themes, the more it exposes how religious institutions evade accountability by attributing everything—both real and fraudulent—to divine intervention. “Miracles are not created, they happen,” Joshua proclaims.

The film also introduces biblical parallels, with the most notable being the character of Esther Lopez (Nazriya Nazim), a sex worker whose role mirrors that of Mary Magdalene. However, at this point, Trance takes a problematic stance on psychotropic drugs, inaccurately portraying prolonged use as fatal without acknowledging that dosages are determined by medical professionals.

In the film’s final act, Joshua, now freed from corporate control and blind believers, sets out to find Esther. Their reunion in Amsterdam is depicted in a fourth-wall-breaking moment, symbolizing a break from the illusion of religious grandeur. The film also reflects on how prophets, once created, are often left isolated and powerless—mere pawns in a larger scheme. The subplot involving Thommichan (Vinayakan), his wife Sheeba (Amalda Liz), and their daughter serves as an eye-opener for Viju, further reinforcing this theme.

Fahadh Faasil’s performance is the film’s standout feature. One particularly haunting moment is when Viju finds Kunjan’s farewell letter. As he dials his brother’s number, his breathing becomes erratic, fearing the worst. Upon hearing the faint vibration of Kunjan’s phone in the next room, he hesitates before looking—deep down, he already knows. When he finally lifts his gaze, his eyes gradually redden with tears, capturing the devastation of the moment.

Despite its impressive technical aspects—including Anwar Rasheed’s direction, Amal Neerad’s cinematography, and Sushin Shyam’s music—Trance ultimately stumbles under its own weight. As the plot expands, the emotional depth that anchors the first act begins to wane. The film juggles too many elements without fully developing them, leaving the script feeling overloaded rather than profound.

While Trance is visually arresting and thematically ambitious, its overreliance on spectacle dilutes its message, preventing it from reaching its full potential.

The creators of Pushpa 2: The Rule, featuring Icon Star Allu Arjun and Rashmika Mandanna, have officially disclosed the film’s final box office earnings. Released globally on December 5 last year, the film has amassed a total collection of ₹1,871 crore. To commemorate this accomplishment, the production team unveiled a special poster showcasing the movie’s revenue.

The filmmakers have proclaimed Pushpa 2 as a major industry hit in Indian cinema. The film made history by raking in ₹294 crore worldwide on its first day, making it the highest first-day grosser for any Indian film. Within three days of its release, the movie surpassed ₹500 crore, and in just six days, it reached the ₹1,000 crore milestone, setting a new benchmark.

Helmed by renowned director Sukumar, the film was produced by Mythri Movie Makers, with music composed by Rockstar Devi Sri Prasad. Currently, Pushpa 2 is still running in select theaters and is also available for streaming on Netflix.

“This (film Umbarro) is to show women that everything is possible if they are crossing boundaries and opening their wings like I have done in America,” said Falguni Patel at a special premiere in Edison, where dignitaries, community leaders, and film enthusiasts gathered to celebrate her latest production.

Patel, who also produced the 2018 National Award-winning film Irada in the Best Film on Environment category, has a growing reputation in the Indian film industry. Irada earned Divya Dutta a National Award for Best Supporting Actress. Patel, who is both an actor and producer, has four films to her credit: Irada (2017), Ventilator (2018), Hirkani (2019), and Umbarro (2025). Umbarro is her second Gujarati-language production.

Addressing the guests, Patel shared how her parents encouraged her to spread her wings and pursue her dreams, a lesson she is now passing on to her two daughters. “So this is very close to my heart, and I hope the audience appreciates (it) in America as well,” she said.

The film delves into the concept of human boundaries, which Patel noted are not limited to any gender or age group. However, Umbarro particularly focuses on Indian women, highlighting the sacrifices they make in their personal and professional lives. “It is especially about Indian women who sacrifice a lot for their household work, for their careers, being the first to sacrifice for their family,” she said.

The story of Umbarro follows seven Gujarati women who have never traveled beyond their hometowns. They embark on a journey to London, organized by two aspiring tour operators who serve as their guides. As they navigate language barriers, currency confusion, and cultural differences, the women experience a roller coaster of emotions. They form new friendships, uncover hidden aspirations, and find support in each other.

With a star-studded cast of veteran stage and television actors, Umbarro brings together Sucheta Trivedi, Vandana Pathak, Vineeta Joshi, and writer-turned-actress Kajal Oza Vaidya. The film also features a special appearance by Navratri Queen Falguni Pathak.

Produced by Patel along with Sanjay Chhabria and co-producer Amit Bhanushali, Umbarro has found success not just in India but also in Australia, the UK, and Africa. The film was shot entirely on location in London and is written by Hemant Dhome, with a screenplay by director Abhishek Shah and Keyu Shah. While maintaining a comedic tone, the film incorporates moments of emotional depth. With cinematography by Tribhuvan Babu and music composed by Mehul Surti, the film offers both visual and auditory delight. Songs like the title track Umbarro, London Ke Limbdi, and Travel Mode have resonated well with audiences.

Patel’s husband and co-producer, Chintu Patel, described the film as an uplifting experience filled with emotions, humor, and fantastic music. He expressed pride in its reception, noting that it had earned a high 9.2 rating on IMDb. “People are loving it,” he said.

Highlighting the logistical challenges of filming abroad, Patel remarked, “To have a Gujarati movie shot for 25 days in London was not easy because your budgets are very small. So I really want to thank all the actors and actresses—they have done a tremendous job.”

Patel also praised the film’s director, Abhishek Shah, calling him “a magician” whose talent is evident in the film. He expressed gratitude to co-producer Sanjay Chhabria for staying committed to the project. “We are very happy for the Gujarati film industry and looking forward to promoting Gujarati films in the US,” Patel said.

The event’s chief guest, Binaya Srikanta Pradhan, Consul General of India in New York, commended the Patels for bringing Umbarro to the U.S. and promoting Indian culture. “I would say it’s a true contribution to the cultural bridge between our two great nations. What you are doing is in a very direct way contributing to promoting not only Gujarati movies, which are becoming mainstream both in India and abroad, but also you are bringing the culture to the United States.”

Pradhan expressed hope that films like Umbarro would find a larger audience in the U.S. through streaming platforms. “I am really happy this year we are promoting Indian movies, not Bollywood alone,” he said. He also shared plans for the Consulate, with support from India’s Ministry of Information and Broadcasting, to host a forum in New York City featuring the film’s cast. The event would focus on how films contribute to society and nation-building. “At the end of the day, these movies contribute in many different ways to bind our children to the families, to back home,” Pradhan noted.

Dr. Sudhir Parikh, Chairman of ITV Gold and Parikh Worldwide Media, congratulated the Patels for producing globally popular films. He encouraged them to continue supporting the Gujarati film industry.

The film’s title, Umbarro, translates to “doorstep,” symbolizing the vast world that lies beyond one’s immediate surroundings. Pradhan reflected on this symbolism, saying, “I think all of you have crossed that ‘dehleej’ in one way when you came out of India. This is about women crossing the ‘dehleej,’ but it is applicable to all.”

Srujal Parikh, Joint Secretary of the Federation of Indian Associations (FIA), highlighted the film’s success in India and internationally. He lauded Patel’s achievements as a National Award-winning producer and extended congratulations on behalf of FIA and the Gujarati Association of North America. Parikh encouraged audiences to support Gujarati cinema in the U.S. and spread the word about Umbarro.

TV Asia Chairman H.R. Shah also took the opportunity to thank Consul General Pradhan for his presence at the screening and his support for the Gujarati community.

With Umbarro, Falguni Patel has once again brought forward a story that resonates deeply, blending humor, emotion, and cultural identity. Through this journey of seven women stepping outside their comfort zones, the film offers a celebration of self-discovery, independence, and the power of shared experiences.

Allu Arjun’s highly anticipated film Pushpa 2: The Rule took the industry by storm upon its release. The movie, which generated immense excitement among audiences, lived up to expectations by delivering a staggering performance at the box office. With a production budget ranging between Rs 400-500 crore, the film became a massive success, ultimately securing its place as India’s highest-grossing film of 2024. The worldwide earnings for Pushpa 2 reached an impressive Rs 1,466.85 crore, and the theater occupancy rate remained strong throughout its run.

After dominating the box office, the next big milestone for Pushpa 2 was its release on an OTT platform. For those who missed experiencing the action-packed entertainer on the big screen, Netflix provided an opportunity to watch the film from the comfort of their homes. The movie premiered on Netflix on January 30, 2025, and within days, it achieved a significant milestone—it became the second most-watched non-English film globally.

Produced by Mythri Movie Makers, Pushpa 2: The Rule swiftly climbed the global rankings on Netflix within just four days of its release. It topped the most-watched charts in seven countries and secured a spot in the top 10 across 15 nations.

Beyond its impressive performance at the box office, the film’s success on Netflix further solidified its dominance. Not only did it emerge as the second most-watched movie worldwide, but it also claimed the top spot among non-English films in seven countries. Additionally, Pushpa 2 made its way into the top 10 lists of 15 other nations across the globe.

Since its premiere on Netflix on January 30, the film has garnered a staggering 5.8 million views, with audiences spending 21.8 million hours watching it. For the week ending February 2, the film held the second position on Netflix’s chart of most-watched non-English films, proving its widespread appeal.

About Pushpa 2

Released on December 5, 2024, Pushpa 2: The Rule stood as the most eagerly awaited film of the year. The movie featured Allu Arjun, Rashmika Mandanna, and Fahadh Faasil, all of whom reprised their roles from the previous installment. The film was released in multiple languages, including Telugu, Kannada, Tamil, Hindi, and Malayalam, catering to a diverse audience.

Following its blockbuster success in theaters, the filmmakers made an exciting decision to re-release the movie with an additional twenty minutes of unseen footage, further fueling audience enthusiasm.

The conclusion of Pushpa 2: The Rule left fans thrilled as it included a teaser offering a glimpse into what to expect from the third chapter in the franchise, Pushpa 3: The Rampage.

Varsha Bharath’s Tamil film Bad Girl secured the prestigious NETPAC Award at the International Film Festival Rotterdam on February 7, marking a significant milestone in her filmmaking journey.

The NETPAC Award, presented by the Network for the Promotion of Asian Cinema, honors exceptional films from Asia and the Pacific, particularly those that push storytelling boundaries and introduce fresh perspectives. The recognition is given to films that challenge cultural conventions and encourage thought-provoking discussions.

A jury panel consisting of Mevlut Akkaya, Rainbow Fong, and Rüdiger Tomczac evaluated 15 films before selecting the winner. Explaining their decision, the jury stated, “The film that we have chosen unfolds a coming-of-age story in a provocative way; it is cinematic and playful, with unexpected narrative solutions. The director employs a moody and vivid visual style to take us through the joys, worries, struggles, and emotions of the character’s transformation.”

Bharath’s film features a compelling ensemble cast, including Anjali Sivaraman, Shanthi Priya, Hridhu Haroon, TeeJay Arunasalam, and Sashank Bommireddipalli.

The storyline revolves around a young woman from a Brahmin background who challenges societal and cultural norms in her quest for independence. The film delves into themes of identity, rebellion, and self-expression, portraying the protagonist’s internal conflict as she navigates the divide between tradition and modernity.

Various associations within the Malayalam film industry have jointly decided to cease all activities, including film production and screenings, starting June 1. This decision follows extensive discussions on the growing financial distress in the industry.

Announcing the shutdown in Kochi, prominent producer G. Suresh Kumar highlighted the dire situation, emphasizing the severe losses that have plagued filmmakers. “This industry is already in the doldrums with film after film bombing at the box office, leaving the producers in a quandary,” he stated.

A major concern raised by Kumar is the heavy taxation imposed on the industry. “There is no industry which is being taxed at 30 per cent, and it includes GST besides additional entertainment tax. The government has to step in and withdraw this,” he demanded. Kumar, who is the father of National Award-winning actress Keerthi Suresh, stressed that such tax burdens are making film production increasingly unviable.

Another significant issue affecting the industry is the skyrocketing remuneration of actors and crew members. According to Kumar, this has created an unsustainable financial structure for producers. “The remuneration of actors and others has skyrocketed like never before, and it has to be scaled down. 60 per cent of the cost of a film is gobbled up by remuneration to the actors, which is hugely detrimental to a producer. They (actors) have no concern for this, and we just cannot go forward in this manner,” he explained. Kumar’s wife, Maneka, was a popular actress in the past, giving him deep insight into the industry’s changing dynamics.

Kumar pointed out that even newcomers in the industry demand exorbitant fees, further burdening film budgets. “Even the new actors charge a hefty fee, and so is the same with directors too. A film that can be finished in 50 days gets over in 150 days. Not even 10 per cent is recovered from the theatres compared to the remuneration of the actors. We will not cooperate with the films produced by the actors,” he asserted.

The financial crisis is further highlighted by the staggering number of box office failures in recent times. Kumar revealed that in the past year alone, 176 Malayalam films failed commercially. He also provided alarming figures regarding theatre losses in early 2025. “During January 2025, the loss for the theatres alone was Rs 101 crore,” he stated, indicating the industry’s worsening financial health.

The situation has also severely impacted the livelihoods of those working behind the scenes in the industry. “As many as 60 per cent of the film industry professionals who make a living working behind the screens are in dire straits,” Kumar said, underscoring the crisis that has left thousands struggling.

Another challenge is the uncertain revenue stream from OTT platforms. Previously, streaming services provided a crucial financial cushion for filmmakers, but that support has diminished significantly. Kumar explained that unless a film performs well in theatres, OTT platforms are hesitant to offer substantial deals. “The state government is silent, and presently, the situation is that the OTT market has dried up. If a film is received well at the box office, then the OTT market offers a sum… to receive the committed amount, it takes six to ten months,” he explained.

With such pressing concerns, the decision to halt industry operations is seen as an urgent move to force action from stakeholders, including the government and industry professionals. The coming weeks will determine whether negotiations can lead to relief measures or if the shutdown will prolong the crisis.

In the realm of cultural discourse, America’s persistent blind spot remains class. Regardless of their financial status—be it billionaires or hourly wage earners scraping by—most Americans identify themselves as middle class. However, class distinctions are subtly woven into every social interaction, whether acknowledged or not. This phenomenon is mirrored in India, where, despite the constitutional ban on the caste system since 1950, its shadow lingers. The Dalits, historically labeled as “untouchables,” continue to face systemic barriers designed to deny them justice. It’s within this deeply entrenched framework that Santosh Goswami finds herself ensnared, becoming a small part of a vast, indifferent mechanism.

Santosh, a young woman grappling with the recent loss of her husband, is left with few choices. Her path leads her to a role as a police officer—a job she assumes not out of ambition but necessity. Her husband’s death in a riot secures her this position under a program intended to support widows of fallen officers. However, she steps into this role untrained, donning a uniform still stained with her husband’s blood, and unaware of the grim reality: she’s not expected to do any real policing. The issue isn’t her lack of experience but rather a system meticulously designed to ensure that justice remains out of reach, especially for Dalit communities. Bureaucratic barriers prevent even the filing of basic police reports. After all, if there’s no report, there’s technically no crime—even when a 15-year-old girl’s lifeless body is pulled from a well.

British writer-director Sandhya Suri, in her first narrative feature, shifts her focus from the British-Indian cultural intersections explored in her earlier documentaries. Her debut, I for India (2005), examined her father’s life as an Indian immigrant in the UK, while Around India With a Movie Camera (2018) stitched together archival footage from the British Raj era. In contrast, Santosh is deeply rooted in contemporary India, with only faint echoes of colonial influence, visible in scenes of men playing cricket or the military-style uniforms worn by Santosh and her colleagues.

Suri resists the temptation to portray Santosh as a traditional hero. Although she’s the sole authority figure willing to investigate the crime, Santosh remains entangled in the very system that marginalizes the Dalit community. Her job is less a calling and more a means of financial survival, yet it places her in situations where she’s complicit in the injustices she witnesses. In one unsettling scene, she forcefully drags grieving family members away from a protest, embodying the same apathy she once despised. Her superior, Geeta, played with jaded brilliance by Rajwar, cynically sums up the environment: “Everything here is an act, from pretending to care to pretending not to care.” Geeta’s bleak philosophy underscores the film’s moral complexity—if the law is unjust, then perhaps true justice requires breaking it.

Santosh’s moral compromises are not born of malice but of survival. Suri’s empathetic lens reveals the desperation that drives her, though that sympathy frays when Santosh participates in the torture of the case’s only suspect—a young Muslim boy, positioned even lower in India’s rigid social hierarchy than the Dalits. In these harrowing moments, the film recalls Claude Zidi’s dark comedy Les Ripoux, as Geeta mentors Santosh in navigating the murky waters of systemic corruption. Geeta’s lessons are brutal: to survive in this environment, one must not only accept but sometimes enforce its cruelty.

Santosh Goswami’s portrayal is a masterclass in nuance. Her performance oscillates between vulnerability and unsettling brutality, capturing both the intoxicating rush of newfound authority and the creeping dread of realizing that power is fleeting. She embodies the paradox of a woman who has risen slightly above the oppressed, only to become an instrument of their oppression. Her internal struggle reflects a universal truth: proximity to power can corrupt, even as it fails to shield one from the very injustices it perpetuates.

Beyond its searing critique of caste and corruption, Santosh has sparked a separate debate tied to its international reception. Despite being an Indian film, spoken in Hindi, and featuring an Indian cast, it was selected by the United Kingdom as its submission for Best International Feature Film at this year’s Academy Awards. This choice raises questions about national representation in global cinema. Can a film so intrinsically tied to Indian realities authentically represent the UK on the world stage? Or does this decision reflect the increasingly fluid boundaries of cinematic identity in a globalized world?

Regardless of its Oscar trajectory, Santosh stands as a powerful work of political art. Suri’s film doesn’t offer easy answers or moral clarity. Instead, it immerses viewers in the gray areas where survival and complicity intertwine. The film’s unflinching gaze forces audiences to confront uncomfortable truths—not just about India’s caste dynamics, but about the universal human tendency to adapt to injustice when survival is at stake.

At its core, Santosh is more than a crime story. It’s a meditation on power—how it’s gained, wielded, and ultimately how it corrupts. It challenges the notion of heroism, suggesting that in a system designed to oppress, even those with the best intentions can become perpetrators. Suri’s direction ensures that every frame carries the weight of this moral ambiguity, from the dusty, sun-bleached streets of the village to the claustrophobic police station where justice goes to die.

In the end, Santosh’s journey is less about solving a crime and more about navigating the moral wreckage left in its wake. The film’s haunting final moments linger long after the credits roll, a stark reminder that in places where justice is a performance, the cost of playing along is one’s soul.

The year 2024 witnessed an overwhelming response to Allu Arjun’s blockbuster Pushpa 2: The Rule, which not only generated massive buzz but also shattered numerous records. With fans already speculating about its next chapter, the way the second installment concluded strongly hints that Pushpa 3 promises to be even more electrifying. Recently, music composer Devi Sri Prasad, a crucial part of the franchise’s success, shed light on the phenomenon surrounding Pushpa 2 and offered insights into plans for its much-anticipated sequel.

In a conversation with India Today, Prasad confirmed that director Sukumar is already in the initial stages of crafting Pushpa 3. He took a moment to express his heartfelt appreciation for the film’s achievements and credited the collaborative efforts of the team. “I am very thankful to director Sukumar, my dear friend Allu Arjun, the producers, and the entire team of Pushpa. I am also grateful to the lyricists and language contributors who played a big role in making this film such a hit,” Prasad remarked.

The composer commended Sukumar’s ingenuity in storytelling and Allu Arjun’s commitment to his craft, which he believes have been pivotal in elevating the franchise to its current stature. “Sukumar sir has created an amazing world with Pushpa, and the love it’s receiving makes me very happy. Pushpa 1 was a huge success in both music and storytelling, and the success of Pushpa 2 has truly made history,” he elaborated.

Anticipation for Pushpa 3

While fans eagerly await the third chapter, Prasad addressed the weight of expectations and his approach to managing creative challenges. When asked about Pushpa 3, he explained, “I don’t take pressure when it comes to work, as it can affect creativity. While working on Pushpa 2, Sukumar sir, lyricist Chandrabose, and I gave our best effort. We will bring the same dedication to Pushpa 3 and aim to make it just as remarkable. Sukumar sir’s vision and brilliant scripts continue to inspire us.”

Prasad also shared that one of his primary goals is to match the musical magic he created for the second installment. The iconic soundtrack of Pushpa 2 became a sensation, contributing significantly to the film’s success and raising the bar for its sequel. With such a strong foundation, the team appears motivated to deliver another unforgettable cinematic experience.

Fans of the franchise are now brimming with excitement, eager to see how Pushpa 3 builds upon the legacy of its predecessors. Director Sukumar, Allu Arjun, and the rest of the creative team have undoubtedly set the stage for yet another thrilling installment in this record-breaking saga.

Indian director Payal Kapadia’s film All We Imagine As Light has won the Best International Feature award at the prestigious New York Film Critics Circle (NYFCC) Awards. This achievement marks a significant milestone for Indian cinema and highlights Kapadia’s growing reputation as an influential filmmaker on the global stage.

Kapadia, an alumna of the Film and Television Institute of India (FTII), gained international recognition with her directorial debut. The film has been celebrated worldwide, including a notable victory at the 2024 Cannes Film Festival, where it received the Grand Prix award. During the NYFCC awards ceremony, Kapadia expressed her excitement and shared a personal moment, revealing that celebrated actress Jodie Foster had watched the film twice. The anecdote further underscored the film’s widespread appeal and impact.

The NYFCC also shared Kapadia’s acceptance speech on the platform X, previously known as Twitter, giving audiences a glimpse into her heartfelt gratitude and pride in the recognition her work has received.

Kapadia’s All We Imagine As Light was also a formidable contender at the 82nd Golden Globe Awards, securing nominations in two major categories: Best Director (Motion Picture) and Best Motion Picture – Non-English Language. The film’s nominations were a testament to its artistic brilliance and the depth of Kapadia’s vision.

Despite its critical acclaim, the film did not win in either category at the Golden Globes. The Best Motion Picture – Non-English Language award went to Emilia Pérez, a Spanish-language French musical crime comedy directed by Jacques Audiard. Meanwhile, the Best Director award was claimed by Brady Corbet for his work on The Brutalist.

While the Golden Globe outcomes were disappointing for Kapadia and her fans, the film’s victory at the NYFCC Awards has reaffirmed its status as a cinematic masterpiece. This honor has also highlighted Kapadia’s extraordinary talent and further solidified her standing as a noteworthy figure in international filmmaking.

Kapadia’s journey from an FTII graduate to an internationally celebrated filmmaker demonstrates the power of Indian cinema to resonate with audiences worldwide. All We Imagine As Light continues to be a source of pride for Indian cinema, serving as an example of how storytelling can transcend cultural and linguistic boundaries.

Reflecting on her achievements, Kapadia’s success at the NYFCC Awards not only celebrates her individual brilliance but also serves as a reminder of the increasing global recognition of Indian filmmakers. As she continues to break barriers and push creative boundaries, Kapadia is undoubtedly a name to watch in the years to come.

This remarkable trajectory underscores her contribution to Indian cinema and its growing presence on the global stage, proving that stories rooted in local experiences can hold universal appeal. Her film’s journey has left an indelible mark, inspiring aspiring filmmakers and bringing Indian cinema closer to a worldwide audience.

By securing the NYFCC Best International Feature award, Kapadia has achieved yet another milestone, cementing her place in the pantheon of directors who are redefining the cinematic landscape.

The Academy of Motion Picture Arts and Sciences has unveiled the list of films eligible for the 97th Academy Awards, scheduled for March 2, 2025, at the Dolby Theatre in Los Angeles, California. A total of 323 films are in contention across various categories, with a separate list of 207 movies vying for the coveted Best Picture award.

Among the 207 films competing for Best Picture, six Indian films have made the cut: Aadujeevitham (also known as The Goat Life), Santosh, Putul, Swatantrya Veer Savarkar, All We Imagine as Light, Kanguva, and Girls Will Be Girls. One of the most surprising inclusions is the Tamil period action drama Kanguva, which faced significant challenges at the box office despite its massive production scale.

Starring Suriya in the lead role and directed by Siva, Kanguva was produced on an extravagant budget of approximately Rs 350 crore. Unfortunately, the film failed to resonate with audiences due to what critics described as poor direction and a predictable storyline. The movie’s performance at the box office was underwhelming, earning a net domestic collection of Rs 70 crore and a worldwide gross of Rs 106 crore. This financial performance marked Kanguva as the biggest Indian box-office disappointment of 2024. Alongside Suriya, the movie featured Bobby Deol as the antagonist and Disha Patani as the female lead.

The Oscars nomination voting process is set to commence on January 8, 2025, and will close on January 12. The final list of nominees will be revealed on January 17, adding excitement as the prestigious event approaches.

While Aamir Khan and Kiran Rao’s film Laapataa Ladies did not make it to the shortlist for the Best International Feature Film category, India still has potential for recognition at the Oscars. Guneet Monga’s production Anuja has been shortlisted in the Best Live Action Short Film category. Meanwhile, Payal Kapadia’s All We Imagine as Light, which has already garnered significant acclaim at various international film festivals, is anticipated to secure several nominations, further elevating India’s prospects at the 97th Academy Awards.

India’s journey to the Oscars this year highlights a mix of high hopes and notable challenges. The inclusion of six Indian films in the Best Picture race underscores the diversity and global reach of Indian cinema. Among them, All We Imagine as Light stands out due to its impressive track record at international festivals, where it has won numerous accolades.

Director Payal Kapadia’s work in All We Imagine as Light has been praised for its compelling narrative and visual storytelling. The film’s potential to secure multiple nominations signals the growing recognition of Indian arthouse cinema on the global stage. Industry experts and critics have noted that the movie could become a significant contender in categories beyond Best Picture, reflecting the strength of its creative execution.

On the other hand, the inclusion of Kanguva in the Best Picture list has sparked debate within the industry. Despite its financial setbacks, the film’s nomination represents the evolving criteria for cinematic recognition, where aspects such as cultural impact and ambition are increasingly valued. “The production scale of Kanguva is undeniable, and it showcases the potential of Indian cinema to compete globally, even if box office numbers don’t align with expectations,” noted a prominent film analyst.

Another Indian entry, Swatantrya Veer Savarkar, also generated buzz due to its historical significance and unique narrative focus. Directed by Mahesh Manjrekar, the biopic sheds light on the life and contributions of Vinayak Damodar Savarkar, a prominent figure in India’s freedom struggle. The film’s critical reception has been mixed, with praise for its performances but some criticism regarding its historical interpretation. Nonetheless, its inclusion in the list reflects a growing appreciation for films rooted in India’s rich history and culture.

Adding to the diverse slate, Aadujeevitham (The Goat Life), based on the best-selling novel by Benyamin, is another strong contender. Directed by Blessy, the film follows the life of a migrant worker in Saudi Arabia and has been lauded for its emotional depth and realistic portrayal of the struggles faced by Indian expatriates. Its selection emphasizes the global relevance of stories that delve into human resilience and cultural identity.

Films like Girls Will Be Girls and Putul have also captured attention for their unique themes and independent filmmaking approaches. Both movies have been celebrated for challenging conventional storytelling norms and providing fresh perspectives on societal issues.

India’s representation at the Oscars this year is bolstered further by Guneet Monga’s Anuja, which has made it to the shortlist for Best Live Action Short Film. Monga, known for her Academy Award-winning documentary Period. End of Sentence, continues to make waves with her storytelling. Anuja has been described as an emotionally gripping tale that resonates with audiences worldwide, offering another example of India’s growing prowess in the short film category.

Reflecting on these developments, industry observers have highlighted the increasing global acknowledgment of Indian cinema’s creative diversity. “It’s an exciting time for Indian filmmakers, as the industry is expanding its horizons and telling stories that resonate universally,” said a noted film critic.

With the Oscars 2025 on the horizon, India’s film community is eagerly awaiting the announcement of final nominations on January 17. Regardless of the outcomes, the inclusion of these films in the eligibility and shortlist categories is a testament to the evolving narrative and artistic achievements of Indian cinema. The journey from being contenders to potential winners could mark another milestone in India’s cinematic legacy on the global stage.

When the first installment of Pushpa released in 2021, its success in the Hindi-speaking regions of India set the stage for an epic sequel. Fans and industry insiders alike speculated whether Pushpa 2 could surpass the monumental success of Baahubali 2: The Conclusion. Now, the sequel has not only met expectations but also shattered records, becoming the highest-grossing film in India’s box office history. The Hindi belt played a crucial role in this achievement, as the film emerged as the top grosser in nearly every state within the region, with just a few exceptions.

With this milestone, Pushpa 2 joins an elite group of around 20 films that have held the title of the highest-grossing movie in Indian cinema’s history. This list chronicles the evolution of box office dominance over the decades. While earlier films, particularly before Mother India (1957), may also have claimed the title, there is little reliable box office data from that period. However, starting with Mother India, the documentation of India’s box office champions has become clearer and more consistent.

The earliest known record-holder, Kismet (1943), is credited as the first Indian film to achieve a net domestic gross of Rs. 1 crore. At the time, this figure encompassed regions that are now Pakistan, Bangladesh, and Myanmar. From there, Indian cinema has experienced exponential growth, with each new box office champion reflecting a growing audience base and a more globalized appeal.

Below is a chronological list of India’s highest-grossing films, showcasing their release years and box office collections:

It is important to note that box office collections before 2008 are approximate due to inconsistent data. Furthermore, numbers before 1990 are even less reliable, and figures from before Mother India are often avoided altogether due to the lack of verifiable records.

The success of Pushpa 2 underscores the ever-growing influence of Indian cinema, both domestically and internationally. Its unprecedented box office run highlights how regional films can resonate across linguistic and cultural boundaries, uniting audiences through universal storytelling and larger-than-life characters.

As Indian cinema continues to expand its reach and evolve, each new record-breaker reflects the industry’s increasing ambition and ability to capture the imagination of diverse audiences. Pushpa 2’s remarkable achievement is yet another testament to the power of cinema as a cultural and economic force.

Anurag Kashyap’s recent remarks have sparked conversations about Bollywood’s declining connection with its core audience. The filmmaker criticised the Hindi film industry for producing subpar content compared to South Indian cinema and argued that this negligence has paved the way for South Indian films, including dubbed versions, to dominate even in the Hindi-speaking regions. Speaking to The Hollywood Reporter India, Kashyap expressed frustration with the flawed distribution strategies that hampered his films’ reach.

Reflecting on the challenges during the pandemic, Kashyap shared that two of his critically acclaimed films, Gangs of Wasseypur and Mukkabaaz, were not given wide releases in North India. He explained that studios wrongly assumed his films appealed only to urban audiences in metropolitan cities such as Delhi, Mumbai, Chandigarh, and Hyderabad, disregarding the broader Hindi-speaking regions in the North. Kashyap described this as a significant misjudgment, stating that such decisions underestimated the appeal of his films among their natural audience base.

The filmmaker recounted an incident illustrating the studio’s neglect of smaller regions. A theatre owner from Bihar had reportedly pleaded with Eros, the production house, to release one of Kashyap’s films in their area. However, the studio rejected the request, citing the cost of producing an additional Digital Cinema Package (DCP) for the region as unjustifiable. Kashyap criticized this decision as emblematic of Bollywood’s shortsightedness, contrasting it with the success of South Indian films in similar markets.

According to Kashyap, South Indian films have thrived in Hindi-speaking regions because Bollywood failed to cater to its core audience. He elaborated on how YouTube channels exploited this gap. “We make Hindi films, but we have ignored the Hindi film audience. The advantage was taken by this man who created the YouTube channel ‘Goldmines’. He started acquiring South Indian films at cheap rates, dubbed them into Hindi, and catered to that Hindi-speaking audience. That audience grew so much that Pushpa 2’s trailer was released in Patna,” Kashyap remarked.

The director highlighted how these channels acquired South Indian films at low costs, dubbed them into Hindi, and tapped into an audience that Bollywood had neglected. Over time, this audience grew significantly, leading to a stronger demand for South Indian cinema in regions traditionally dominated by Bollywood.

Kashyap also reflected on the shifting admiration of audiences in the Hindi-speaking belt. “The same audience, which once adored Bollywood stars like Amitabh Bachchan and Govinda, now also recognizes and celebrates South Indian stars with equal enthusiasm,” he observed.

By pointing out Bollywood’s failure to adapt its distribution strategies and content creation to meet the expectations of its core audience, Kashyap painted a stark picture of the industry’s struggles. His remarks underscore a critical issue that Bollywood must address to regain its foothold among Hindi-speaking audiences.

The fourth weekend of Allu Arjun’s Pushpa 2: The Rule showcased yet another display of cinematic dominance, outshining all recent Indian releases in theaters. Despite fresh competition, the film maintained its stronghold as the top choice for moviegoers. As the weekend ended, Pushpa 2 moved closer to a significant benchmark at the worldwide box office. Here’s a detailed analysis of the film’s remarkable performance over 25 days.

In India, the Sukumar-directed film continued to thrive at the box office, holding a firm grip on ticket sales. According to BookMyShow, the film saw massive sales over the weekend. On the fourth Friday, Pushpa 2 garnered ₹9.75 crores, which rose significantly to ₹13.80 crores on Saturday. The upward trend continued on Sunday, with ₹15.65 crores added to its total. Overall, the movie collected ₹39.20 crores net across all languages in its fourth weekend at the Indian box office.

By the end of its 25-day run, the Indian box office earnings for Pushpa 2 reached an extraordinary ₹1179.85 crores net (across all languages). When taxes are factored in, the gross figure stands at ₹1392.22 crores. On the international front, the movie added ₹3 crores during the weekend, bringing the overseas gross total to ₹288.25 crores. Combined, the film’s global gross stands at an impressive ₹1680.47 crores.

As the film approaches its 1700-crore milestone at the worldwide box office, this landmark achievement is expected within the next 3-4 days. With just ₹19.53 crores remaining to reach this target, Pushpa 2 is set to cement its position among the biggest box office successes in Indian cinema history.

Worldwide Collection Breakdown for Pushpa 2: The Rule

• India Net: ₹1179.85 crores
• India Gross: ₹1392.22 crores
• Overseas Gross: ₹288.25 crores
• Worldwide Gross: ₹1680.47 crores

Released on December 5, Pushpa 2: The Rule stars Allu Arjun in the lead role, alongside a stellar ensemble cast featuring Rashmika Mandanna, Fahadh Faasil, Jagadeesh Prathap Bandari, Jagapathi Babu, Rao Ramesh, and Sunil.

The film’s remarkable performance is a testament to its widespread appeal and the charisma of its lead actor, Allu Arjun. With a gripping storyline, stellar performances, and exceptional direction, Pushpa 2 continues to captivate audiences across the globe. As one fan noted, “It’s not just a movie; it’s a celebration of Allu Arjun’s brilliance.”

Having already delivered a historic run, Pushpa 2 shows no signs of slowing down as it marches toward the coveted 1700-crore milestone.

For the third consecutive week, Jigra and Amaran have claimed spots on Netflix’s global list of most-watched non-English films. Jigra, led by Alia Bhatt, offers a gender-flipped take on the iconic angry young man archetype from Bollywood’s golden era, with Manoj Pahwa and Vivek Gomber supporting her performance. Meanwhile, Amaran, starring Sivakarthikeyan as Major Mukund Varadarajan, pays tribute to the Indian soldier’s legacy. Sai Pallavi also delivers a heartfelt portrayal of the soldier’s wife.

Despite a disappointing theatrical release, Jigra premiered on Netflix on December 6 and has continued to captivate viewers. In the week ending December 22, the film garnered 1.8 million views and 4.5 million watch-hours, ranking fourth on the list. Initially debuting in the seventh position, it climbed to third in its second week. Director Vasan Bala, who co-wrote the script with Debashish Irengbam, expressed pride in Bhatt’s dynamic role, saying, “It’s a character Bollywood hasn’t seen before.”

Similarly, Amaran entered Netflix’s lineup on December 5 after a strong box office run. Ranked sixth for the week ending December 22 with 1.3 million views and 3.6 million watch-hours, the film previously held fourth and sixth slots during its initial weeks. Directed by Rajkumar Periasamy, the movie’s compelling narrative continues to resonate with audiences.

Another standout performer is Vicky Vidya Ka Woh Wala Video, marking its second consecutive week on Netflix’s list. Directed by Raaj Shaandilyaa, this quirky title, starring Rajkummar Rao, Tripti Dimrii, and Mallika Sherawat, recorded 1.2 million views and 2.9 million watch-hours in the same period. Having debuted in the fourth position, it now occupies the seventh spot. Reflecting on the film’s reception, Shaandilyaa shared, “Audiences are loving the fresh narrative and performances.”

The documentary Yo Yo Honey Singh: Famous, directed by Mozez Singh, made a striking debut on Netflix’s list, securing the eighth spot. The film delves into the life of the Punjabi rapper and Bollywood musician, chronicling his meteoric rise and dramatic fall during the 2010s. With 1.1 million views and 1.4 million watch-hours in its first three days, it’s a testament to Honey Singh’s enduring appeal. Singh remarked, “This is a story of fame, struggle, and redemption that resonates universally.”

Among web series, the third season of Mismatched clinched the ninth slot on Netflix’s global list of most-watched non-English shows. Featuring Prajakta Kohli and Rohit Saraf, the show amassed 1.4 million views and 7.4 million watch-hours. Directors Akarsh Khurana and Nipun Dharmadhikari continue to captivate fans with this coming-of-age tale. Kohli, reflecting on the show’s success, said, “Mismatched is more than a story; it’s an emotion that connects with its audience.”

Dulquer Salmaan’s Lucky Baskhar has also maintained its momentum, securing the third spot on Netflix’s global non-English films list for the week ending December 22. With 2 million views and 5 million watch-hours in its fourth week, the film demonstrates staying power. Directed by Venky Atluri, the movie, which debuted on Netflix on November 28 after a moderate box office performance, also stars Meenaakshi Chaudhary and Maganti Srinath. Salmaan shared, “The film’s heartfelt story and relatable characters are the reason behind its success.”

Sikandar Ka Muqaddar, directed by Neeraj Pandey and featuring Jimmy Shergill, Avinash Tiwary, Divya Dutta, and Tamannaah Bhatia, has similarly retained a spot on Netflix’s list for four weeks. With 1 million views and 2.5 million watch-hours, it ranked ninth for the week ending December 22. After debuting at fourth and then rising to third, the film continues to find its audience. Pandey commented, “This is a tale of resilience and justice that strikes a chord with viewers.”

These titles exemplify the growing demand for diverse stories in global entertainment. With unique narratives and captivating performances, they have successfully captured the attention of Netflix audiences worldwide.

Amid the buzz surrounding the Allu Arjun-starring Pushpa 2: The Rule and its massive box office success, a contrasting reality emerges in Andhra Pradesh. The action drama, portraying Arjun as a red sanders smuggler, has collectively earned around Rs 1,500 crore from its first and second parts. However, the state government struggles to earn even a fraction of that amount from its red sanders auctions, with international buyers showing little interest in the prized wood.

Red sanders, also known as red sandalwood, is a rare species found in Andhra Pradesh’s Rayalaseema region. It is listed under the Convention on International Trade in Endangered Species of Wild Fauna and Flora, which prohibits its felling or sale by private entities. However, India received special permission to remove red sanders from the endangered list, allowing its sale under strict government authorization.

Despite this relaxation, Andhra Pradesh—the primary authorized seller of red sandalwood in India—has failed to find buyers in the international market since the onset of the Covid-19 pandemic. The species, valued for its use in traditional medicine and luxury goods, remains unsold, compounding the government’s challenges in leveraging its auction potential.

Pandemic Paralyzes Red Sanders Trade

The Seshachalam Hills, one of India’s most biodiverse regions, continues to face rampant smuggling of red sanders even as legal sales have stalled. Since 2020, the Andhra Pradesh government has not managed to sell a single tonne of the wood in international auctions. China, which was previously the primary market for red sandalwood, has significantly reduced its demand.

A government source disclosed, “Since the pandemic began, no red sandalwood has been sold at any international auctions. The global economic slowdown has affected demand, with China, in particular, cutting back.”

This downturn contrasts with Andhra Pradesh’s earlier efforts. Since the 1990s, the government has conducted 24 rounds of international auctions, generating Rs 1,800 to Rs 1,900 crore—an amount only marginally higher than the earnings of Pushpa.

The most recent auction attempt, held in November and December this year, saw the government offering 905 tonnes of red sandalwood. Unfortunately, not a single tonne was sold. Officials attribute this failure to the lingering economic impact of the pandemic and cautious international buyers.

High-Value Logs in Storage

Currently, Andhra Pradesh has been authorized by the Directorate General of Foreign Trade to auction 11,000 tonnes of red sanders. However, approximately 4,000 tonnes remain unsold and are stored in a high-security depot in Tirupati.

The wood is classified into three grades: A, B, and C, with A-grade being the highest quality. In past auctions conducted under the Telugu Desam Party government, A-grade red sandalwood fetched between Rs 1 crore and Rs 1.5 crore per tonne. Today, its value has dropped to around Rs 75 lakh per tonne, reflecting the market’s slump.

Despite these challenges, government officials are unwilling to lower the prices further. A senior official explained, “We expect demand to rebound. Reducing prices now could encourage smugglers to exploit the situation, manipulate the market, and form cartels.”

A Persistent Issue

The economic struggles of legal red sandalwood trade starkly contrast with the illicit smuggling activities that continue unabated. The Seshachalam Hills remain a hotspot for illegal trade, even as the state government battles to find legitimate avenues for profit.

While the box office success of Pushpa 2 showcases the commercial allure of red sanders smuggling as a cinematic theme, the reality for Andhra Pradesh’s government is far less glamorous. The state’s inability to sell even a tonne of its prized wood in recent years underscores the complex interplay of environmental regulations, global market conditions, and economic uncertainties.

As Andhra Pradesh waits for international demand to recover, the stark contrast between Pushpa’s fictional narrative and the real-life challenges faced by the state serves as a telling commentary on the complexities of red sanders trade.

The Indian film All We Imagine As Light has garnered significant recognition internationally, achieving rare acclaim at prestigious events like the Cannes Film Festival and the Golden Globes. Despite this, the film has not received similar admiration in its home country, India. The international success, which included standing ovations and glowing reviews, was largely overlooked domestically. Moreover, the film was not selected as India’s official entry for the Oscars, a decision that has puzzled many cinema enthusiasts and critics alike.

Set and shot in Mumbai, All We Imagine As Light explores complex themes of human emotion, resilience, and the intersection of tradition and modernity. The director, a young filmmaker known for pushing boundaries, has described the film as “a deeply personal story that reflects universal truths.” The narrative follows the intertwined lives of its characters, delving into their struggles and aspirations, all against the vibrant backdrop of Mumbai.

Critics abroad have praised the film for its artistic depth, innovative storytelling, and visually stunning cinematography. At Cannes, it received a standing ovation, with one reviewer calling it “a masterpiece that transcends cultural barriers.” The Golden Globes also recognized its brilliance, awarding it Best Foreign Language Film. “The film speaks to a global audience while staying rooted in its cultural essence,” noted an international critic.

However, in India, the reception has been starkly different. Despite the international buzz, the film was largely ignored by mainstream audiences and even by the selection committee responsible for India’s Oscars entry. The committee chose another film that, while popular at the box office, lacked the artistic depth and critical acclaim of All We Imagine As Light.

Industry insiders have speculated on why the film hasn’t resonated domestically. One producer, who requested anonymity, suggested, “The Indian audience often leans toward entertainment-driven cinema. Films that challenge norms or delve into introspective themes sometimes struggle to find a foothold here.”

The director expressed disappointment but remained philosophical about the situation. “Recognition is always gratifying, but my focus has always been on telling stories that matter,” they said. “The global acclaim reassures me that the message of the film is resonating somewhere.”

This disconnect between international recognition and domestic indifference is not new for Indian cinema. Over the years, many critically acclaimed films have faced similar challenges, often sidelined in favor of more commercially viable options. Some attribute this trend to the industry’s heavy reliance on box office performance as a measure of success.

A Mumbai-based film critic elaborated, “There’s a significant gap between what international audiences and the Indian masses expect from a film. While one group appreciates artistic nuance, the other often seeks escapism.” The critic added that this divide highlights the challenges faced by filmmakers attempting to bridge these contrasting sensibilities.

In addition to audience preferences, the lack of robust marketing for All We Imagine As Light in India might have contributed to its subdued reception. Without aggressive promotional campaigns, the film struggled to capture attention in an industry dominated by big-budget productions and star power.

Nonetheless, the film’s success on the global stage has sparked conversations about the evolving landscape of Indian cinema. Some believe that its recognition abroad could pave the way for greater appreciation of experimental and meaningful storytelling in the country. “Films like this show that Indian cinema is capable of competing on a global platform,” remarked a young filmmaker inspired by the movie’s journey.

While the decision to bypass the film for the Oscars may remain a point of contention, the creators of All We Imagine As Light are optimistic about its legacy. The director concluded, “Art doesn’t always need validation to have an impact. This film has already achieved more than I ever imagined.”

With its poignant narrative and international acclaim, All We Imagine As Light stands as a testament to the power of Indian storytelling, even if its brilliance is yet to be fully embraced at home.

India’s journey to the 2025 Oscars now depends on Anuja, a live-action short film produced by Guneet Monga, following the elimination of Kiran Rao’s Laapataa Ladies from the race in the International Feature Film category. On Tuesday, the Academy of Motion Picture Arts and Sciences unveiled the shortlists for ten categories for the forthcoming 97th Academy Awards, dashing the hopes pinned on Laapataa Ladies.

Selected as India’s official entry for the Best International Feature Film category, Laapataa Ladies failed to progress to the next stage, leaving fans and filmmakers across the country deeply disappointed. Despite this setback, there is still a glimmer of hope for Indian cinema at the Oscars.

Guneet Monga’s Anuja has made it to the shortlist in the Best Live-Action Short Film category. This film addresses the significant issue of child labor in the garment industry, featuring Nagesh Bhonsle in a pivotal role. The selection of Anuja represents a continuation of Monga’s successful association with the Oscars, as this marks her third nomination. Her previous projects, The Elephant Whisperers and Period: End of Sentence, both won Oscars, elevating the global reputation of Indian cinema.

Reflecting on her achievement, Monga stated, “The Oscars have always been a platform to showcase impactful stories, and I am thrilled that Anuja has been recognized. This is a story that needs to be told, and I hope it resonates globally.”

In addition to Anuja, another film connected to India remains in contention at the Oscars. The British-Indian production Santosh, directed by Sandhya Suri, is vying for recognition. Featuring Shahana Goswami in a key role, Santosh is the United Kingdom’s official entry for the Academy Awards. Earlier this year, the film garnered attention when it premiered in the Un Certain Regard section of the Cannes Film Festival, further solidifying its credentials as a strong contender.

The Academy announced a total of 30 films shortlisted across the categories of Best Live-Action Short and Best Animated Short Films. Among the live-action contenders, titles like Clodagh, The Compatriot, Crust, Dovecote, Edge of Space, and The Ice Cream Man have also been shortlisted, adding to the excitement of the competition.

As the 97th Academy Awards draw closer, Indian cinema enthusiasts will be watching anxiously, hoping that Anuja can replicate the past successes of Indian films at the Oscars. Monga’s commitment to highlighting socially relevant stories through her films ensures that India’s voice remains strong on the global stage.

With Anuja leading the charge, the focus now shifts to the next round of voting, where the final nominees will be decided. For now, the anticipation continues as fans rally behind this powerful short film, which holds the promise of keeping India’s Oscar dreams alive.

On Thursday, authorities revealed that Telugu actor Allu Arjun will face legal charges in connection with a tragic stampede outside a Hyderabad theatre during the premiere of his much-anticipated film Pushpa 2: The Rule. The incident, which occurred on Wednesday evening, resulted in the death of a 35-year-old woman and left her nine-year-old son hospitalized. The actor attended the screening unannounced, a factor that contributed to the chaos.

The Sandhya Theatre, where the event took place, is also under scrutiny for inadequate crowd control measures. Hyderabad Police Commissioner CV Anand commented on the situation, stating, “There was no intimation from the side of theatre management or actors team that they will be visiting the theatre.” The lack of coordination between the actor’s team and the theatre has been cited as a significant failure in ensuring the safety of attendees.

The victim, identified as Revathi, succumbed to injuries caused by asphyxiation when the overcrowded venue turned into a scene of mayhem. Her son, Teja, who was also affected by the stampede, is undergoing treatment for serious injuries. According to reports, Allu Arjun arrived at the theatre accompanied by music director Devi Sri Prasad, drawing an overwhelming crowd eager to catch a glimpse of the star. The lack of prior notification regarding their visit is being considered a critical oversight.

Theatre administration, already facing charges, reportedly failed to implement enhanced security measures to manage the large turnout. Despite knowing of the actor’s plans to attend, no special arrangements were made. CV Anand emphasized this, stating that neither the actor nor the theatre management acted responsibly to ensure public safety.

The situation worsened when the main gate of the theatre collapsed under the pressure of the surging crowd. Security personnel resorted to using lathi charges to control the crowd, but the efforts were insufficient to prevent tragedy. Revathi’s family has called for accountability from both the actor and the theatre management. They have also requested Allu Arjun’s support, both in addressing the incident and in compensating for their loss.

The Hyderabad Police have initiated an investigation into the incident, filing cases under various sections of the Bharatiya Nyaya Sanhita. “Stringent action as per law will be taken against all the persons responsible for the chaotic situation inside the theatre leading to the death of a person and injury to others,” affirmed Commissioner Anand.

At the time of the report, neither Allu Arjun nor representatives of the Sandhya Theatre had issued a statement. As investigations continue, the focus remains on determining the exact sequence of events and holding all responsible parties accountable.

Sharvari Wagh has emerged as the undisputed musical darling of Hindi cinema in 2024. The young star, who has already made her mark with a series of successful films, is captivating audiences with her chart-topping songs. Her latest hits include tracks from her blockbuster film Munjya, which crossed the ₹100 crore mark, and the globally acclaimed streaming sensation Maharaj. These films have propelled her music to incredible heights, amassing over 400 million views on YouTube with fan favorites like Taras from Munjya, Haan ke haan from Maharaj, and another Munjya hit, Tainu khabar nahin.

Reflecting on her musical success, Sharvari says, “Songs are very important for an actor because they make their way into the hearts and minds of audience. I have been lucky that I have had three huge hit songs in 2024 and what’s amazing is that they are all diverse! Taras is an out-and-out dance number, Haan ke haan has an old-world romantic charm to it, and Tainu khabar nahin is a love song of this generation.”

The versatility of her musical repertoire reflects the breadth of her talent and appeal. Sharvari’s songs are resonating not just with her fans but also with music lovers across the globe, making her one of the most sought-after stars of the year.

She considers 2024 a pivotal year in her career. “2024 has been an exceptional year for me,” she says. “Not only have my films become huge hits, even the songs have become incredible successes. What I’m feeling is very precious, and I hope I can continue this streak in my future films. I’m thankful for the love that people have showered on my films, my songs, and on me! I’m working very hard to make them even prouder of me because getting love from people is a rare emotion for any actor to receive.”

Sharvari is determined to maintain the momentum she has built and is committed to delivering more memorable performances and songs. Her gratitude for her audience’s support is evident as she reflects on the emotional connection she has fostered through her art.

The actress is poised to take on even more exciting projects, with her upcoming appearance in Alpha under the YRF Spy Universe banner. In the film, she will share the screen with Alia Bhatt, marking another milestone in her rapidly growing career. Notably, Sharvari holds the distinction of being the only actress currently part of two prominent cinematic universes in Hindi cinema: the YRF Spy Universe and Maddock Films’ Horror Comedy Supernatural Universe.

Sharvari’s journey in the industry began in 2020 with her acting debut in the Amazon Prime Video series The Forgotten Army—Azaadi Ke Liye, directed by Kabir Khan, where she starred opposite Sunny Kaushal. Her first film appearance came in Yash Raj Films’ Bunty Aur Babli 2 in 2021, where she shared the spotlight with industry stalwarts like Rani Mukerji, Saif Ali Khan, and Siddhant Chaturvedi. This performance earned her significant accolades, including the Filmfare Award for Best Female Debut and the IIFA Award for Star Debut of the Year – Female.

Born into a family with a rich legacy, Sharvari’s personal story adds another layer to her public persona. She is the granddaughter of Manohar Joshi, a veteran politician, and the daughter of a builder father and an architect mother. Her background reflects a blend of cultural richness and modern aspirations, which seems to have influenced her ability to connect with diverse audiences.

With her remarkable achievements in 2024, Sharvari Wagh has firmly established herself as one of Hindi cinema’s brightest stars. Her seamless blend of acting talent and musical success positions her as a powerhouse performer who continues to redefine what it means to be a star in the Indian film industry. Fans and critics alike eagerly await her next steps, both on-screen and in the music charts.

All We Imagine As Light, the Cannes Grand Prix-winning film by Payal Kapadia, hits theatres tomorrow, November 22. This evocative and deeply emotional story unfolds in Mumbai, capturing the city’s pulse and its people’s struggles with identity, loneliness, and belonging. The film goes beyond the lens of capitalism, delving into the universal yearning for connection with people, places, and family.

At its heart, the narrative focuses on three women—Prabha (Kani Kusruti), Anu (Divya Prabha), and Parvathy (Chhaya Kadam)—all nurses working in a Mumbai hospital. Each character navigates her own challenges and aspirations within the bustling urban landscape. Prabha and Anu, immigrants from Kerala, embody contrasting personalities. Prabha, the upright and reserved figure, silently battles loneliness, while Anu, rebellious and free-spirited, hides a secret love affair with Shiaz (Hridhu Haroon). Meanwhile, Parvathy, a native of Maharashtra, struggles to preserve her home in the face of rising pressures. The trio’s lives intersect in unexpected ways, culminating in a transformative trip to Parvathy’s village in Ratnagiri, where an unforeseen bond emerges.

The film opens with a vivid ode to Mumbai, portraying its vibrant, multilingual essence through languages like Hindi, Malayalam, Bihari, and Marathi. Mumbai becomes more than a setting; it is a character that ebbs and flows with the protagonists’ emotions, serving as both a backdrop and a reflection of their internal conflicts.

Kapadia’s storytelling is steeped in emotion, painting a nuanced portrait of loneliness, cultural displacement, and the resilience of human connections. The cinematography, primarily shot in the evenings, accentuates the intimacy of the narrative, drawing viewers into the characters’ lives and their immigrant experience in the sprawling city. Kapadia masterfully depicts the paradox of belonging and alienation that defines the migrant journey.

The film is carried by the stellar performances of its lead cast. Kani Kusruti delivers a standout portrayal of Prabha, capturing her restrained emotions and unspoken desires with subtlety. Divya Prabha’s Anu is equally compelling, as she balances a carefree exterior with moments of vulnerability. Chhaya Kadam, as Parvathy, delivers a poignant performance, bringing strength and heartbreak to her role as a woman determined to protect her home. Together, their chemistry underscores the film’s exploration of resilience, shared struggles, and unexpected friendships.

One of the film’s most memorable scenes features Prabha holding a rice cooker—a seemingly simple yet profoundly symbolic act. The gesture reflects her longing for family and familiarity, encapsulating the film’s central themes of loneliness and connection.

Kapadia’s direction shines in her ability to let silence speak volumes. Her minimalist approach creates moments of stillness that resonate deeply, inviting viewers to feel the weight of the characters’ internal struggles. The film also presents a fresh perspective on female friendships, steering away from dramatics to depict bonds that offer quiet comfort, like a warm embrace after a long day.

All We Imagine As Light is more than a story of three women; it is a meditation on the power of unexpected connections and their ability to heal and transform lives. The film reminds us that even in the face of isolation and societal challenges, human resilience and shared experiences can light the way forward.

As the film’s title suggests, all we imagine is light—a powerful reflection on the human condition. Through its poignant narrative, All We Imagine As Light leaves an indelible impression, resonating with audiences long after the credits roll.

Oscar-winning composer AR Rahman and his wife Saira Banu have decided to part ways after nearly three decades of marriage. The announcement, which came through Rahman’s emotional social media post, marked a poignant moment in the couple’s life as they revealed their struggles and their decision to separate.

Rahman shared the news on X (formerly Twitter) on November 19, expressing the pain of the decision while reflecting on the unforeseen end to their journey together. In his heartfelt note, he wrote, “We had hoped to reach the grand thirty, but all things, it seems, carry an unseen end. Even the throne of God might tremble at the weight of broken hearts. Yet, in this shattering, we seek meaning, though the pieces may not find their place again.” He also thanked their friends for their support and requested privacy as the couple navigates this challenging chapter.

The tweet read: “We had hoped to reach the grand thirty, but all things, it seems, carry an unseen end. Even the throne of God might tremble at the weight of broken hearts. Yet, in this shattering, we seek meaning, though the pieces may not find their place again. To our friends, thank you for your kindness and for respecting our privacy as we walk through this fragile chapter.”

Speculation regarding the couple’s separation began circulating on November 19, with reports citing emotional strain as the primary reason behind their decision. According to sources, the strain had created an insurmountable gap in their relationship, leading to the separation.

In an official statement released by Saira Banu’s lawyer, Vandana Shah, further details about the decision were shared. The statement read: “After many years of marriage, Mrs Saira has made the difficult decision to separate from her husband Mr AR Rahman. This decision comes after significant emotional strain in their relationship. Despite their deep love for each other, the couple has found that the tensions and difficulties have created an insurmountable gap between them, one that neither party feels able to bridge at this time.”

The statement emphasized the depth of Saira’s emotional pain, noting that the decision had been made after significant inner turmoil. “Mrs Saira emphasized that she has taken this decision out of pain and agony. Mrs Saira requests privacy and understanding from the public during this challenging time, as she navigates this difficult chapter in her life,” it added.

Rahman and Saira’s marriage, which began through an arranged alliance in 1995, has been one of enduring partnership and shared milestones. The couple has three children—daughters Khatija and Raheema, and son Ameen. Their bond, admired by many, has now come to an unexpected conclusion.

The news has also prompted their son, AR Ameen, to speak out. The young singer shared a brief message on Instagram, appealing to the public to respect the family’s need for privacy during this sensitive period. “We kindly request everyone to respect our privacy during this time. Thank you for your understanding,” he wrote in his Instagram Stories section.

The announcement has sent ripples through fans and well-wishers of AR Rahman, who is known not just for his musical genius but also for his composed and private demeanor. The couple’s separation underscores the complexities of personal relationships, even for individuals who appear to have it all.

While Rahman and Saira have chosen to go their separate ways, the sentiments expressed in Rahman’s message highlight the lingering love and respect they hold for each other. As the composer poignantly noted, their “shattering” experience still carries the hope of finding meaning, even if their journey together has come to an end.

In a recent heartfelt statement, veteran actor Kamal Haasan has requested that people no longer address him with titles or honorifics such as “Ulaganayagan” (World Hero). In a detailed message shared in both English and Tamil, Haasan expressed his gratitude for the admiration shown through these titles but clarified his belief that the artist should remain secondary to the art. He sees himself as an eternal student of cinema, continually learning and growing in his craft, and he emphasized that cinema itself is a collaborative endeavor involving numerous artists, technicians, and audiences.

Haasan further encouraged everyone—including his fans, media, industry peers, and political followers—to simply call him Kamal Haasan, Kamal, or KH. This request reflects his desire to stay grounded and maintain focus on his work without any additional titles. The esteemed actor also expressed his deep appreciation for his supporters, acknowledging the steadfast kindness he has received over the years.

“I have always felt a deep sense of gratitude over being bestowed with endearing titles such as Ulaganayagan, among others,” Haasan remarked in his statement. “Such accolades, given by the people and recognized by esteemed colleagues and admirers, have always been humbling, and I’ve been genuinely moved by your love in conferring it upon me.”

He went on to elaborate on his approach to cinema, describing it as a form of expression that transcends any single individual and belongs to all. “The art of cinema transcends beyond any one individual, and I am but a student of the craft, forever hoping to evolve, learn, and grow. Cinema, like any other form of creative expression, belongs to all. It is the collaboration of countless artists, technicians, and audiences who make it what it is—a true reflection of humanity’s diverse, rich, and ever-evolving stories,” Haasan added.

In conclusion, he conveyed his hope that everyone would honor his request, as it is rooted in humility and a commitment to his craft. “It is my humble belief that the artist must not be elevated above the art. I prefer to remain grounded, constantly aware of my imperfections and my duty to improve,” he explained. “Hence, after considerable reflection, I feel compelled to respectfully decline all such titles or prefixes. I humbly request that all my fans, the media, members of the film fraternity, party cadre, and fellow Indians, to here on after, refer to me simply as Kamal Haasan or Kamal or KH. Thank you again for your gestures of kindness over the years. Please know that this decision comes from a place of humility and a desire to remain true to my roots and purpose, to always be one among all of us—the lovers of this beautiful artform.”

This decision by Haasan echoes a similar request made by actor Ajith in the past, who asked fans to call him AK or Ajith Kumar rather than his popular title, “Thala.”

On the professional front, Kamal Haasan will next appear in the movie Thug Life, directed by Mani Ratnam. He is also involved in other projects with filmmakers Anbarivu and H. Vinoth.

“Neenga nallavara kettavara? (Are you a good or a bad person?)” This is a question SP Athiyan IPS (Rajinikanth) answers through his actions in director TJ Gnanavel’s film Vettaiyan, though the line between good and bad remains blurred. The story ventures deep into sensitive themes, exploring extrajudicial killings, caste-based discrimination, and sexual violence, all while bearing the star power of Rajinikanth. Since its release, Vettaiyan has ignited conversations about its themes and portrayal of vigilante justice, raising questions about the film’s message and its complex stance on law and morality.

The reaction to Vettaiyan has been mixed. On one hand, there are audiences lauding its attempt to address controversial subjects like encounter killings; on the other, there are critics who feel that the film relies too heavily on the star persona of Rajinikanth. This divisive response is understandable, especially given Gnanavel’s previous work, *Jai Bhim*, which was widely praised for its critique of custodial violence. It was expected that he would similarly denounce encounter killings in Vettaiyan, and there are moments where the film does so. Yet, the narrative often swings between condemning and glorifying these killings, leaving the audience uncertain of the director’s stance.

In an interview at Vettaiyan’s audio launch, Rajinikanth shared that he encouraged Gnanavel to add commercial elements to ensure the film’s success. Although Gnanavel accepted this advice, he and co-writer B Kiruthika attempted to infuse a critical view of encounter killings. At the film’s conclusion, Athiyan denounces extrajudicial measures, suggesting that the filmmakers intended to critique the practice. However, as they crafted a script designed to appeal to Rajinikanth’s fans, they may have unknowingly softened the core message, leading to a film that seems to condone the very issue it aims to question. This dissonance highlights the tension between a creator’s intent and the final impact of their work.

One clear sign of Gnanavel’s intention to challenge encounter killings is found in his selection of a retired judge as Athiyan’s adversary, rather than another police officer, journalist, or activist. Sathyadev, the judge, plays the role of a more seasoned Advocate Chandru (Suriya) from Jai Bhim. Chandru was based on a real-life judge from the Madras High Court, and Sathyadev is portrayed as a retired judge from the Bombay High Court. This choice underscores a commitment to questioning the ethics of such encounters, as the opposition comes from a figure of lawful justice.

Conversely, Athiyan’s moniker, “Vettaiyan,” meaning “hunter,” echoes the name of the merciless king in Chandramukhi, another Rajinikanth film, making it unlikely that this connection was accidental. In one scene, Athiyan scolds a colleague for holding casteist and colorist views, suggesting that those his colleague looks down upon value relationships deeply and would go to great lengths to support their loved ones. This perspective, however, does not overshadow Athiyan’s own actions, which take a darker turn.

As the story progresses, Athiyan realizes that his encounter killing of Guna, who was accused of raping and murdering schoolteacher Saranya, was a fatal error since Guna was not guilty. In the film’s climax, Athiyan refrains from taking justice into his own hands, instead bringing the real perpetrators to the legal system. By the film’s end, Athiyan is teaching young officers the importance of law enforcement as “protectors, not hunters,” bringing the narrative to a thoughtful resolution. Yet, despite this moral turn, Vettaiyan as a whole fails to clearly reflect this intended lesson, and its impact becomes muddled.

The opening title sequence subtly foreshadows the film’s stance on extrajudicial justice. The assembly and loading of a gun are prominently featured, which may suggest a subconscious celebration of the weapon and the power it represents. Before Rajinikanth’s character appears, Patrick (Fahadh Faasil) remarks, “Conscience is bigger than law,” and within minutes, Athiyan is seen in intense gun battles, killing three people, set against a stirring score by Anirudh Ravichander. Each encounter seems to validate his authority, painting him as an embodiment of justice.

Athiyan’s portrayal as a symbol of law enforcement is reinforced when Saranya, discovering drugs in her school, reaches out directly to him. Soon after, he infiltrates the drug ring, and in a violent confrontation, kills its leader. Every time he completes a mission, Athiyan repeats his signature line: “Kuri vecha, erai vizhanum (When the hunt is on, the prey must fall).” Hunting, by definition, implies a pursuit that often ends in death, casting Athiyan’s approach as one of relentless elimination rather than justice.

The portrayal of sexual violence has been widely criticized for being excessive, but Gnanavel may have intended these scenes to stoke the audience’s anger against the criminals. The result, however, has been to justify the encounter killings, feeding the desire for retributive justice. The film also references the Banning of Unregulated Deposit Schemes Act of 2019, setting its narrative in a specific time period. Yet, it ignores the 2018 Supreme Court ruling that prohibits media from identifying deceased rape victims, repeatedly broadcasting Saranya’s name and image. This approach seems calculated to intensify public outrage, bolstering support for encounters before a trial.

Vettaiyan draws comparisons with A Few Good Men, where Colonel Nathan Jessep (Jack Nicholson) is a central figure who, like Athiyan, believes that he upholds a moral duty to eliminate weakness. Jessep’s illegal “code red” leads to tragedy, and he ultimately faces legal consequences. However, Athiyan, despite wielding similar power as investigator, judge, and executioner, remains the film’s hero. Jessep’s character is treated as a villain, while Athiyan’s acts are excused, almost celebrated.

Some may argue that Athiyan is justified because his actions target only criminals. Yet, even he is susceptible to biases and vengeance, as seen when he kills Guna without verifying the evidence. Relying solely on information from a fellow officer, Athiyan overlooks the potential for corruption within his own force. Sathyadev points out that encounters are generally reserved for marginalized individuals, underscoring how the legal system often fails to protect the poor. Here, the killing of a dark-skinned man from a lower economic background is presented as an act of justice rather than a flaw in the system.

Even though Athiyan’s change of heart is suggested when he spares the film’s antagonist, Natraj Shanmugam (Rana Daggubati), he continues to eliminate Natraj’s associates, suggesting that his journey to redemption is incomplete. Jessep’s climactic moment in A Few Good Men, where he defends his harsh measures as necessary for national security, echoes Athiyan’s own stance. This alignment between the two characters underscores a key issue: Jessep’s illegal actions lead to his punishment, while Athiyan’s actions are forgiven and even valorized.

Although Athiyan spares Natraj, the lack of consequences for his earlier actions conveys a troubling message. This, coupled with the lack of critique from his peers, suggests a tacit acceptance of his methods. Jessep’s character asserts that his actions are for the good of the nation, a rhetoric Athiyan implicitly follows, and the narrative implies that questioning him undermines justice.

The film does raise valid points regarding the commercialization of education and the challenges faced by marginalized children. However, the hero worship of a character like Athiyan, who takes the law into his own hands, is problematic. Rather than clearly denouncing vigilantism, Vettaiyan veers towards celebrating it, with Athiyan ultimately emerging as a “kettavan” – a villain masquerading as a hero.

Bollywood superstar Aamir Khan has been approached for a highly anticipated biopic on the legendary singer and actor Kishore Kumar. According to a report by Pinkvilla, discussions about the project have taken place between Aamir and filmmaker Anurag Basu. The biopic is being developed for producer Bhushan Kumar, and Aamir has already participated in several meetings to consider the role.

Reports suggest that Aamir Khan and Anurag Basu have had four to five meetings regarding the Kishore Kumar biopic. A source revealed to Pinkvilla that “the Kishore Kumar biopic is a subject close to the heart of Anurag Basu and Bhushan Kumar, and they are looking to bring it to the spectacle in the best possible way. Aamir Khan is also a big admirer of Kishore Kumar and loved the vision that Basu has to bring the life of legend to the spectacle. The filmmaker has treated it very differently, and that’s what has fascinated Aamir the most.”

Aamir Khan’s Film Choices

Currently, Aamir Khan is weighing his options among six different film projects, and the Kishore Kumar biopic is one of them. The Pinkvilla report mentions that Aamir is being highly selective about his next project and is still in the process of choosing. The source said, “Aamir has taken as many as 6 films in consideration, and every film is in different stages of development. While the script of Kishore Kumar Biopic, Ujjwal Nikam Biopic, and Rajkumar Santoshi’s comedy is locked, Ghajini 2, Lokesh Kanagaraj’s next, and Zoya Akhtar’s next are in the development stage.”

The decision process is not an easy one for the actor, as all six films seem to interest him. According to the source, Aamir “has liked all the films, and will take a call on his immediate next by the end of this year. Of the 6 films, he will do three for sure in different timelines and might let go of the other three.”

Aamir’s commitment to choosing the right project shows how carefully he approaches his career decisions. With a reputation for being selective about the roles he takes on, Aamir is known for delivering powerful performances in each of his films. Fans and industry insiders alike are eagerly awaiting his decision on his next big role.

Kishore Kumar’s Legacy

Kishore Kumar is remembered as one of the most versatile and talented artists in Indian cinema. Not only was he a renowned playback singer, but he was also a skilled actor and music composer. His contributions to Hindi cinema are legendary, and his voice continues to resonate with audiences even today.

Kumar’s voice was not limited to Hindi films. He was equally adept at singing in multiple languages, including Bengali, Marathi, Assamese, Gujarati, Kannada, Bhojpuri, Malayalam, Odia, and Urdu. His music spanned generations and continues to be beloved by fans of all ages. Some of his most iconic songs include “Ye Raatein Ye Mausam,” “Hum Toh Mohabbat Karega,” “Ae Haseeno Nazneeno,” “Zaroorat Hai Zaroorat Hai,” “Khoobsurat Haseena,” and “Gaata Rahe Mera Dil.”

A biopic about such a multifaceted personality requires immense dedication, and Anurag Basu’s involvement as the director is a strong indication of the project’s potential. Basu, known for his unique style of storytelling, has likely envisioned a distinct approach to telling the story of Kishore Kumar’s life, which has reportedly attracted Aamir Khan to the project.

Aamir Khan’s Current and Upcoming Films

While the Kishore Kumar biopic remains a strong contender for Aamir’s next role, the actor is already busy with other projects. Aamir is currently preparing for the release of his upcoming film, Sitaare Zameen Par. This film, where he stars alongside Genelia D’Souza, is being produced under his own production company, Aamir Khan Productions. The movie is set to hit theaters in the coming months, and fans are eagerly awaiting its release.

In addition to Sitaare Zameen Par, Aamir is also involved in another project as a producer. He is working on Lahore 1947, which boasts an impressive ensemble cast that includes Sunny Deol, Preity Zinta, Shabana Azmi, Karan Deol, and Ali Fazal. This film is being directed by acclaimed filmmaker Rajkumar Santoshi and promises to be another major release. Aamir’s involvement in both of these films highlights his multi-faceted role in the industry, not only as an actor but also as a producer who plays an instrumental role in bringing powerful stories to the screen.

A Thoughtful Approach to Career Choices

Aamir Khan’s decision-making process regarding his next project shows his characteristic thoroughness and attention to detail. Each of the six films he is considering represents a distinct genre or subject, allowing him to explore different dimensions of storytelling. The Kishore Kumar biopic is one of the more personal and potentially challenging projects, given the iconic status of Kumar in Indian cinema. If Aamir chooses to take on the role, it would require an extraordinary performance to do justice to the beloved legend.

On the other hand, Aamir is also considering a biopic on Ujjwal Nikam, a high-profile public prosecutor in India, and a comedy directed by Rajkumar Santoshi. Each of these projects offers something unique, and it is no surprise that Aamir is taking his time to make the right decision.

The possibility of working on sequels and new projects by renowned directors also adds to the excitement surrounding Aamir’s upcoming choices. Ghajini 2, a sequel to his 2008 blockbuster Ghajini, would be an action-packed role, while working with directors like Lokesh Kanagaraj and Zoya Akhtar on their respective projects would allow Aamir to explore different storytelling techniques.

What Lies Ahead for Aamir?

While fans eagerly await Aamir’s decision, his focus on choosing the right project is evident. The Kishore Kumar biopic is just one of several exciting options on his table, and the fact that he has already had multiple meetings with Anurag Basu indicates that the project is a serious contender.

Regardless of which films Aamir ultimately selects, his choices will undoubtedly continue to shape his career in new and exciting ways. His careful approach to filmmaking ensures that each role he takes on is meaningful, challenging, and impactful.

For now, audiences can look forward to the release of Sitaare Zameen Par and Lahore 1947, two films that promise to deliver memorable performances and strong storytelling. Whether Aamir chooses the Kishore Kumar biopic or one of the other five films in consideration, it’s clear that the actor has plenty of exciting projects in store.

It’s no secret that films are a lucrative business, especially in India where movies generate massive revenues each year. While the actors and stars are often in the spotlight, the real earnings often go to the financiers and producers who either make large fortunes or suffer substantial losses. Among them, the richest Indian filmmaker is someone who prefers to stay behind the scenes—Kalanithi Maran, a media mogul who has quietly built a net worth of $3.6 billion by staying largely out of the limelight.

Kalanithi Maran is not just India’s wealthiest filmmaker but also a media tycoon with an empire that includes Sun Group, a conglomerate controlling various media assets, including Sun Pictures, his film production company. Maran’s wealth and success in both media and cinema have propelled him far ahead of other prominent figures in the Indian film industry, including Bollywood stars and producers. His rise to prominence and financial dominance is an intriguing story of business acumen and strategic expansion.

India’s Richest Filmmaker

Kalanithi Maran, who has often been referred to as “India’s Bill Gates” for his business prowess, is currently the richest filmmaker in the country, with a fortune of $3.6 billion, as per Forbes estimates. This amounts to approximately ₹30,289 crore. Maran’s media empire, Sun Group, includes 37 television channels, but it is his film production company, Sun Pictures, that has produced some of the biggest box office hits in Indian cinema history.

Through Sun Pictures, Maran has produced numerous successful films such as Enthiran (Robot), Petta, Beast, Jailer, and Raayan, featuring some of the biggest names in Indian cinema. He has produced career-defining movies for stars like Rajinikanth and Dhanush, turning his film production venture into a massive success. His $3.6 billion fortune places him well ahead of the second-richest filmmaker in India, Ronnie Screwvala, who has a net worth of $1.55 billion, less than half of Maran’s wealth.

Outpacing Bollywood’s Bigwigs

Despite Bollywood’s dominance in terms of scale and audience reach, Maran’s wealth far surpasses even the biggest names in the Hindi film industry. Bollywood, often regarded as the face of Indian cinema, commands a significant portion of the country’s entertainment landscape. Yet, when it comes to individual wealth, Maran overshadows the industry’s top names.

Take Aditya Chopra, for instance. The head of Yash Raj Films, Chopra has a net worth of $890 million, a figure dwarfed by Maran’s billions. Similarly, Bhushan Kumar, another Bollywood heavyweight and the owner of T-Series, is worth $950 million, which, while impressive, is still a fraction of Maran’s fortune. Even Shah Rukh Khan, globally renowned as one of the wealthiest actors, has a net worth of $870 million, approximately one-fourth of Maran’s total wealth.

The difference in wealth highlights how Maran has not only outpaced Bollywood producers but also one of the richest and most famous actors in the world. His business success in media and film production has enabled him to accumulate a fortune that eclipses even the biggest figures in Indian entertainment.

The Man Behind the Wealth: Who is Kalanithi Maran?

Born into a family with political and business connections, Kalanithi Maran is the son of the late Murosali Maran, a former Union Minister and a businessman. Despite his father’s political background, Maran has charted his own path in the media and entertainment industry, transforming a small inheritance into a vast business empire.

His journey began in 1990 when Maran, at the age of 26, took over his father’s small business. In 1993, he founded Sun TV, which would go on to become one of the largest television networks in India, eventually expanding into a broader media conglomerate under the banner of Sun Group. Over the years, Maran has grown Sun Group into a behemoth with multiple interests across media, including TV channels, newspapers, FM radio stations, and film production.

In addition to his ventures in media, Maran has diversified into other sectors. He owns two cricket teams: Sunrisers Hyderabad in the Indian Premier League (IPL) and Sunrisers Eastern Cape in South Africa’s T20 League. These ventures into sports ownership have further expanded his business portfolio and international visibility.

From 2010 to 2015, Maran also had a significant stake in SpiceJet, one of India’s leading budget airlines. Though he eventually sold his shares, this brief foray into the aviation industry demonstrates his willingness to explore opportunities beyond media and entertainment. His diversified portfolio is a testament to his business acumen, which has allowed him to build and sustain immense wealth.

Maran’s family has deep political connections, too. His brother, Dayanidhi Maran, is a Member of Parliament (MP) and has served as a Union Minister in the past. However, despite the family’s involvement in politics, Kalanithi Maran has maintained his focus on business and has steered clear of direct political engagement. This separation of business and politics has allowed him to concentrate on building his media empire without the distractions or controversies often associated with political life.

Kalanithi Maran’s rise to the top of India’s film industry is a reflection of his sharp business sense and ability to capitalize on opportunities in both the media and film sectors. While Bollywood may have the largest market share in Indian cinema, Maran’s wealth surpasses even its biggest names, thanks to his strategic investments and successful film productions.

Starting from a small business inherited from his father, Maran has expanded his empire to include multiple television channels, a thriving film production company, and ownership of two international cricket teams. His wealth and influence are not limited to the film industry but stretch across various sectors, making him a dominant figure in Indian business.

By quietly building a media empire, Maran has not only become India’s richest filmmaker but also one of the most powerful and influential business figures in the country. His story demonstrates that while the stars may shine on screen, it is often those behind the camera who hold the reins of power and wealth.

Veteran Bollywood actress Rekha once again captivated audiences with her grace and elegance as she took the stage on Day 2 of the prestigious International Indian Film Academy (IIFA) awards held in Abu Dhabi. Known for her timeless charm, Rekha performed the classic song “Piya Tose Naina Lage Re” from the film *Guide*, reminding everyone why she remains one of the most iconic stars of Indian cinema.

Dressed in a stunning pink Anarkali suit, Rekha looked nothing short of ethereal as she moved gracefully to the music. Her flawless performance exuded elegance, captivating the audience and bringing back memories of her earlier years in the industry. Her presence and poise on stage were a reminder of why she has been cherished by fans for decades.

Rekha’s performance not only showcased her talent but also drew comparisons to her past accolades from some of India’s greatest artists. One such moment that came to mind was the high praise she received from the legendary dancer Birju Maharaj. During the International Film Festival of India (IFFI) in 2013, the renowned Kathak maestro had spoken highly of Rekha’s beauty and elegance. He even told her that she looked like “a million bucks” and complimented her for losing weight. At the time, Rekha had graciously accepted the compliment and attributed her weight loss to a disciplined lifestyle and a healthy diet. The actress explained that it was her conscious efforts in maintaining her health and fitness that had helped her shed the extra pounds.

Rekha’s performance at IIFA was widely celebrated, and snippets of her graceful moves were shared by the official Instagram account of IIFA. The caption accompanying the videos expressed the admiration and excitement for the veteran actress, stating, “The night lights up as the iconic and ever-glowing Rekha gives a stunning performance on the stage of the NEXA IIFA Awards 2024.” Her presence truly lit up the night, and fans were left mesmerized by her ability to continue delivering breathtaking performances after so many years in the industry.

While Rekha’s performance was one of the highlights of the evening, she wasn’t the only one to entertain the audience. Bollywood superstar Shah Rukh Khan (SRK), along with actors Vicky Kaushal and filmmaker Karan Johar, also delivered an energetic dance performance on the IIFA stage. The trio set the stage ablaze with their moves to the song “Jhoome Jo Pathaan” from SRK’s blockbuster film Pathaan. Known for his signature charm and magnetic stage presence, SRK delighted the audience as he danced to the energetic beats of the song. His co-performers, Vicky Kaushal and Karan Johar, added their own flair, and together, the three had the audience on their feet, cheering and clapping along.

SRK’s presence at the IIFA awards wasn’t just limited to his performance on stage. The Bollywood icon also walked away with one of the night’s most coveted trophies – the award for Best Actor. Khan received the award for his stellar performance in his home production Jawan, directed by Atlee. Jawan had been one of the year’s biggest hits, and Khan’s portrayal of a multifaceted character in the action-packed drama earned him widespread acclaim. The win further solidified SRK’s position as one of the finest actors in Indian cinema, and his fans were thrilled to see him recognized for his hard work and dedication to his craft.

On the other hand, the Best Actress award was claimed by Rani Mukerji for her powerful performance in Mrs Chatterjee vs Norway. The film, which revolved around a mother’s fight against the Norwegian government to regain custody of her children, struck a chord with audiences and critics alike. Rani’s portrayal of a resilient and determined mother fighting against all odds resonated deeply with viewers, and her win at the IIFA awards was well-deserved.

The night also saw the Ranbir Kapoor-starrer Animal winning multiple awards. Directed by Vidhu Vinod Chopra, the film took home several prestigious accolades, including Best Picture. The gripping storyline, along with powerful performances, had made Animal one of the year’s standout films. Vidhu Vinod Chopra also won the award for Best Director, further cementing the film’s success at the IIFA awards. Ranbir Kapoor’s intense performance in the film was lauded, and his portrayal of a complex character in a dark and emotional narrative earned him high praise from critics and fans alike.

As the night unfolded, it became evident that the IIFA awards this year were not just about recognizing talent but also about celebrating the contributions of iconic stars and films that have left a lasting impact on Indian cinema. Rekha’s mesmerizing performance, SRK’s charismatic presence, and the celebration of films like Jawan, Mrs Chatterjee vs Norway, and Animal showcased the diversity and talent that Bollywood continues to offer.

The IIFA awards, held annually, have always been a platform to celebrate the best of Indian cinema on a global stage. The grandeur and excitement of the event attract fans and stars from across the world, making it one of the most anticipated events in the Bollywood calendar. This year’s ceremony in Abu Dhabi was no different, with glittering performances, emotional acceptance speeches, and well-deserved wins marking the night.

Rekha’s timeless grace, Shah Rukh Khan’s unmatched star power, and the overwhelming success of films like Jawan and Animal ensured that the 2024 IIFA awards will be remembered as a night of celebration, glamour, and unforgettable moments. For fans of Indian cinema, it was a night that brought together the past, present, and future of Bollywood, reminding everyone of the magic that these stars and films continue to bring to the screen.

Kiran Rao’s directorial, Laapataa Ladies, has been selected as India’s official entry for the Best International Feature Film category at the 97th Academy Awards, which are scheduled to take place early next year. This significant announcement was made on Monday, September 23.

Released in March, the Hindi film, backed by actor Aamir Khan’s production house, achieved both critical acclaim and commercial success. The plot follows two newlywed women who mistakenly swap places during a train ride as they head to their husbands’ homes. Through this unusual journey, the film offers a heartfelt and, at times, humorous exploration of identity, societal norms, and the expectations placed upon women.

After hearing the news of the selection, Rao expressed her gratitude on Instagram. She said, “It is indeed a great privilege to be selected from among such amazing Indian films this year — who are equally worthy contenders for this honour.”

The Film Federation of India (FFI) revealed that Laapataa Ladies was chosen from a highly competitive pool of 29 films. Other notable contenders included Payal Kapadia’s All We Imagine As Light, which won at Cannes, Anand Ekarshi’s National Award-winning Aattam, and Sandeep Reddy Vanga’s blockbuster Animal, which stirred up controversy.

The Role of the Film Federation of India (FFI)

The Film Federation of India plays a vital role in promoting and protecting the Indian film industry. It acts as the parent body for major film associations across the country. One of its key responsibilities is to select the film that will represent India at the Academy Awards. This task is performed by a 13-member jury, comprising experienced professionals from various creative fields.

This year, the jury was led by acclaimed Assamese director Jahnu Barua, and they conducted their deliberations in Chennai. The jury considered several important criteria for selecting the film, ensuring it met the Academy’s eligibility rules. For example, the film must be at least 40 minutes long, with more than half of its dialogues in a language other than English, and it must have had a minimum seven-day theatrical release within the eligibility period. Additionally, filmmakers are required to pay a submission fee of Rs 1.25 lakh.

However, this year’s selection process attracted some criticism on social media. Many users noted that the jury, which was entirely male, lacked female representation, particularly for a film that centers around the experiences and lives of women.

Praise for Laapataa Ladies

The Film Federation of India praised *Laapataa Ladies* for its ability to resonate with a global audience, especially women. The jury described the film as “a film that can engage, entertain, and make sense not just to women in India but universally as well.”

Yet, the language used in the FFI’s citation sparked some criticism. The jury’s statement referred to Indian women as “a strange mixture of submission and dominance,” which many found controversial and outdated. Additionally, the description that *Laapataa Ladies* portrays women who can “happily desire to be homemakers as well as rebel and be entrepreneurially inclined” was viewed by some critics as an oversimplification of women’s complex roles and aspirations. This phrasing led to debates about how women’s stories are perceived and discussed within the industry.

Best International Feature Film Category at the Oscars

The Best International Feature Film category at the Academy Awards allows each country to submit one film for consideration. The selection process is divided into two stages. In the first stage, a preliminary committee reviews all the submissions from various countries and narrows them down to a shortlist of 15 films. A nominating committee then picks five finalists from this shortlist, and these five nominees compete for the award. The final vote is cast by the members of the Academy, who decide the ultimate winner.

India has had a rich history of submitting films for this category, though only three Indian films have made it to the final nomination list — Mother India in 1957, Salaam Bombay! in 1988, and Lagaan in 2001. Despite several strong entries over the years, India has yet to win an Oscar in this category. Last year’s submission, 2018: Everyone is a Hero, a Malayalam film depicting the Kerala floods, also did not manage to secure a nomination.

The Journey Ahead for Laapataa Ladies

With Laapataa Ladies now in the running, there is renewed hope that the film could break India’s long-standing drought at the Oscars. Its unique narrative, compelling performances, and critical success have already positioned it as a strong contender on the international stage. Many industry insiders believe that the film’s focus on women’s experiences, along with its universal themes, could resonate well with the Academy voters.

Rao and her team are undoubtedly gearing up for an intense few months ahead as they prepare for the global stage. The Oscars are a significant platform, and getting nominated would be a major achievement for the Indian film industry. The global spotlight is now on Laapataa Ladies, and there is considerable anticipation as the film embarks on its journey to possibly clinch an Academy Award.

In the coming months, the film will likely undergo a rigorous campaign process to build momentum among the Academy’s voters. This will involve numerous screenings, interviews, and promotional events to showcase the film to international audiences and critics alike. Aamir Khan, whose production house supported the film, is also expected to play a key role in this campaign, given his previous success with *Lagaan*, which made it to the final round of nominations in 2001.

As India looks ahead to the 97th Academy Awards, there is widespread excitement about the possibility of finally bringing home an Oscar in this category. With a film like Laapataa Ladies, which blends humor, drama, and social commentary, many believe it has the potential to captivate a global audience and make its mark at the prestigious awards ceremony.

In the words of the FFI, Laapataa Ladies is a film that “can engage, entertain, and make sense” not only in India but across the world. As the film’s journey to the Oscars begins, all eyes will be on Kiran Rao and her team to see if they can take Indian cinema to new heights on the global stage.

Dhvani Bhanushali, a popular singer known for her chart-topping tracks, is set to make her acting debut in the upcoming film Kahan Shuru Kahan Khatam. In her new role, Dhvani portrays a character named Meera, and she recently revealed that her performance in the film is heavily inspired by Bollywood icon Kareena Kapoor Khan’s famous character, Geet, from the hit movie Jab We Met.

Dhvani shared her admiration for Kareena and how she has been a guiding light in shaping her own character. She openly expressed how much Kareena’s work has impacted her, especially her performance as Geet, a role that made a lasting impression on audiences across the country.

“I’m a huge fan of Kareena and have always admired her as an actress,” Dhvani said. “When I watched her in Jab We Met, I instantly fell in love with her portrayal of Geet. She made the character feel so real, like Geet was an extension of herself. Kareena’s confidence is something I deeply look up to, and she’s been a major inspiration for me.” This strong admiration for Kareena’s work laid the foundation for Dhvani’s own approach to acting, specifically in her role as Meera.

Kahan Shuru Kahan Khatam marks a new chapter in Dhvani’s career, moving beyond her successful musical journey to explore the world of acting. The character she plays in the film, Meera, is a strong, dynamic figure that draws from the qualities that made Geet such an iconic character. Geet, portrayed by Kareena, was known for her carefree, vibrant personality, which struck a chord with many fans, including Dhvani.

Dhvani, in discussing her role, noted the parallels between Meera and Geet. “My character Meera has shades of Geet—fierce, unapologetic, yet vulnerable. I’ve tried to incorporate those traits into Meera, drawing from Kareena’s Geet. Of course, no one can match her energy or recreate that iconic role, but I’ve done my best to bring my own interpretation to Meera while staying inspired by her.”

Although Dhvani is aware that the shoes she’s trying to fill are quite big, she remains confident in her ability to bring her own flavor to the role. She acknowledges that while her character is inspired by Geet, it is ultimately her unique take on the role that will make Meera stand out. As a first-time actress, Dhvani’s respect for Kareena’s acting prowess and her attempt to channel that energy into her performance will be something fans of both actresses will look forward to seeing.

The film Kahan Shuru Kahan Khatam also stars Aashim Gulati in the lead role. Directed by Saurabh Dasgupta and produced by Vinod Bhanushali’s Bhanushali Studios Limited in collaboration with Kathputli Creations, the movie is slated to hit theaters on September 20. The film has generated a significant amount of buzz, not only because of Dhvani’s debut but also due to the intriguing storyline that the movie promises to deliver.

Dhvani’s move into acting is a new and exciting shift in her career, which has so far been largely dominated by music. Her entry into the entertainment industry began back in 2017 when she recorded an acoustic version of the song “Humsafar” from the movie Badrinath Ki Dulhania. This opened the door for her first significant film project in 2018, where she sang “Ishtehaar” for the film Welcome to New York. However, it was her single “Vaaste,” released in 2019, that catapulted her to fame. The song became a massive hit, with the music video racking up over 1.5 billion views on YouTube, marking her as a rising star in the Indian music industry.

The 26-year-old singer has continued to build her repertoire over the years, delivering several successful tracks. She has been a part of major Bollywood soundtracks, contributing popular songs such as “Veere” from Veere Di Wedding, the chart-topping “Dilbar” from Satyameva Jayate, “Koka” from Khandaani Shafakhana, and “Kinna Sona” from Marjaavaan. Other notable tracks include “Tujhe Samajh Aavega” from *Tadap* and “Current Laga Re” from Cirkus, further cementing her presence in the music industry.

Although Dhvani is already a well-known name in Bollywood’s music scene, her decision to transition into acting reflects her desire to broaden her artistic horizons. By entering the world of film, she’s challenging herself to grow as an artist while building upon the fame she has earned through her music.

Dhvani’s choice to draw inspiration from Kareena Kapoor’s portrayal of Geet seems to be a well-thought-out one. Geet is widely considered one of Kareena’s most memorable and beloved characters. With her infectious energy, headstrong personality, and optimistic outlook on life, Geet became an unforgettable figure in Bollywood cinema. Dhvani’s admiration for Kareena’s ability to bring depth and relatability to the character is clearly reflected in her portrayal of Meera.

However, Dhvani is clear that while she is drawing inspiration from Geet, she has made sure to bring her own personality and energy to the role of Meera. Her goal is not to copy Kareena, but to create a character that is equally compelling in its own right. Fans of Dhvani’s music, as well as fans of *Jab We Met* and Kareena Kapoor, will likely be eager to see how Dhvani blends these inspirations in her performance on screen.

With her acting debut right around the corner, Dhvani’s entry into the film industry is one that will be closely watched. While her fans are already familiar with her talent as a singer, Kahan Shuru Kahan Khatam will offer them the chance to see another side of her artistic abilities. Whether she can successfully make the transition from music to film remains to be seen, but with the passion she has demonstrated for her role and the inspiration she has taken from Bollywood greats like Kareena Kapoor, Dhvani’s acting career is certainly off to a promising start.

As Dhvani steps into this new phase of her career, all eyes will be on her performance as Meera in Kahan Shuru Kahan Khatam, a film that could mark the beginning of a new chapter for her in the entertainment world. The film is set for release on September 20, and the audience will soon get to see Dhvani’s interpretation of the character that draws inspiration from one of Bollywood’s most iconic performances.

The Association of Malayalam Movie Artists (AMMA) is facing a major crisis following the release of findings by the Justice Hema Committee and the subsequent wave of sexual misconduct allegations against several prominent male members. The situation reached a tipping point on Tuesday, when the entire leadership of AMMA, including its president and executive committee members, submitted their resignations.

Malayalam film superstar Mohanlal, who held the position of president, led the mass resignation by stepping down from his role. The rest of the executive committee also followed suit, submitting their resignations in a collective decision to step down. This move comes as a direct response to the severe criticism and allegations that have been levied against several members of the association.

In a statement issued by AMMA, the association explained the reasons behind their decision: “AMMA has decided to disperse the executive committee on moral grounds in the light of allegations made by some actors against some of the committee members. A new committee will be formed after an election within two months,” according to a report from a leading media house. This statement highlights the association’s intent to rebuild trust and take corrective measures in response to the ongoing scandal.

The resignation of the executive committee members marks a significant development in the unfolding controversy. Among those who resigned are the vice presidents, Jayan Cherthala and Jagadish, as well as the joint secretary, Baburaj. Other resigning members include treasurer Unni Mukundan and a number of executive committee members: Ansiba Hassan, Sarayu Mohan, Vinu Mohan, Tini Tom, Ananya, Suresh Krishna, KalabhavanShajohn, Suraj Venjaramoodu, Jomol, Joy Mathew, and Tovino Thomas.

The crisis began escalating when senior actor Siddique resigned from his position as the general secretary of AMMA on Sunday. His resignation came just a day after a prominent actress accused him of raping her when she was young. This shocking allegation prompted Siddique’s resignation and triggered a wave of similar accusations against other members of the association. In addition to Siddique, actors Baburaj and Mukesh were also accused by survivors of sexual harassment.

The association’s response to the allegations and its subsequent actions have been the subject of much public scrutiny and criticism. On Monday, actor Prithviraj Sukumaran openly criticized AMMA for its inadequate response to the complaints made by survivors. His comments were particularly directed towards the association’s handling of a complaint made by his “Avan Chandiyude Makan” co-star, Sridevika, against director Thulasidas. Prithviraj expressed his disappointment with AMMA’s inaction, stating, “Stronger intervention and actions are needed from AMMA.”

The resignation of the entire executive committee signifies a significant turning point for AMMA, which has long been one of the most influential bodies in the Malayalam film industry. The allegations have not only caused reputational damage but have also raised serious questions about the association’s ability to effectively address and manage such serious issues within the industry.

The mass resignation is being viewed as a necessary step towards reforming the organization and addressing the underlying issues that have led to the current crisis. It also underscores the need for greater accountability and transparency within the organization. With the promise of a new committee to be formed following elections within the next two months, there is hope that the association can rebuild itself and work towards creating a safer and more equitable environment for all its members.

The fallout from these resignations is expected to be significant, with the association likely to undergo a period of intense scrutiny and reform. The new leadership will face the challenging task of restoring trust and confidence in the organization, both among its members and the general public. This situation also highlights the broader issues of sexual misconduct and harassment in the film industry, not just in Malayalam cinema but across all film industries, where similar issues have often been reported but not adequately addressed.

As the association moves towards electing new leadership, it remains to be seen how these changes will impact the industry as a whole. The outcome of this crisis will likely serve as a critical test for AMMA and its commitment to safeguarding the rights and dignity of its members, especially the women who have come forward with allegations of misconduct.

In conclusion, the recent developments within AMMA reflect a moment of reckoning for the association and the Malayalam film industry. The mass resignation of its office bearers, led by president Mohanlal, marks the beginning of a new chapter that will hopefully bring about meaningful change and a renewed commitment to ethical governance. As the organization prepares for its upcoming elections, the focus will be on selecting leaders who are committed to addressing these serious issues and fostering a culture of respect and safety within the industry.

The horror comedy Stree 2, featuring Rajkummar Rao and Shraddha Kapoor, has surpassed Rs 500 crore in global gross box office earnings. The film’s producers, Maddock Films, announced the achievement on Sunday. Directed by Amar Kaushik and produced by Dinesh Vijan of Maddock Films, Stree 2 is a sequel to the 2018 hit movie Stree.

Maddock Films took to their X page to share the impressive box office numbers. According to their post, Stree 2 has grossed Rs 426 crore in India and an additional Rs 78.5 crore from international markets. This brings the total worldwide gross collection to approximately Rs 505 crore. The film’s domestic net box office earnings are reported to be Rs 361 crore.

Released on August 15, Stree 2 faced stiff competition at the box office from Nikkhil Advani’s Vedaa, starring Sharvari and John Abraham, and Mudassar Aziz’s Khel Khel Mein, featuring Akshay Kumar. Despite the competition, Stree 2 emerged as the top-grossing film among the three, showcasing its strong audience appeal and popularity.

The movie, penned by Niren Bhatt, also features notable performances from Aparshakti Khurana, Pankaj Tripathi, and Abhishek Banerjee. Stree 2 is part of Maddock Films’ expanding horror-comedy universe, which includes other popular films like Bhediya and Munjya.

The film’s success adds to the growing popularity of the horror-comedy genre in Indian cinema. Stree 2 has managed to capture the audience’s attention with its unique blend of humor and horror, continuing the legacy of its predecessor, Stree, which was also a box office success. The impressive box office performance of Stree2 highlights the film’s appeal across different demographics and regions, both domestically and internationally.

The makers of Stree 2 expressed their gratitude to the audience for their overwhelming support and appreciation for the film. “We are thrilled with the response that Stree 2 has received from audiences worldwide,” Maddock Films stated. “The film’s success is a testament to the hard work and dedication of the entire team, and we are grateful to the audience for their love and support.”

The film’s success is also a significant achievement for Rajkummar Rao and Shraddha Kapoor, who have been praised for their performances. Their chemistry on screen, coupled with the film’s engaging storyline and well-crafted humor, has resonated well with viewers. The supporting cast, including Aparshakti Khurana, Pankaj Tripathi, and Abhishek Banerjee, has also been lauded for their contributions to the film’s success.

Stree 2 is not just a commercial success but also a cultural phenomenon, drawing in audiences who are looking for fresh and innovative storytelling. The film has set a new benchmark for horror comedies in Indian cinema, proving that this genre has a vast potential for creative exploration.

As Stree 2 continues its successful run at the box office, it remains to be seen how the film’s achievements will influence future projects within Maddock Films’ horror-comedy universe. With the success of Stree 2, the production house is likely to continue investing in similar projects that offer a blend of horror and humor, catering to a broad audience base.

The film’s producers have hinted at the possibility of expanding the horror-comedy universe further, with potential sequels and spin-offs in the pipeline. “The response to Stree 2 has been overwhelming, and we are excited about the future prospects of this genre,” said Dinesh Vijan of Maddock Films. “We are committed to delivering quality content that entertains and engages audiences, and we have some exciting projects lined up.”

Stree 2 has set a new standard for horror comedies in Indian cinema, proving that the genre has significant commercial appeal. With its strong box office performance and positive audience feedback, the film has established itself as a major success story, paving the way for more films in the horror-comedy space. The success of Stree 2 underscores the importance of innovative storytelling and creative experimentation in Indian cinema, and its impact is likely to be felt for years to come.

The Malayalam film industry is facing significant turmoil following the release of the Justice K. Hema committee’s report on issues confronting women in the industry. The controversy escalated on Sunday, August 25, 2024, with the resignations of two prominent figures. Under mounting pressure from the Opposition and the film community, the Kerala government has established a Special Investigation Team (SIT) to conduct a preliminary inquiry into multiple sexual harassment allegations against actors.

Actor Siddique resigned as the general secretary of the Association of Malayalam Movie Artistes (AMMA) after being accused of sexual assault by a young actress. Concurrently, Kerala State Chalachitra Academy chairperson Ranjith stepped down following allegations of inappropriate behavior made by Bengali actress Sreelekha Mitra.

The Hema Committee’s report has stirred intense debates in the public domain, seemingly encouraging more women to come forward with their experiences of harassment. Over the past few days, several women, including Sreelekha Mitra and the young actress, have publicly accused various actors and filmmakers of misconduct.

Siddique confirmed his resignation to The Hindu, stating that he had submitted his resignation letter to Mohanlal, AMMA’s president, due to the allegations against him. “I submitted the resignation voluntarily since it is inappropriate to continue in that position when I am facing such an allegation. No one demanded for my resignation. Let the truth come out,” said Siddique. He added that he would respond in detail after receiving legal counsel.

The young actress detailed her accusations against Siddique during a media interaction on Saturday evening. She claimed that Siddique had contacted her through social media, offering a role in a Tamil film in which his son would also be acting. Trusting his intentions because he addressed her as “daughter,” she traveled to Thiruvananthapuram to pursue the offer. However, she described it as a trap, alleging that the film did not exist and that Siddique sexually assaulted her in a hotel room for an hour. “He hit and kicked me when I resisted. Some of my friends too had similar experiences from him. I had to give up my dreams and go through a lot of mental health issues,” she said.

Siddique’s resignation came just two days after he addressed the media with AMMA’s initial response to the Hema committee report, during which he asserted that the organization had not received any complaints about a ‘casting couch.’

Shortly after Siddique’s resignation, Ranjith also announced his decision to step down. He confirmed to The Hindu that he had submitted his resignation to Kerala’s Minister for Cultural Affairs, Saji Cherian. In a voice message to the media, Ranjith explained that he did not want the allegations against him to be used to tarnish the State government’s image, which had appointed him. He expressed confidence that the truth would eventually come to light and indicated that he would respond to the accusations legally.

Sreelekha Mitra accused Ranjith of behaving inappropriately with her during the pre-production of the 2009 Malayalam film *Paleri Manikyam: OruPathirakolapathakathinteKatha.* Her allegations were supported by documentary filmmaker Joshy Joseph, who stated that she had confided in him about the incident on the same day. Although Ranjith denied the allegations, he acknowledged that she had met him during an audition for the role in the presence of other crew members.

The accusations against Ranjith, first made public on Friday, August 22, 2024, led to intense pressure on the State government from various quarters, including the film industry, the Opposition, and even members of the Left Democratic Front (LDF), to demand his resignation. However, Minister Cherian had initially defended Ranjith, emphasizing that an acclaimed filmmaker like him could not be punished solely based on accusations. Cherian indicated that strong action would be taken only if a formal complaint was lodged.

By Sunday, August 25, 2024, Minister Cherian announced that the government would accept Ranjith’s resignation as soon as it was submitted. The Bharatiya Janata Party (BJP) also staged a protest march to Ranjith’s residence in Kozhikode on Sunday, demanding his resignation.

The ongoing controversy has not only led to the resignations of Siddique and Ranjith but has also implicated other prominent figures in the Malayalam film industry. Several women have accused former AMMA general secretary Edavela Babu, along with actors Mukesh, Sudheesh, and Riyas Khan, of sexual harassment or misconduct. These public revelations reportedly forced the State government to reconsider its earlier stance that it required a formal complaint or legally substantiated evidence to take action on the allegations and the Hema Committee report.

The situation has ignited a political storm in Kerala, with the Opposition accusing the government of shielding those responsible for sexual violence by failing to act on the report, which was submitted almost four years ago. The Opposition is now preparing to escalate pressure on the government by initiating legal proceedings in response to the allegations.

In response to the growing controversy, the Kerala government has formed a Special Investigation Team (SIT) to conduct a preliminary investigation into the sexual harassment allegations. The SIT, led by Inspector General G. Sparjan Kumar, includes four senior women police officers and will carry out the inquiry under Section 173 (1) of the Bharatiya Nagarik Suraksha Sanhita. This section mandates that a woman police officer should record the information provided by a woman who has been subjected to or faced an attempt of sexual offenses.

The SIT’s formation reflects the government’s response to the mounting pressure to take decisive action following the release of the Hema Committee report and the subsequent wave of allegations. As the investigation unfolds, the Malayalam film industry and the political landscape of Kerala are likely to remain in the spotlight, with many closely watching the developments that will follow.

The Malayalam film industry, an integral part of India’s cinematic landscape, is under intense scrutiny following the release of the Hema Committee report. This report has exposed issues of sexual abuse, gender discrimination, and the inhuman treatment of women that have long been concealed. It has reignited discussions about the pervasive influence of powerful men in suppressing women in Kerala, often referred to as “God’s own country.” The report’s findings highlight a disturbing reality where women’s voices are silenced, and justice remains elusive. The perpetrators are often shielded by government institutions, further complicating the pursuit of justice.

The Hema Committee report exposes a troubling culture of silence within the Malayalam film industry. Women, from junior artists to well-established actresses, have faced sexual harassment, exploitation, and discrimination, with little to no recourse to justice. The report has documented instances where women were coerced into providing sexual favors in exchange for work. Directors and producers who wield significant power have fostered an environment where compliance is rewarded, while resistance leads to ostracization across the industry. This dynamic was starkly evident in the case of actress Bhavana, who was blacklisted by the industry. Meanwhile, efforts were made by influential figures in the industry to reinstate actor Dileep, who was alleged to be the mastermind behind a serious offense.

Fear is a significant factor sustaining this culture—fear of losing employment, public shaming, and physical harm. Women who dare to speak out against their abusers often face severe consequences. This fear is intensified by the criminal influence within the industry, where powerful men are known to use their connections with gangs and the mafia to suppress any attempts at holding them accountable.

Additionally, the lack of basic facilities, such as toilets and changing rooms for women, has further exacerbated their plight. Female artists are forced to endure harsh working conditions, with no avenues to voice their grievances or seek redress. This neglect is not merely a result of gender discrimination; it reflects a deeper issue where women’s rights and dignity are routinely ignored.

The Kerala government’s handling of the Hema Committee report exemplifies how governmental actions can inadvertently suppress women’s rights. The report, submitted four years ago, was only recently made public, and even then, significant portions were redacted. These redactions, which exceeded the recommendations of the Kerala State Information Commissioner, have led to suspicions regarding the government’s intentions. The omitted sections reportedly contained details about prominent individuals in the industry who have been involved in sexual harassment over the years.

The media response to the Hema Committee report has been mixed. While some outlets have reported on its findings, others have remained silent. This selective reporting perpetuates the culture of silence, ultimately denying justice to the victims.

Society also plays a role in sustaining this culture of suppression. The stigma surrounding sexual harassment and the tendency to blame victims rather than perpetrators discourage women from coming forward. This victim-blaming mentality is deeply ingrained in our society, where women who report sexual harassment are often accused of seeking attention or attempting to ruin a man’s career.

Governments, through their policies and actions, have the power to challenge or reinforce the status quo. In many cases, they have chosen the latter, allowing powerful men to continue their abusive behavior with impunity. This is evident in the lack of enforcement of laws designed to protect women from sexual harassment and the slow pace of legal proceedings. For instance, in the Malayalam film industry, the government has been slow to act on the findings of the Hema Committee report, allowing the culture of abuse to persist unchecked.

The Indian government has enacted several laws aimed at protecting women from sexual harassment, such as the Sexual Harassment of Women at Workplace (Prevention, Prohibition, and Redressal) Act, 2013. However, implementing these laws has been inconsistent, and many women in the film industry are unaware of their rights. This lack of awareness, combined with the fear of retaliation, means that many cases of sexual harassment go unreported. Victims often face barriers in accessing justice, including a lack of legal representation, a slow and cumbersome judicial process, and the stigma associated with being a public figure.

The Hema Committee report makes several recommendations to address the issues faced by women in the Malayalam film industry. The report suggests the mandatory establishment of Internal Complaints Committees (ICC) under the Sexual Harassment of Women at Workplace (Prevention, Prohibition, and Redressal) Act, 2013. These committees should include members from the Film Employees Federation of Kerala (FEFKA) and the Association of Malayalam Movie Artists (AMMA) to ensure that complaints are handled impartially and with the necessary expertise.

Some committee members have proposed creating an independent tribunal to handle cases of harassment and discrimination within the cinema industry. This tribunal would operate with in-camera proceedings to ensure complete privacy for the victims, with their identities being withheld from media reports. Establishing a tribunal could provide a safe and supportive environment for victims to seek justice without fear of public scrutiny or professional backlash.

The report also recommends that written contracts be made mandatory for all categories of employees, including coordinators of junior artists. These contracts would protect workers’ rights by clearly outlining the terms of employment, including remuneration, working hours, and conditions. Written contracts would also serve as a legal safeguard against exploitation, ensuring that all parties are held accountable to the agreed terms.

To address the underlying issues of sexism and gender discrimination, the report suggests that all cast and crew members should attend a basic gender awareness training program before the start of production. These programs would educate industry professionals on gender equality, sexual harassment, and respectful workplace behavior.

The report emphasizes the need for greater representation of women in key decision-making roles within the industry, particularly as producers. To achieve this, it recommends providing adequate and timely budgetary support to incentivize films that promote gender justice both thematically and in their production processes. A single-window system could be established to provide loans at nominal interest rates for films produced by women, streamlining permissions for shooting and making it easier for women to enter the industry.

By encouraging more women to take on producer roles, the industry can shift towards creating a more inclusive and safe environment. This change could pave the way for a more equitable and just future for women in the Malayalam film industry, ensuring their rights and dignity are upheld.

Oscar-winning composer A. R. Rahman has released the soundtrack for his latest project, the film ‘Le Musk’. This album comprises 12 tracks, blending a mix of ethereal compositions, jazz, orchestral, and eclectic elements, designed to take listeners on a sensory journey.

‘Le Musk’ is not just any film—it’s a virtual reality (VR) thriller that Rahman himself wrote, directed, and co-produced. The film features actors Nora Arnezeder, Guy Burnet, Munirih Grace, and Mariam Zohrabyan. ‘Le Musk’ aims to offer an innovative cinematic experience by merging music, fragrance, and visual storytelling to engage audiences in an entirely new way.

Discussing the soundtrack, Rahman expressed, “Music is the heartbeat of ‘Le Musk’. It carries the soul of the film, guiding the audience through an emotional and sensory journey. The film is a labor of a lot of hard work and love, where we tried to push the boundaries of how we use technology to create something truly immersive.” He further added, “I am thrilled to finally share this soundtrack with the world and offer a glimpse into the world we’ve created.”

‘Le Musk’ has already been showcased at prestigious venues such as Cannes XR, Los Angeles, and Toronto, generating considerable buzz. The film’s story explores themes of love, memory, and sensory exploration, and its soundtrack echoes these motifs, promising a unique listening experience for both dedicated Rahman fans and those new to his work.

The album is a collaborative effort, featuring contributions from various artists, including Nora Arnezeder, Sana Moussa, Linda Lind, Mayssa Karaa, Hiral Viradia, Simona Gilbert, The Firdaus Orchestra, and the Budapest Orchestra. The soundtrack also highlights the involvement of award-winning music engineer Greg Penny, whose expertise further elevates the project.

Released under the label of Believe Music, the soundtrack of ‘Le Musk’ is expected to make waves in the music world. Rahman’s recent album, ‘Amar Singh Chamkila’, was also a major success, further establishing his prowess in the industry. For that album, Rahman collaborated with director Imtiaz Ali, lyricist Irshad Kamil, and singer Mohit Chauhan—a team often celebrated as the “dream team” for their previous successes like ‘Rockstar’ and ‘Tamasha’.

The 12 tracks in the ‘Le Musk’ album are crafted to resonate with the film’s story, enhancing the overall experience of the movie. For Rahman, who is known for pushing creative boundaries, this soundtrack is another step forward in his illustrious career. The fusion of different musical styles in the album reflects Rahman’s vision of creating a soundscape that is both innovative and deeply connected to the narrative of the film.

In ‘Le Musk’, Rahman explores the use of VR technology to its fullest potential. By combining music, scent, and visuals, the film seeks to create a multi-sensory experience that is groundbreaking in the world of cinema. Rahman’s dedication to exploring new technological frontiers is evident in this project, which has been years in the making.

The release of the soundtrack marks a significant milestone in the film’s journey, providing audiences with a taste of what to expect from the full VR experience. The album’s diverse range of tracks, from orchestral pieces to more eclectic sounds, mirrors the complexity and depth of the film’s narrative.

Rahman’s ability to collaborate with a wide range of artists is also showcased in this album. The inclusion of both established and emerging talents adds a fresh dimension to the soundtrack, making it a rich and varied listening experience. The presence of orchestras like The Firdaus and Budapest Orchestra adds a grand, cinematic quality to the music, while the individual contributions of artists like Nora Arnezeder and Mayssa Karaa bring a personal, emotive touch to the tracks.

The involvement of Greg Penny, a seasoned music engineer known for his work with top-tier artists, ensures that the technical quality of the soundtrack is on par with its creative ambition. Penny’s expertise in sound engineering has been instrumental in bringing Rahman’s vision to life, adding layers of depth and clarity to the music that are essential for a VR film of this scale.

As the soundtrack gains attention, it is likely to draw listeners into the world of ‘Le Musk’ even before they experience the film itself. The music serves as an entry point into the narrative, setting the stage for the immersive experience that Rahman and his team have crafted.

Rahman’s work on ‘Le Musk’ reflects his ongoing commitment to innovation in music and film. His ability to seamlessly blend different genres and styles, while also incorporating cutting-edge technology, has made him one of the most respected and influential figures in the industry.

The soundtrack of ‘Le Musk’ is expected to resonate with audiences long after the film’s release. Its combination of musical diversity, technical excellence, and emotional depth makes it a standout project in Rahman’s already impressive body of work.

A. R. Rahman’s latest project, ‘Le Musk’, is not just a film, but an experience that transcends traditional boundaries. The soundtrack plays a crucial role in this, offering a preview of the sensory journey that awaits viewers. As Rahman continues to explore new creative avenues, ‘Le Musk’ stands as a testament to his vision and dedication to pushing the limits of what is possible in music and film.

Shah Rukh Khan’s universal appeal knows no bounds, recently resonating at Lake Maggiore, where he was bestowed with the prestigious Pardo Alla Carriera award at the Locarno Film Festival. This accolade recognized Shah Rukh for his substantial contributions to Indian cinema. Following the award ceremony, he engaged in an insightful discussion with the festival’s artistic director, Giona A Nazarro, offering a glimpse into his thoughts and reflections on cinema. The conversation was rich, with Shah Rukh sharing his quick wit and profound understanding of how his mind processes the vast landscape of Indian cinema, encompassing its diverse languages and cultures.

A significant part of the dialogue revolved around the diversity inherent in Indian cinema, which is often misunderstood or oversimplified. Shah Rukh emphasized that Indian cinema cannot be confined to regional categories. He articulated, “Honestly, to regionalise Indian cinema is wrong. The country is so vast that we don’t have different dialects across the nation, but different languages altogether. Be it Tamil, Telugu, Marathi, Odia, Bengali, Hindi, Gujarati… it is all Indian cinema.” His words underscore the complexity and richness of Indian cinema, which spans multiple languages, each with its own unique storytelling traditions.

Having collaborated with many prominent figures across these languages, Shah Rukh’s observation was astute and grounded in experience. He remarked, “Some of the best storytelling comes from the South of India. Some of the greatest superstars of Indian cinema are from Tamil, Malayalam, Telugu, etc… Of course, we know of them in India, but with films like Jawan, Baahubali, and RRR, everybody is noticing it.” Shah Rukh has often incorporated South Indian technicians into his Hindi films, recognizing their cinematic and technical expertise. He credited his work with Mani Ratnam on the film “Dil Se” for igniting his desire to explore the “South” genre further. However, working with a South Indian director was not enough; Shah Rukh sought to immerse himself deeper into the vibrant and dynamic world of South Indian cinema.

This desire eventually led to his collaboration with Tamil director Atlee on the film “Jawan.” Shah Rukh explained that different regions of India have distinct approaches to storytelling, with the South known for its grand, larger-than-life narratives. He shared, “South has a larger-than-life approach. It is very robust with a lot of music going on. They love their heroes to be larger-than-life. I really enjoyed acting in such a film. It was very theatrical. It was very colourful, and lovely.” This experience was a new and enriching one for Shah Rukh, who also touched upon the linguistic barriers he faced while working with Atlee. Despite these challenges, they found ways to communicate, often relying on gestures. Shah Rukh recalled, “After a point, we just started gesticulating. Atlee is a wonderful guy, and he was kind enough to name his son after my dad. Whenever I asked him if a take was okay, he would say ‘Mass’. It meant good. It was a lot of shaking of hands, eating idly, dosa, and chilli chicken.”

Shah Rukh’s enthusiasm for South Indian cinema was evident as he highlighted the talent involved in “Jawan.” The film featured acclaimed South Indian actors like Vijay Sethupathi and Nayanthara, with editing by Ruben, making it a unique fusion of Hindi and South Indian cinema. “We had some wonderful actors from the South. We had Vijay Sethupathi. We had Nayanthara ji. We had editing by Ruben. In fact, Jawan was the first fusion of Hindi and South Indian cinema that transcended boundaries. People loved the film, and it did a lot of business. Jawan was such a great experience,” he noted. The film’s success is a testament to the growing recognition and appreciation of South Indian cinema on a global scale, driven by its distinctive style and storytelling prowess.

Looking ahead, Shah Rukh Khan revealed his upcoming project, “King,” directed by Sujoy Ghosh. Describing the film as an “age-centric actioner,” Shah Rukh shared that it required him to undergo rigorous training. This project is particularly special as it reportedly marks the first on-screen collaboration between Shah Rukh and his daughter, Suhana Khan, adding a personal touch to the anticipation surrounding the film. Shah Rukh’s continued dedication to his craft and his willingness to embrace new challenges and collaborations illustrate his enduring passion for cinema.

Shah Rukh Khan’s presence at the Locarno Film Festival and his receipt of the Pardo Alla Carriera award serve as a reminder of his significant impact on Indian cinema. His reflections on the diversity and richness of Indian cinema, coupled with his own experiences working across different regional industries, highlight the evolving landscape of Indian filmmaking. Shah Rukh’s journey, from his work with Mani Ratnam to his recent collaboration with Atlee, reflects a deepening connection with South Indian cinema and a desire to explore new narratives and cinematic expressions. As he continues to push boundaries and take on new roles, both on and off-screen, Shah Rukh Khan remains a pivotal figure in the ever-expanding world of Indian cinema.

I eagerly anticipated Ulajh, a film starring a promising New Generation actor who seemed finally to have a role that matched her intelligence, supported by a solid and diverse cast. Unfortunately, this spy thriller, mostly set in the cold landscapes of London, ended up being a disappointment.

The movie begins with the ambitious young diplomat, Suhana Bhatia (Janhvi Kapoor), winning a seemingly losing battle in a neighboring country through a questionable move. The rationale is that it was in India’s best interest, emphasizing Suhana’s cleverness and her ability to think quickly. Her promotion to a prestigious overseas position suggests that this IFS blue-blood — her father Dhanraj (Adil Hussain) is a legendary figure in the service — is on a path to a trailblazing career.

Suhana soon encounters an avuncular chauffeur-cum-factotum (Rajesh Tailang), a suave senior (Alyy Khan), a few critical juniors (Roshan Mathew, Meiyang Chang), and a charming chef (Gulshan Devaiah) who can whip up mouth-watering dishes on the fly.

Then, the narrative takes a drastic turn: an indiscretion makes Suhana an easy target for the ISI (where there are patriotic Indians, how far behind can the sinister Pakistani secret service be), and suspicion starts to circle her, tightening the noose. Meanwhile, in Pakistan, a peacenik Prime Minister (Rushad Rana) is preparing for a visit to India. Will everything go as planned, or will it end in disaster? Are Suhana’s increasingly desperate colleagues innocent or complicit? Will she manage to extricate herself from the tightening grip?

The spy genre is well-worn territory, but there’s always room for a sleek film with characters who convincingly portray their conflicted beliefs and questionable actions. In *Ulajh*, however, believability is sacrificed for contrived situations and artificiality. How does Suhana, who is depicted as having sharp instincts from the start, fall for the oldest trick in the book? Why are her interactions with the mentor she idolizes so stiffly written? How does an antagonistic colleague suddenly switch sides in an instant?

These issues are particularly disappointing because Ulajh features a talented ensemble cast, yet they are left to fumble through an amateurish plot. The problem with Hindi films where heroines lead from the front is apparent in how Kapoor is positioned front and center, even when her character should have known better: sometimes she should step aside and let the experts do their jobs. When the lead is elevated at the expense of other characters, who feel underdeveloped, the film as a whole suffers.

Ulajh stars Janhvi Kapoor, Roshan Mathew, Gulshan Devaiah, Adil Hussain, Rajesh Tailang, Meiyang Chang, Rajendra Gupta, Alyy Khan, Jitendra Joshi, and Rushad Rana. The film is directed by Sudhanshu Saria and earns a rating of 2 stars.

Raayan is a significant film, marking Dhanush’s 50th project and one where he takes the director’s chair, showcasing his vision and prowess. Unlike typical milestones, Dhanush fully embraces this moment, focusing on creating a cinematic experience centered around his multifaceted skills. Despite being the star, Dhanush’s character, Kathavaraayan, remains in the background initially, letting his siblings shine. Muthuvelraayan (Sundeep Kishan) and Manickavelraayan (Kalidas Jayaram) have powerful entrances, while their sister, Durga (Dushara Vijayan), stands out as the backbone of the family. In contrast, Dhanush’s introduction is subtle, depicted as simply cooking fried rice, hinting at deeper layers to his character.

The film opens with a beautifully shot black-and-white flashback, establishing why the eldest Raayan brings his siblings to the city, seeking a better life. The younger versions of the Raayan brothers set the stage for a gripping revenge drama. As the family navigates through life amidst gang wars involving Durai (Saravanan) and Sethu (SJ Suryah), and a cunning cop (Prakash Raj), tension builds, leaving the audience to wonder when the true Raayan will emerge.

The Raayan household, much like their lives, is unfinished and in need of repair, symbolizing their ongoing struggles. The first half of the film is dedicated to setting up the characters and their dynamics, with Dhanush’s character remaining a mystery. Manickavelraayan’s desire to step out of his brothers’ shadows and Muthu’s hot temper are focal points, driving the narrative forward. However, once Kathavaraayan steps in to protect his family, the film risks becoming a typical revenge story. A twist reinvigorates the plot but also exposes some of the film’s shortcomings, leaving the audience questioning the depth of the characters.

Despite attempts to develop these characters through scattered dialogues, there is a sense that we never fully understand them. Interestingly, the less explored characters make a more lasting impact. Dushara Vijayan’s performance stands out, driving the narrative with her compelling portrayal. Selvaraghavan as the guardian angel and Aparna Balamurali, who delivers the film’s pivotal dialogue, add significant value. Devadarshini, in a brief role, makes a striking impact. SJ Suryah, in a restrained role, excels but is limited by some writing choices that prevent his character from being as menacing as intended. These writing choices, along with a few others, hinder the film from reaching its full potential as a compelling family drama. The explosive confrontations between characters, although visually impactful, lack the emotional depth to make a lasting impression.

What truly elevates Raayan is Dhanush’s direction and the cohesive effort of the entire production team. The film benefits from precise staging, allowing the characters to breathe and reflect in quieter moments. Editor GK Prasanna and cinematographer Om Prakash enhance the film’s visual appeal, especially in complex scenes where every movement is clear and purposeful. Prabhudeva and Baba Baskar’s choreography adds style without compromising raw emotion, while Peter Hein’s stunt choreography is impactful without overstaying its welcome. AR Rahman’s score ties everything together, enhancing the film’s atmosphere and elevating it to another level. “Isn’t this the Rahman we have been wanting for a while now?”

Despite these strengths, Raayan falls short of soaring to its full potential. The film boasts excellent performances from a talented cast and a top-notch technical team. The premise holds promise for a no-holds-barred revenge drama, but the film pulls back at crucial moments, diluting its impact. This restraint leaves some performances feeling underutilized, some of the violence feeling unnecessary, and the overall experience somewhat hollow. In the end, the lingering question is: What could Raayan have been?

Rumors of a split between Bollywood power couple Abhishek Bachchan and Aishwarya Rai are gaining traction. This speculation intensified following their recent separate public appearances. Abhishek was seen at a high-profile wedding with his family—father Amitabh, mother Jaya, sister Shweta Bachchan Nanda, and her family—while Aishwarya arrived later with their daughter Aaradhya.

Further fueling these rumors, Abhishek liked an Instagram post about the rising number of divorce cases, shared by a journalist. This action did not go unnoticed by vigilant social media users.

The Social Media Post

The post that caught Abhishek’s attention was titled, “When love stops being easy.” The accompanying caption elaborated, “Divorce is never easy for anyone. Who doesn’t dream of a happily ever after or envision recreating those heartwarming videos of elderly couples holding hands as they cross the street? Yet, sometimes life doesn’t unfold as we hoped. But how do people cope when they separate after decades together, after spending a significant portion of their lives relying on each other for both big and small things?”

This like from Abhishek only added to the swirling rumors about his and Aishwarya’s relationship status.

Separate Public Appearances

The couple’s separate appearances at the recent wedding of an Indian billionaire’s son, attended by numerous celebrities, added fuel to the fire. Abhishek and Aishwarya have not been seen together for some time now, further intensifying the divorce rumors.

A Timeline of Their Relationship

Abhishek Bachchan and Aishwarya Rai Bachchan married on April 20, 2007, in a grand ceremony. The couple welcomed their daughter, Aaradhya, on November 16, 2011. Over the years, they have been regarded as one of Bollywood’s most iconic couples.

Abhishek’s Upcoming Projects

In terms of his professional life, Abhishek Bachchan has several upcoming projects. He will be seen in the Shah Rukh Khan film “King,” where he is expected to play a negative role. This film will also reportedly feature Shah Rukh’s daughter, Suhana Khan, and is likely to be directed by Sujoy Ghosh.

Additionally, Abhishek will appear in “Housefull 5,” a star-studded comedy that includes Akshay Kumar, Anil Kapoor, Nana Patekar, Riteish Deshmukh, and Chunky Pandey in significant roles.

Conclusion

While the rumors of a split between Abhishek Bachchan and Aishwarya Rai continue to circulate, neither has made an official statement regarding the status of their relationship. The public and media remain watchful, hoping for clarity from the couple who have been a significant part of Bollywood’s narrative for over a decade.

On the eve of Kamal Haasan’s much-anticipated appearance in Shankar’s ‘Indian 2’, which follows the mega star delivering successive blockbuster hits — ‘Kalki 2898 AD’ this year and crime thriller ‘Vikram’ in 2022 — Audible has announced the release of a new audiobook titled ‘Kamal Haasan: A Cinematic Journey’.

Director-turned-educationist K. Hariharan explores Kamal Haasan’s evolution across 50-plus films, showcasing his ability to challenge stereotypes and push boundaries. Here are some lesser-known facts from the screen legend’s incredible journey from the audiobook:

1. When veteran producer L.V. Prasad screened ‘Ek Duje Ke Liye’ for the first time, it was a disaster.

Kamal Haasan bridged the north-south divide in India and made inroads into the Hindi film industry with ‘Ek Duuje Ke Liye’ (1981), which was what we would now call a pan-India film. Despite the initial setbacks and sceptical distributors in Mumbai, the film eventually was greeted with packed cinemas and emotional reactions.

The audience response took the veteran producer L.V. Prasad by complete surprise. In the words of Hariharan, “Prasad realised that everyone had seen a wholesome tragedy after a long time on the Hindi screen and there was no difference in feelings between the Tamil and Hindi audiences … he immediately called his son to order another 40 prints to be released all over India the following Friday.”

The film went on to celebrate 50 weeks in the theatres (a golden jubilee in the terminology that was current then) and the rest is history.

2. Shah Rukh Khan did not charge a paisa for his role in ‘Hey Ram’.

Kamal Haasan’s journey with ‘Hey Ram’ (2000) began with an idea akin to a crime thriller, but he soon realized that empathizing with Gandhi’s assassin, Nathuram Godse, would be too reactionary.

“I changed it around completely and made the story get some respect for the protagonist. Undoubtedly, the film got me a lot of respect, but it flopped,” Kamal Haasan tells Hariharan. Shah Rukh Khan, however, “was so impressed by the vision of the film that he refused to charge a penny for his performance as Amjad, instead deeming it an honour to get an opportunity to work with a legend like Kamal.”

3. Silent comedy ‘Pushpak’ was certified by the Censor Board multiple times in the same year in all Indian languages.

Inspired by the legacy of Charlie Chaplin, Kamal Haasan’s ‘Pushpak’ (1987) redefined silent comedy for Indian audiences. In the audiobook, Hariharan shares that the film’s release strategy was quite complex because of the absence of dialogue.

“The rule says that a talkie has to be in a certain language,” explains Hariharan. “In order to release this wordless film all over India, it was certified the same year by the Censor Board multiple times, in all Indian languages, with titles being changed and new censor certificates issued in all languages!”

4. ‘Sathya’ almost got shelved because of Kamal Haasan’s financial difficulties.

The 1988 movie ‘Sathya’ was a bold move as it was the remake of the 1985 Bollywood hit ‘Arjun’, scripted by Javed Akhtar. Suresh Krishnaa was the director of the Tamil film and Kamal’s production house was helming the project. Kamal demonstrated his remarkable acting prowess, says Hariharan, but the film’s production faced a number of challenges.

“Kamal’s second production, a big-budget sci-fi venture titled ‘Vikram’ suffered on both critical and commercial fronts. His company had to comfort the distributors who had shouldered the risk of such an ambitious film,” writes Hariharan. But the film did well on all counts. With a stellar musical score by Ilaiyaraaja and Kamal’s relentless dedication, ‘Sathya’ became a defining film resonating deeply with audiences. (IANS)

As part of the Cinema Tourism project of Kerala Tourism, the renovation work of the ‘Kireedam Bridge’ is nearing completion. The decision to turn it into a tourist attraction was announced last year and Rs1,22,500 crores was sanctioned to develop the bridge and its surrounding areas including the area around the Vellayani Lake.

The bridge, set amidst verdant greenery in a picturesque locale at Kalliyoor panchayat in Vellayani in the suburbs of the city, connects generations of cinephiles who have seen and been moved by the movie Kireedam (1989). The nondescript bridge across Punchakari canal features in several poignant scenes in the movie. A classic Malayalam film starring Mohanlal as the protagonist, Kireedam is one of the masterpieces of the actor. Scripted by A.K. Lohithadas and directed by Sibi Malayail, the movie has memorable scenes, especially those featuring Mohanlal and Thilakan.

On the occasion of Mohanlal’s 64th birthday, Mr P.A. Mohamed Riyas, Minister for Tourism, announced on social media that work was progressing on the bridge to transform it into a tourist spot and that it was in its final stage. The minister recalled he had visited the place in the company of Mr V. Sivankutty, Minister for Education.

“I was on the lookout for rustic locations when our cinematographer Mr S. Kumar took me around Nemom, where he came from. It was during those location hunts that I came across this serene country bridge. I also shot here for Chenkol, the sequel of Kireedam in 1993. In a sense, the bridge became a metaphor for the character Sethu’s story, connecting two different stages of his life,” said the director of the film, Mr Sibi Malayil.

Mumbai– Vinod Ganatra, a highly-regarded filmmaker and editor originally from Gujarat and now based in Mumbai, has achieved a significant milestone by becoming the first Indian recipient of South Africa’s prestigious ‘Nelson Mandela Lifetime Achievement Award’ for his remarkable contributions to cinema, particularly in the realm of children’s films.

According to an official announcement made here on Tuesday, Ganatra was honored with this esteemed award during the 7th Nelson Mandela Children’s Film Festival, in recognition of his extensive body of work that has left a lasting impact on the world of cinema for young audiences.

The accolade adds to Ganatra’s already illustrious career, which spans over three decades and includes a total of 36 national and international awards. Among his notable recognitions are the ‘Janakinath Gaur Award’ from Doordarshan for his popular children’s program, ‘Baingan Raja’, and the ‘Liv Ullmann Peace Prize’ in Chicago for his Gujarati film, ‘Harun-Arun’.

Throughout his career, Ganatra has also been invited to serve on the jury of more than 100 national, regional, and international film festivals. His contributions extend beyond filmmaking, encompassing the editing and direction of over 400 documentaries and news reels, as well as the production of 25 multilingual television programs tailored for children and youth.

A pivotal figure in the children’s film movement, Ganatra founded the ‘Ahmedabad International Children Film Festival’ and has served on the jury of prominent events such as the Culture Cinema Film Festival (C2F2) and KidzCINEMA, an international children’s film festival based in Mumbai.

Ganatra gained international acclaim early in his career with his debut feature ‘Heda-Hoda (Blind Camel)’, followed by ‘Lukka-Chhuppi (Hide-n-Seek)’, the first children’s film entirely shot at high altitude in Ladakh. His subsequent work includes ‘Harun-Arun’, a poignant exploration set against the backdrop of the India-Pakistan border in Gujarat, which premiered at the 26th Chicago International Children’s Film Festival.

For over a decade, Ganatra has been an integral part of UNESCO’s International Centre of Films for Children & Young People, serving on its board and currently holding an honorary membership.

Ganatra expressed his gratitude for the award, highlighting the importance of cinema in shaping young minds and fostering cultural exchange. He remains committed to advancing the field of children’s cinema, advocating for its recognition and growth on both national and international stages.

Through his pioneering work and dedication, Vinod Ganatra continues to inspire audiences and filmmakers alike, leaving an indelible mark on the world of cinema and affirming his place as a trailblazer in the realm of children’s films.

Sports icons Sania Mirza, Mary Kom, Saina Nehwal, and Sift Kaur recently appeared as guests on Netflix’s “The Great Indian Kapil Show.” During their conversation with host Kapil Sharma, the topic of a Bollywood biopic on Sania Mirza came up. Sania shared her thoughts humorously and candidly, providing an interesting perspective on the idea.

Kapil Sharma noted that Mary Kom had Priyanka Chopra portray her in a 2014 biopic, and Parineeti Chopra played Saina Nehwal in 2021. When asked who she would prefer to play her in a film, Sania joked, “Inki koi behen bachi hain? (Are there any sisters left?)” She continued, “No, I think we have many good actors in our country. Anyone is fine. Or maybe I should play myself.”

Kapil further mentioned that Shah Rukh Khan had once expressed interest in playing Sania’s love interest if a biopic were made. This prompted a momentary awkwardness for Sania, considering her recent divorce from cricketer Shoaib Malik. Lightening the mood, she responded, “But I need to find a love interest first.” When Kapil asked if she would act in her biopic if Shah Rukh starred in it, she said, “If Shah Rukh ji does the film, I might play myself. And I’ll definitely do it if Akshay Kumar is in it.”

Kapil also inquired how Sania managed to get Swiss tennis player Martina Hingis to be her doubles partner, jesting if it was through Hyderabadi biryani. Sania replied humorously, “I took Farah (Khan) along, and she fed us biryani.”

Sania Mirza’s admiration for Akshay Kumar has been evident over the years. In 2014, Akshay attended one of her International Premier Tennis League (ITPL) matches, along with celebrities like Deepika Padukone and Aamir Khan. During the pandemic in 2020, when Sania was in India and Shoaib Malik was in Pakistan, they had a ‘virtual date’ over Instagram live. During a game of “Ditch and Marry,” Shoaib asked her to choose between Tom Cruise and Akshay Kumar. Sania’s response highlighted her long-standing admiration: “I’ve liked Akshay Kumar since Mohra days. I’m not gonna ditch him. When nobody liked Akshay, I liked Akshay.”

The conversation with Kapil Sharma also touched on Sania and Shoaib Malik’s divorce. After months of speculation, Shoaib and Sana Javed posted their wedding photos on Instagram on January 19, 2024. Sania’s family confirmed the separation, stating that she and Shoaib had been divorced for a few months. The family’s statement read, “Sania has always kept her personal life away from the public eye. However, today the need has arisen for her to share that Shoaib and she have been divorced for a few months now. She wishes Shoaib well for his new journey ahead.”

The playful exchange on “The Great Indian Kapil Show” provided insights into Sania Mirza’s life and career, mixing light-hearted moments with personal revelations. It showcased Sania’s sense of humor, her openness about her personal life, and her deep admiration for Akshay Kumar, adding a relatable and humanizing touch to the sports star’s public persona.

Sanya Malhotra has secured the Best Actress award at the esteemed New York Indian Film Festival 2024 for her performance in the film ‘Mrs’.

Directed by Arati Kadav, ‘Mrs’ is reportedly the Hindi adaptation of the highly praised Malayalam movie, ‘The Great Indian Kitchen’. This film has been characterized as “a captivating account of a woman’s strength and resilience,” centering on the life of Richa, played by Sanya Malhotra. Richa’s narrative unfolds as one of self-discovery, set against the backdrop of her demanding household and kitchen duties.

The movie boasts a notable ensemble, including Nishant Dahiya and Kanwaljit Singh, in prominent roles.

Jio Studios’ official social media handle shared the news of Sanya Malhotra’s accolade. Their post read, “Congratulations to the incredibly talented @sanyamalhotra07 on winning the Best Actress Award at the prestigious New York Indian Film Festival for the film Mrs! Produced by #JyotiDeshpande Produced by #PammiBaweja & #HarmanBaweja, Cast @sanyamalhotra07 #NishantDahiya @kukuhere, Directed by @AratiKadav, Co-Produced by #SmitaBaliga #JioStudios @bawejastudios @nyindianff”.

Apart from her role in ‘Mrs’, Sanya Malhotra has several intriguing projects lined up. She is set to appear in Varun Dhawan’s ‘Baby John’, featuring dialogues by Atlee. Another project, ‘Sunny Sanskari Ki Tulsi Kumari’, stars Varun Dhawan and Jahnvi Kapoor. Additionally, she will feature in Mani Ratnam’s upcoming Tamil action drama ‘Thug Life’ and an untitled film directed by Anurag Kashyap.

This string of projects showcases Sanya Malhotra’s dynamic range and her continuous rise in the film industry. Her portrayal of Richa in ‘Mrs’ has not only earned her critical acclaim but also established her as a formidable talent capable of carrying complex, character-driven narratives.

The recognition from the New York Indian Film Festival is a significant milestone in her career, highlighting her ability to embody deeply layered roles and connect with audiences on an emotional level. This accolade is a testament to her dedication to her craft and her skill in bringing nuanced characters to life on screen.

The storyline of ‘Mrs’ delves into the intricate dynamics of domestic life, portraying Richa’s evolution as she confronts and overcomes the traditional expectations placed upon her. The film’s exploration of gender roles and societal norms resonates with viewers, offering a poignant commentary on the everyday struggles faced by many women.

Sanya Malhotra’s performance has been pivotal in conveying the film’s message, her portrayal of Richa marked by a profound depth and authenticity. This role required her to navigate a spectrum of emotions, from frustration and vulnerability to empowerment and resilience, and she has done so with remarkable finesse.

The supporting cast, including Nishant Dahiya and Kanwaljit Singh, have also contributed significantly to the film’s impact, providing strong performances that complement Malhotra’s lead role. Their contributions help paint a comprehensive picture of the protagonist’s world and the challenges she faces.

The film’s director, Arati Kadav, has been praised for her vision and execution, successfully adapting a story from a different cultural context and making it resonate with a wider audience. Her direction ensures that the essence of the original Malayalam film is retained while infusing it with a fresh perspective that speaks to the Hindi-speaking audience.

The collaborative efforts of the production team, including producers Jyoti Deshpande, Pammi Baweja, Harman Baweja, and co-producer Smita Baliga, alongside the backing of Jio Studios, have been instrumental in bringing this powerful story to life. Their commitment to producing quality cinema is evident in the film’s reception and the accolades it has garnered.

The recognition from the New York Indian Film Festival further cements the significance of ‘Mrs’ in contemporary Indian cinema. It underscores the importance of storytelling that challenges societal norms and provides a voice to underrepresented perspectives. This win is not just a personal triumph for Sanya Malhotra but also a victory for meaningful cinema that sparks conversation and reflection.

Looking ahead, Sanya Malhotra’s upcoming projects are highly anticipated. Her role in ‘Baby John’, where she collaborates with Varun Dhawan and dialogues by Atlee, is expected to be a dynamic addition to her filmography. ‘Sunny Sanskari Ki Tulsi Kumari’, also starring Varun Dhawan and Jahnvi Kapoor, promises to be an engaging narrative with a stellar cast.

Her participation in Mani Ratnam’s ‘Thug Life’ signals her foray into Tamil cinema, a move that will undoubtedly expand her audience and showcase her versatility as an actress. Additionally, her collaboration with Anurag Kashyap in an untitled project is eagerly awaited, given Kashyap’s reputation for crafting compelling and unconventional films.

Sanya Malhotra’s achievement at the New York Indian Film Festival is a testament to her exceptional talent and the powerful storytelling of ‘Mrs’. Her journey in the film industry continues to be marked by noteworthy performances and a dedication to exploring diverse and challenging roles. This award is a significant milestone, celebrating her ability to bring depth and authenticity to her characters and reinforcing her status as one of the most promising actresses in contemporary Indian cinema.