Category: Cinema

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.

Director Mahnoor Euceph’s interest in exploring entertaining stories about the South Asian diaspora through the female gaze, led her to direct the live action short film Eid Mubarak. In this award-winning film, a privileged six-year-old Pakistani girl embarks on a mission to save her beloved pet goat from being eaten on the Muslim holiday of Eid al-Azha, only to learn the meaning of sacrifice.

Eid Mubarak won the Jury Award for Live Action Short at the New York International Children’s Film Festival, qualifying the film for Oscars consideration this year. It has played over 40 film festivals including CAAMFest, SXSW Sydney, Tasveer, Atlanta ShortFest, and ShortShorts Film Festival & Asia. It won both the Jury Award for Narrative Short and the Audience Award for Short Film at the 2023 Austin Asian American Film Festival. It took the prize for Best Short at Big Eyes, Big Minds Singapore International Children’s Film Festival 2023, and three top awards including the jury award for Best Live Action Short at the 2023 Children’s Film Festival Seattle. It took home the Best Film award at both Mosquers Film Festival and Centre Film Festival this fall. The film currently holds a total of 13 wins.

Euceph’s work is injected with humor and features a hyper stylized sensibility informed by design and fine art. Her films seek to decolonize the mind and encourage audiences to engage in radical self love.

Ouat Media announced today that Eid Mubarak will be available in select territories on KIS KIS – keep it short, which will launch the film on YouTube on November 18, 2023, and in early 2024 on the streaming service Kanopy, the on-demand streaming video platform for public and academic libraries. Based out of Toronto, Canada, Ouat Media, a wholly owned subsidiary of the independent Canadian media group Channel Zero, specializes in distribution and worldwide sales of short films with a particular focus on titles by industry’s rising stars. Celebrating its 17th anniversary this year, Ouat Media has represented three Oscar® winners and 12 Oscar® nominees.

Eid Mubarak has a high-profile Los Angeles special screening set for Friday, November 17 at WME Screening Room presented by Gold House, the preeminent community for Asian Pacific creatives, entrepreneurs, and social impact leaders as well as partners South Asians in Entertainment, Rickshaw Film Foundation and 1497.

Additionally, the film has an awards campaign led by Adam Segal of The 2050 Group, the publicity agency that had 20 Oscar shortlisted and 7 Oscar nominated films in the 2022-23 awards season. Rohi Mirza Pandya is an executive producer on the film with her leading industry consultancy Box Office Guru Media. She is an award-winning Creative Producer in film, television, and theater for over twenty years.

In Eid Mubarak, Iman, a privileged Pakistani girl, goes with her family to buy a goat, as is the tradition in Pakistan before the Muslim holiday of Eid al-Azha. She picks the cutest one, and takes it home. She spends all of her time with the goat, whom she names Barfi, after her favorite Pakistani dessert. Soon, however, she realizes that Barfi is not a pet, but a goat being raised for slaughter. She makes a plan to save Barfi’s life before he can be sacrificed on Eid. Along the way, through the help of her family and friends, she learns the true meaning of sacrifice, and the reason behind Eid al-Azha.

Director Mahnoor Euceph said: “I made this film as a love letter to the country I once called home, to the religion that taught me how to be a human with humanity, and to my family who are the beginning and end of everything. For non-Muslims, I hope this film is educational. For Muslims, I hope it is reflective. And I hope, for everyone, it is a reminder of childhood, and that magical, wondrous world we leave behind when we grow up.”

Euceph is a Pakistani-American writer and director. She immigrated to Los Angeles from Pakistan when she was eight years old. She graduated Summa Cum Laude from UCLA in 2017, with a major in Design | Media Arts and a minor in Film, TV, and Digital Media. During her BA, she traveled abroad to work with Pakistan’s sole Oscar-winner, filmmaker Sharmeen Obaid Chinoy.

In 2021, she received her Master’s of Fine Arts from USC’s School of Cinematic Arts in Film and Television Production, with an emphasis in comedy writing and directing, and production design. During her MFA, she worked as Art Director on American Eid, Disney’s first ever Muslim story, which is currently streaming on Disney+. In 2022, she participated in the Islamic Scholarship Fund’s inaugural Muslim Centered Writers’ Lab, with support from Extracurricular and The Black List, for her feature film, Queen of Diamonds.

Her professional directorial debut, Eid Mubarak, was produced by Creator+ as part of their inaugural Flip the Script Short Film Fund, and is screening in festivals all over the country. It won the Jury Award for Live Action Short at the New York International Children’s Film Festival, making the film Oscar-qualifying. Eid Mubarak is currently in consideration for Best Live Action Short Film at the 96th Academy Awards.

Eid Mubarak is written, directed and produced by Mahnoor Euceph, Producers Kamil Chima, Ben O’Keefe and Selena Leoni. Executive producer Rohi Mirza Pandya. Director of photography Arlene Müller. Production designer Hashim Ali.

The Jio MAMI Mumbai Film Festival’s opening ceremony was a glamorous event held at the Nita Mukesh Ambani Cultural Centre. It attracted a constellation of stars, with notable attendees including Priyanka Chopra, Sonam Kapoor, Rajkummar Rao, Kamal Haasan, and Sunny Leone, among others.

Priyanka Chopra, who also serves as the Chairperson of the Mumbai Film Festival, graced the occasion with her presence. She arrived in India for the event and was spotted wearing an elegant white gown adorned with golden stripes, complemented by a matching cape. Priyanka shared snapshots from her photoshoot on her Instagram account, captioning it with “Opening night ❤️?? Jio Mami Mumbai Film Festival @mumbaifilmfestival.” In the photos, she can be seen posing next to a grand black piano. Her husband, Nick Jonas, left a fiery comment on the post, though he didn’t accompany her to India this time. Their daughter, Malti, was seen traveling with Priyanka.

Sonam Kapoor also graced the opening ceremony, dressed in a chic black outfit reminiscent of Audrey Hepburn. The star-studded event further featured prominent figures from the entertainment industry, including actors Kamal Haasan, Rajkummar Rao, Sunny Leone, Tara Sutaria, Tejasswi Prakash, Avneet Kaur, Saiee Manjrekar, Raashi Khanna, Utkarsh Sharma, and Palak Tiwari.

Regarding MAMI 2023, this year’s festival opened with Hansal Mehta’s detective drama “The Buckingham Murders,” starring Kareena Kapoor. The festival lineup includes notable films like Aparna Sen’s “The Rapist,” featuring Konkona Sensharma and Arjun Rampal, Anurag Kashyap’s crime thriller “Kennedy,” with Sunny Leone and Rahul Bhat, and Varun Grover’s directorial debut, “All India Rank.” The festival also features international titles such as Bradley Cooper’s “Maestro.” MAMI 2023 is dedicated to celebrating the cinema of South Asia and is scheduled to run from October 27 to November 5.

Viewers can catch ZEE5 Global’s unmissable slate and stock up on their yearlong entertainment by subscribing to the Annual pack and grabbing the limited-time special offer price.

ZEE5 Global is the digital entertainment destination launched by Zee Entertainment Enterprises Limited (ZEEL), a global Media and Entertainment powerhouse. The platform launched across 190+ countries in October 2018 and has content across 18 languages: Hindi, English, Bengali, Malayalam, Tamil, Telugu, Kannada, Marathi, Oriya, Bhojpuri, Gujarati, Punjabi, including six international languages Malay, Thai, Bahasa, Urdu, Bangla and Arabic. ZEE5 Global is home to 200,000+ hours of on-demand content. The platform brings together the best of Originals, Movies and TV Shows, Music, Health and Lifestyle content in one destination. In addition, ZEE5 Global offers features like 15 navigational languages, content download options and Voice Search.

The industry prefers a winning formula to creative exploration, particularly in big-budget films populated by rocking stars with fancy fees. Will that change from hereon with the success of ‘Jawan’? We have on offer a new path for Bollywood, a path that can use its huge and unrivalled soft power to drive home some significant messages of the kind and in a way it has rarely attempted in a big-budget extravaganza.

By Jagdish Rattanani Shah Rukh Khan, also known as King Khan or SRK, is raking it in at the box office with ‘Jawan’. The movie opened last week and reportedly netted over Rs.350 crore by the weekend, said to be the biggest opening ever on record for a Bollywood movie. A career that some thought was in decline is back with a big bang.  The SRK magic works this time with co-star Nayanthara, noted for her work across the southern Indian states, and Tamil cinema stars like Vijay Sethupati and the director Atlee Kumar, combining talent across the North and South into a package that appears to have been lapped up by the national audience. The producer company, Red Chillies Entertainment, describes the 2¾-hour-long movie in these words: “A high-octane action thriller which outlines the emotional journey of a man who is set to rectify the wrongs in society.”

Needless to say, a lot of it is typical Bollywood hyperbole. But the “wrongs in society” it highlights are very real, making ‘Jawan’ a bold venture with distinct political overtones that many would see as high risk in this particular political atmosphere, further heated by the upcoming elections. That the movie highlights the death of patients due to a lack of oxygen cylinders in a public hospital, the farmer suicides, bad deals for substandard equipment that fail our soldiers, the factories that pollute our water and air, or protection of select businessmen wheeler-dealers, is as real or as specific as it can get today.

In that, the movie goes beyond the general tirade against the ills of society, pictured usually in stereotypes of the rogue middleman, the corrupt politician, or the woes of everyday people as they struggle to get their due. ‘Jawan’ still has a lot of common nouns, of course, but proper nouns are in the air.  In that sense, SRK and team have unhesitatingly opened real issues meshed within unreal drama, using escapist masala to serve burning political questions that many can see, many more can sense but few from Bollywood will dare ask in today’s political climate.

Puts people on notice

It used to be the theory long ago that Bollywood works because vacuous song-and-dance was the one release from the misery of everyday living for millions. This changed over the decades, from the early romance stories and the rich-poor commentary to the angry-young-man, bolder romances, and then post-liberalisation with the arrival of low-cost productions that experimented with new themes. The changing times brought more modern-day issues to the big screen, like live-in relationships, LGBTQ+ rights and alliances, caste conflicts, “encounter” killings, the rural-urban divide, autism, loneliness, mental health. Many of the films over the years have had political messages and, in that sense, Bollywood was always political but in an indirect sort of way. It played mostly in safe territory – not many looked the establishment in the eye and spoke up with gusto.

This is a place known after all for song and dance, where the watchwords are entertainment and glamour. The industry prefers a winning formula to creative exploration, particularly in big-budget films populated by rocking stars with fancy fees. Will that change from hereon with the success of ‘Jawan’? We have on offer a new path for Bollywood, a path that can use its huge and unrivalled soft power to drive home some significant messages of the kind and in a way it has rarely attempted in a big-budget extravaganza. In that sense, the movie puts everyone on notice and opens new imaginations and possibilities of what Bollywood can do when it wades into hot political spaces.

Clear political messaging

One highlight of the movie is a speech that shows SRK asking citizens to pick who they will vote for after raising the right question: What will you, dear candidate, do for us, in the next five years? If someone in the family takes ill, what will you do for their treatment? What will you do to get me a job?

The message is to demand performance and delivery of service in areas of health, education, jobs, and not fall for distraction in the name of religion, race or caste. But these are exactly the questions and issues that are not in focus in the India of today, and posing them in a successful masala format gets them further to the masses than any medium possibly can. The delivery comes against a backdrop of electronic voting machines, framing the messages in the very live context of the 2024 elections.

None of this is a sophisticated delivery, or a critical examination of the complex political issues of our times. It is a baseline delivery but its significance is that it was delivered, and its success is in its wide reach, its slick package and its big questions. In that, it quite ironically matches the unsophisticated approach of those who have twisted the national agenda, changed the political discourse and now those who have come out with desperate calls to boycott the movie by drawing all kinds of connections – from the current controversy over remarks on Sanatana Dharma to Shah Rukh Khan’s recent visit to the Tirupati temple.

Expanded the space

The Hindi film industry is one place where the key currency is the quality of work and acceptance by the audience, never mind all that has been said in the name of the late Sushant Singh Rajput. Hindus, Muslims and all other faiths work here hard, and hand-in-hand, to take audiences into a dream world. It’s an efficient business machine that challenges you to prove yourself every day, however well you are connected.

The trick to making money and enjoying the ride is to challenge yourself, not challenge the political establishment. SRK’s ‘Jawan’ has just expanded that space to speak up. The effort deserves to be protected and nurtured and allowed to grow. The success of the movie is therefore good news, but it remains to be seen what will follow and how Bollywood can or will embrace this new road.

(The writer is a journalist and faculty member at SPJIMR, Mumbai. Views are personal. By special arrangement with The Billion Press) Read more at: https://www.southasiamonitor.org/medley/king-khan-opens-bold-new-space-bollywood

Producer Ektaa R Kapoor penned a heartwarming note after her much-anticipated film ‘Thank You For Coming’ starring Bhumi Pednekar took center stage at the prestigious Toronto International Film Festival (TIFF), September 16, 2023.

Taking to Instagram, Ektaa shared a series of pictures and videos from the TIFF gala night along with a note.

The note read, “Thanku @rheakapoor n @karanboolani never in my wildest dreams did I think I wud b a part of a film@that wud have a global reception at such a prestigious festival that I wud have a theatre turn into a stadium n. Erupt into claps n whistles ! Things we spoke as women have found a international stage n the empathy n humour with which u both delt with a sensitive subject of female pleasure without showing sex was amazing !!!!!to see a prestigious jury n world media acknowledge that is just wow! So@Thanku n thanku for coming into my life ! Thanku @anilskapoor n the lovely ladies who made this film Wat it is !!! So proud! #thankyouforcoming #tiff #thankouforcomingattiff.”

The red carpet event was a star-studded affair, with the presence of the film’s stellar cast, including Bhumi Pednekar, Shehnaaz Gill, Shibani Bedi, Dolly Singh and Kusha Kapila hit the red carpet of TIFF with none other than Anil Kapoor. Director Karan and producer Ektaa R Kapoor were also present. They all walked the red carpet together and moved to the beats of dhol while entering the venue.

Anil Kapoor also shared a special post, “We’re ecstatic for this mind-blowing opportunity to rock TIFF with ‘Thank You For Coming’! This film isn’t just a chick-flick; it’s a fireworks show of love, sweat, and pure dedication from our squad!”

He added, “The energy and enthusiasm of the TIFF audience, the camaraderie among fellow filmmakers, and the platform it provides for storytelling has elevated all the films here.
The audience’s unwavering support has been the driving force behind ‘Thank You For Coming’s’ success, and for that, we are eternally grateful. Once again, from the bottom of our hearts, thank you for coming – with us to the Toronto International Film Festival!”#TIFF2023 #ThankYouForComing.”

‘Thank You For Coming’ delves into the themes of female friendship, single women, love, and the pursuit of pleasure. “Thank You For Coming” was the only Indian feature film honored with the Gala World Premiere at TIFF this year.

Produced by Balaji Telefilms Limited and Anil Kapoor Film Communication Network Pvt. Ltd, directed by Karan Boolani, and written by Radhika Anand and Prashasti Singh, the film will be released in theaters worldwide on October 6, 2023.

Indian actors Ajay Devgn, R Madhavan, and Jyotika have taken to their respective social media platforms to make an exciting announcement about their upcoming supernatural thriller film, slated for a nationwide release on March 8, 2024. This highly anticipated project, directed by the acclaimed filmmaker Vikas Bahl, renowned for his previous works like “Super 30,” “Queen,” and “Goodbye,” has generated significant buzz among film enthusiasts.

In a tweet that quickly garnered attention, Ajay Devgn shared a teaser about the film, intriguingly stating, “Things are about to take a supernatural turn.” The poster accompanying the announcement revealed that this film will mark the Bollywood debut of the talented actor Janki Bodiwala, widely recognized for her roles in Gujarati films such as “Chhello Divas,” “Tamburo,” “Chhutti Jashe Chhakka,” and “Bau Na Vichar.”

Meanwhile, another exciting aspect of this project is actor Jyotika’s return to the Hindi film industry after a hiatus spanning more than two decades. Her last appearance in a Hindi film was in the 1997 movie “Doli Saja Ke Rakhna,” directed by Priyadarshan, which also marked her debut in Bollywood.

This supernatural thriller is being presented by Jio Studios, Ajay Devgn Films, and Panorama Studios International, with an impressive lineup of producers, including actor Ajay Devgn, Jyoti Deshpande, Kumar Mangat Pathak, and Abhishek Pathak. The film’s music will be helmed by the talented music director DSP (Devi Sri Prasad), adding an exciting element to the project.

R Madhavan, who gained fame for his work in the acclaimed movie “Rocketry,” has recently been appointed as the president of the Film and Television Institute of India (FTII) and chairman of the governing council, showcasing his multifaceted talents and commitment to the Indian film industry. On the other hand, Ajay Devgn, a seasoned Bollywood actor at 54, was last seen in “Bholaa,” a remake of Lokesh Kanagaraj’s “Kaithi,” which hit theaters in March 2023. Additionally, fans can look forward to Devgn’s highly anticipated project, “Singham Again,” scheduled for release in 2024. Jyotika, with her remarkable return to Bollywood, will also grace the big screen alongside Malayalam actor Mammootty in the upcoming venture “Kaathal: The Core,” directed by Jeo Baby.

The Indian film industry is abuzz with excitement as Ajay Devgn, R Madhavan, and Jyotika gear up for their supernatural thriller, directed by Vikas Bahl, set to captivate audiences nationwide on March 8, 2024. This film not only promises a thrilling cinematic experience but also marks the debut of Janki Bodiwala in Bollywood and the return of Jyotika to the Hindi film industry after a hiatus of more than two decades. With an impressive cast and production team, this project is poised to make a significant impact in the world of Indian cinema.

Pushpa The Rise, Sardar Udham, Chhelo Show, RRR, The Kashmir Files and Gangubai Kathiawadi emerged as some of the winners at the National Film Awards announced on Thursday last week by the 69th National Film Awards 2023 Committee in India.

While Allu Arjun bagged the Best Actor award for the film Pushpa: The Rise, Alia Bhatt and Kriti Sanon shared the award for Best Actress for the films Gangubai Kathiawadi and Mimi respectively. Rocketry: The Nambi Effect won the award for Best Feature Film. The Kashmir Files won the Nargis Dutt Award for Best Film on National Integration at the 69th National Film Awards.

Shoojit Sircar’s biographical historical drama Sardar Udham won several awards at the 69th National Film Awards. Apart from being named the Best Hindi Film, it also bagged Best Cinematography (Avik Mukhopadhyay), Best Audiography (Sinoy Joseph), Best Production Design (Dmitrii Malich and Mansi Dhruv Mehta) and Best Costume Design (Veera Kapur Ee) awards.

National Film Awards are the most prestigious awards, which are announced annually to honour the best filmmaking talent across the country. According to the Directorate of Film Festivals of the Union Ministry of Information and Broadcasting, the National Film Awards “aim at encouraging the production of films of aesthetic and technical excellence and social relevance.”

The awards were first handed out in 1954 and were known as the ‘State Awards’. At the time, only best films in different regional languages were recognised and awarded. The awards for actors and technicians working on the films were first given in 1967. Nargis was the first actor to win Best Actress for her performance in Raat Aur Din. Uttam Kumar won the Best Actor award for Antony Firingee and Chiriyakhana in the same year.

At the 68th National Film Awards, Tamil film Soorarai Pottru won in five categories – Best Feature Film, Best Actor for Suriya, Best Actress for Aparna Balamurali, Best Music Direction (Score) for G V Prakash Kumar, and Best Original Screenplay for Sudha Kongara, who also directed the film. Suriya shared his Best Actor win with Ajay Devgn, who won the awards for Tanhaji. Asha Parekh was honoured with the Dadasaheb Phalke Award in 2022.

Euphoric scenes reminiscent of an Indian movie came to life as people danced on the streets and ignited firecrackers. These jubilant moments were not a cinematic illusion, but the genuine celebrations of countless cinema aficionados in South India, rejoicing over the release of the newest film by one of India’s most prominent superstars. “Jailer,” an action-packed Tamil-language thriller starring the renowned actor Rajinikanth, has taken the region by storm since its debut in theaters last Thursday and is poised to establish new box office records.

With a fervent following akin to devoted fans of a deity, Rajinikanth’s return to the screen after a two-year hiatus has aroused immense anticipation. The level of excitement surrounding the release has even prompted some companies to grant their employees a day off to witness the spectacle. Notably, Redbooks Abroad, an education company based in Kerala, provided complimentary tickets to its staff for the initial screening, viewing it as a “day to relax, rejoice, and immerse yourselves in the magic of the silverscreen,” according to a memo obtained by CNN. Another enterprise, Le Hive, located in Tamil Nadu, decided to allocate half a day off to its employees to “prevent sudden sick leaves.”

These gestures from companies are just one facet of the feverish excitement enveloping the release. Local news outlets have been leaving no stone unturned, offering extensive coverage replete with live blogs, interviews with fans, and footage from outside theaters. Early estimates suggest that the film raked in approximately $5 million on its opening day, marking the highest debut for a Tamil-language film in 2023 so far, as reported by local sources.

Rajinikanth, aged 72, has amassed a filmography featuring over 160 movies, rendering him nearly synonymous with South Indian cinema. Renowned for his elaborate action sequences and distinctive dance moves, he wields a box office allure akin to Western icon Tom Cruise and is often regarded as one of Asia’s highest paid actors. Born as Shivaji Rao Gaekwad in the southern city of Bengaluru in 1950, Rajinikanth made his cinematic debut 25 years later in “Apoorva Raagangal,” a movie that achieved commercial success.

The adoration he garners from fans is often likened to the reverence accorded to religious figures. Some of his devotees have been known to express their excitement for his new releases by pouring milk on cardboard cutouts of the actor, a gesture typically reserved for Hindu deities. Similar scenes of jubilation accompanied the release of his 2016 film “Kabali,” in which he sported stylish three-piece suits and John Lennon-esque sunglasses to portray a wrongfully convicted gangster recently released from prison. The day of its release essentially became an unofficial public holiday for many, prompting several companies in Bengaluru and Chennai to grant their employees a day off to view the film.

Rajinikanth’s accolades extend beyond the silver screen; he has also been honored with the Padma Bhushan and Padma Vibhushan awards, two of India’s most prestigious civilian recognitions, for his contributions to the arts.

In the broader context of India’s multibillion-dollar film industry, renowned for its Hindi-language “Bollywood” productions, it’s important to note that almost half of India’s 1.4 billion population doesn’t consider Hindi their primary language. Within the nation, the “Tollywood” (Telugu language) and “Kollywood” (Tamil language) sectors of South India command a similar following to that of Bollywood.

While Bollywood often takes the spotlight internationally, the earnings generated by South Indian media and entertainment industries have nearly doubled year-on-year. In 2022, they contributed an estimated 52% of India’s overall film revenues, as revealed in a report by the Confederation of Indian Industry. A prominent success story from the South Indian film scene in the past year was “RRR,” a film that made history by securing its first Oscar for the best original song, “NaatuNaatu.”

Applauded for its lively choreography and catchy melody, the song also clinched a Golden Globe award, standing as a testament to India’s burgeoning soft power. Upon accepting the Oscar, composer M.M. Keeravani commented, “I grew up listening to The Carpenters, and now here I am with the Oscars.” He proceeded to deliver his speech by singing the lyrics to “Top of the World” by The Carpenters.

How Priyanka Chopra called out Bollywood’s failure post her Hollywood success, said she chose to head West over grovelling to Bollywood cliques

Actor Priyanka Chopra, who is making strides in Hollywood, has recently started speaking freely about shortcomings of the Hindi film industry and how it pushed her to seek a career in the West.

In 2018, when asked on Koffee With Karan season 6 which Bollywood star she looks up to, Priyanka Chopra boldly replied, “None.” Her response might have hit a raw nerve of many in the Hindi film industry, considering her success in Hollywood with the American series Quantico and roles in films like A Kid Like Jake and Baywatch. Many Bollywood stars dipped their toes in Hollywood waters and eventually returned, but Priyanka chose a different path, one that would redefine her career and make her one of the biggest female stars of her generation.

While she taught people in the West about India’s culture and how many here speak multiple languages including Hindi and not ‘Indian,’ she meticulously chose roles that didn’t typecast her as an Indian or South Asian.

Beyond acting, she took strides to build her brand, proving that she was much more than just a Bollywood actress. And it is only after finding her feet in the West that Priyanka became confident to speak freely about factors that made her exit Bollywood at the peak of her career. In her recent interviews, she has spoken about facing rejection due to politics and nepotism in the Hindi film industry.

Priyanka forayed into Hollywood as a singer. She crooned songs like In My City and Exotic, featuring her and Will.I.Am and Pitbull. In a conversation with Dax Shepherd on his podcast Armchair Expert, Priyanka spoke about being tired of the politics in Bollywood and saw these songs as her gateway to America.

‘I was pushed into a corner in Bollywood’

She said, “I was being pushed into a corner in the industry (Bollywood). I had people not casting me, I had beef with people, I am not good at playing that game, so I kind of was tired of the politics and I said I needed a break. This music thing gave me an opportunity to go into another part of the world, not crave for the movies I didn’t want to get, but I would require to schmooze certain clubs and cliques of people. It would require grovelling and I had worked a long time by then that I didn’t feel like I wanted to do it. So when this music thing came I was like ‘fu** it I’am going to America.”

According to Priyanka, her success wasn’t received well by some in the Hindi film industry as they attempted to undermine her career. Talking on The Ranveer Show, she said, “Very few of us are happy for somebody else’s success. I’ve also had people wanting to jeopardise my career—take away from work, make sure that I wasn’t cast just because I was doing well in what I was doing.”

‘I was terrified my films not working… I am not a nepo baby’

Nepotism has been a longstanding debate in Bollywood, and even Priyanka, with her two-decade-long career, acknowledged its prominence. She told Dax Shepherd, “I was terrified when those 6 movies didn’t do well because I’m not a nepo baby. I didn’t have that kind of support that exists in a big way in Bollywood movies. You know they are multi-generational actors that come in and get multiple opportunities versus the ones that come in from outside. You don’t have your uncle making a movie for you just because your last one tanked, right? You have to get it, and you have to hustle for it.”

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Being an outsider, Priyanka knows the value of a merit-based work environment and she advocated the same during promotions of her international web show Citadel. She spoke to indianexpress.com about ways to make the Hindi film industry a safe place for outsiders and end the supremacy of certain camps.

‘Workplace should be merit-based’

She said, “I think having conversations around opportunity and merit is important. Now that we are living in the world of streaming, there is so much more. The Hindi film industry has changed so much in the last five to ten years. You have so many talents – writers, directors, actors that come from outside the industry. When I first started, that was not the case, at all. So I think having conversations around the fact that the workplace should be merit-based, that the workplace should be a positive environment, that casting should be a casting director’s job instead of the politics and the drama.”

In a career spanning 22 years, Priyanka was paid equal to her male co-star only in her recently released web show Citadel. During an interview with Amazon Studios head Jennifer Salke at the South by Southwest Film Festival (SXSW) 2023, Priyanka said, “I might get into trouble for saying this, depends on who’s watching. I’ve been working in the entertainment industry for now 22 years, and I have done almost 70-plus features and two TV shows. But when I did Citadel, it was the first time in my career that I had pay parity. I’m laughing about this, but it’s kind of nuts.”

After being sidelined by influential figures in Bollywood, Priyanka shifted her focus to Hollywood, and now, with her meteoric rise in the West, she is involved in fewer Hindi film projects, if any. While she was supposed to star in Farhan Akhtar’s Jee Le Zaraa, rumours about her exiting the film have been circulating. Currently, she is busy shooting for another Hollywood film titled Heads of State, alongside Idris Elba and John Cena.

The pre-release video of Jawan effortlessly surpassed all previous records held by teasers and trailers in the Indian film industry in terms of 24-hour view counts. With 112m views across all platforms,  the video’s immense traction has shattered the existing benchmarks, establishing a new pinnacle for the Indian film industry.

Jawan’s Prevue reigns supreme as the most-watched video in the first 24 hours, a testament to SRK’s widespread popularity, the universal appeal of the film and the rising anticipation surrounding the film’s release.

The record-breaking views for Jawan signify the power of engaging storytelling and effective marketing in an increasingly competitive entertainment landscape.

The video has surpassed all expectations and left a significant mark on the Indian digital landscape. The overwhelming response to the video reflects the massive fan base that the film has garnered even before its theatrical release.

Jawan is a Red Chillies Entertainment presentation, directed by Atlee, Produced by Gauri Khan and Co-produced by Gaurav Verma. The film will release worldwide in theatres on September 7th, 2023 in Hindi, Tamil and Telugu languages.

The much-awaited look of Shah Rukh Khan’s mega film, ‘Jawan’, is all set to be unveiled on 10th July at 10:30am. This exciting news was revealed by Shah Rukh Khan himself through his social media, fuelling the JAWAN frenzy among fans and movie enthusiasts alike.

The anticipation and excitement surrounding the film have reached unprecedented heights and has led to nationwide speculation over social media and more. The curiosity to see SRK is unparalleled, the collaboration between Shah Rukh Khan and director Atlee, marking their it first-ever partnership showcasing SRK’s unmatched stardom with Atlee’s creative vision.

Jawan is a Red Chillies Entertainment presentation, directed by Atlee, Produced by Gauri Khan and Co-produced by Gaurav Verma. The film will release worldwide in theatres on September 7th, 2023 in Hindi, Tamil and Telugu languages.