Shahrukh Khan’s King is waiting to break the box office and music systems of the young and restless…and along with King Khan’s magic, young music director, the 35-year old Anirudh Ravichander is all set for a sound blast. Having set music for Khan’s blockbuster Jawan for which Anirudh walked away with Rs 10 crore. His line-up of superstars, Shah Rukh, Rajinikanth, Allu Arjun, Nani, Vijay is the envy of many established music directors. Anirudh’s signature tunes started with ‘Why this Kolaveri’ sung by Dhanush in 2012. Anirudh is a rare challenge to maestro Ilaiyaraaja right on top of the pyramid and AR Rahman the Oscar holder for music with melodies that have endured. Once Anirudh asked ARR, “Sir which star is your inspiration…Superstar Rajini of course, he said. Anirudh from Rajinikanth’s family, grinned. With so much name and fame, this young man has not let complacence go to his head. He is popular with every production house and is an acknowledged team player. “My team is very alert…even at 50%, they want higher reaches. My instinct follows them,” AR Rahman once told him, “Ani, include more classical North Indian and South Indian ragas for longevity.” Whatever his choice of ragas or beats, he holds the unique record on Spotify for 13 billion streams by an Indian music artist. This hugely popular man is of course chased ..by female fans. His short dalliance with singer actor Andrea Jeremiah spread like wildfire. But it was not encouraged as he hails from a conservative Iyengar family. This young King of music is the perfect foil for a salt and pepper look for King Khan’s gangster film. Anirudh is ready to make the King, who has been there, seen it all, dance to his tunes.

Artists from India have always looked forward to visiting London, a city that consistently celebrates global culture and artistic excellence. This spring –February to April — the UK will witness a remarkable cultural season as some of the world’s most renowned Marathi artists arrive to showcase their extraordinary talent. London’s enduring appeal to the arts continues, and the Maharashtrian community in the UK has once again succeeded in hosting exceptional performers from India. Leading this season is eminent actor-director-writer and Sangeet Natak Akademi Award winner Dilip Prabhavalkar. Widely admired for his iconic work across Marathi and Hindi theatre, television and cinema, Prabhavalkar will captivate audiences with a unique and immersive audio-visual experience that promises to be both powerful and memorable. Adding to this rich cultural offering is celebrated Hindustani classical vocalist Vidushi Devaki Pandit, a distinguished disciple of Pandit Jitendra Abhisheki. Her UK tour will feature classical compositions, light vocal pieces, and a deep exploration of the subtle nuances of Hindustani classical music, engaging audiences with both depth and elegance. The season also welcomes two outstanding young instrumentalists from Pune, each carrying forward legendary musical legacies. Ninad Daithankar, continuing the tradition of Pandit Shivkumar Sharma, and Saurabh Vartak, a disciple of Pandit Hariprasad Chaurasia, will present classical performances alongside the much-loved Shiv-Hari compositions that have enriched Bollywood cinema. Together, these events promise a vibrant and enriching cultural journey from Maharashtra, touring multiple cities across the UK. The growing artistic affinity between Maharashtra and London stands as a testament to the enduring power of cultural exchange.

Varun Dhawan’s turn as Major Hoshiyar Singh in Border 2 is nothing short of a revelation. He brings together innocence and intensity, vulnerability and steel, playing a character who is emotional yet detached, fiercely loyal and deeply patriotic. His performance anchors the film: every nuance, small gestures, that trademark half-smile, and sudden flashes of resolve, adds layers to a role many had prematurely dismissed. When the first song, “Sandese Aate Hain,” dropped, social media was quick to mock Varun, spawning memes that focused on his style of acting and that one-sided smile. Those jokes snowballed into a narrative that he might be the weak link in a high-stakes war drama. But Border 2’s reception has decisively flipped the script. Opening around Rs 32 crore and rallying to over Rs 40 crore on its second day, the film was on track to cross the Rs 100 crore mark by the first weekend and possibly Rs 150 crore with the extended Republic Day holiday. Box-office success has a way of speaking louder than criticism, and in Varun’s case it has been vindication. More than just a personal win, this success has bolstered the film’s consolidated standing and reaffirmed Sunny Deol’s mass appeal, while giving Varun a new lease on his career. Critics and audiences alike are now praising his commitment, range, and the emotional truth he brings to the character. To the trolls who wrote him off early, the answer was simple: deliver a performance that connects—and let the numbers follow. In Border 2, Varun Dhawan has done exactly that, turning mockery into momentum and scepticism into applause.

The Kollywood jungle drums are sounding for a soon to be wedding. The smoke signals are strong as it concerns two celebrity stars — Rajinikant’s ex son-in-law Dhanush and the single saucy Mrunal Thakur. Dhanush and Aishwarya Rajinikanth parted ways after 18 years of marriage. Their two grown up children — Linga and Yatra — tried their best for the parent’s reconciliation. And when Dhanush built his much-touted Rs 150 crore mansion just around the corner from Rajnikanth’s media famed “Poes Garden home”, there were strong rumours that the estranged couple would reconcile. But that was not to be. The divorce was officially granted in November 2024. Dhanush has many hits in Tamil and Hindi films, even as Director he has been appreciated ..his other skills are script writing and singing. His last film Idli Kadai which he penned did good business. Now there are strong rumours about his romantic liaisons, even marriage with Hindi star Mrunal. May be the New Year and Thai Pongal have inspired him to announce that he is ready to take a second plunge with Marathi mulgi, Mrunal who has featured in successful films …Sita Ramam, Hi Nanna and Son of Sardar. Now it just needs the green signal from the two, so fans and followers can stop holding their breath and go on their way.

From his roots in Odisha to international recognition, Ramesh Barik, Founder & MD of RR Events & Cine Production, is fast emerging as one of the state’s most influential cultural ambassadors. Widely acknowledged as a star-standard cultural diplomat of Odisha, Barik has successfully taken the art, culture, and heritage of the eastern Indian state to global platforms through visionary event production. With remarkable strategy, he has brought together Odisha’s biggest stars and presented them on prestigious international stages. In 2024, Barik achieved a major milestone by hosting a grand Five Star Awards Night in Dubai, a hugely successful event that introduced Odia cinema, music, and culture to audiences across the Middle East. In 2025, he continued this global journey with a high-profile cultural showcase in Singapore. Now, Barik is preparing for what promises to be a historic moment — a large-scale awards night in London. Industry insiders say that such an event of this magnitude, featuring nearly 40 diverse acts, has never been staged in London by any Indian regional industry. The programme will include dance, music, stand-up comedy, and cultural heritage presentations, offering the world a rare glimpse into Odisha’s rich and often underrepresented legacy. Future plans also include Australia, New Zealand, and several Far East countries. With over 25 years of experience, he has executed more than 1,800 events globally, including exhibitions, conferences, product launches, award nights, and promotional campaigns. He has produced over 24 films, 312 Odia music videos, and multiple Hindi music projects, earning numerous awards for excellence and entrepreneurship.

Rahu Ketu, directed by Vipul Garg and starring Pulkit Samrat and Varun Sharma, opened on January 16, 2026, to a muted Rs 1 crore nett across India and an overall Hindi occupancy of just 6.9%. Morning shows were weakest (around 5%), edging up to 9–10% in evening and night slots. The film lagged behind fellow comedy Happy Patel: Khatarnak Jasoos (Rs 1.25 crore opening) and faced stiff competition from holdovers such as Dhurandhar, 28 Years Later: The Bone Temple, and The Raja Saab, which likely siphoned off potential viewers. Its premise was a magical notebook that brings two unlucky characters to life and sparks a chaotic chase involving a thief named Meenu Taxi and a drug mafia which created trailer interest but didn’t translate into ticket sales. Several factors help explain the weak start. The film’s broad, slapstick humour and conventional comedic tropes appear out of step with Gen Z preferences for sharper, more relatable, and often socially aware comedy; formats increasingly discovered via streaming and short-form platforms. Promotional efforts, including city tours and college visits, failed to generate viral momentum or sustained word-of-mouth necessary to pull younger audiences to theatres. The crowded release calendar, with multiple genres vying for attention, further diluted its reach, especially for a mid-budget film without major star power to anchor footfalls. Additionally, there was no clear cultural hook beyond a promising trailer to boost pre-release buzz. Economic headwinds and changing consumption habits also played a role: rising ticket prices and the convenience of home viewing make audiences more selective about theatre trips. In this environment, a light-hearted, formulaic comedy without a distinctive voice struggled to stand out—resulting in Rahu Ketu’s underwhelming opening.

Kartik Aaryan’s career exemplifies how quickly fortunes can shift. The actor, who rose to fame as a self-made outsider with no industry backing, recently faced backlash after his romantic comedy Tu Meri Main Tera Main Tera Tu Meri produced by Karan Johar and co-starring Ananya Panday, bombed at the box office, earning just around Rs 50 crore in India despite a Rs 50 crore fee for Kartik. Critics and audiences panned the film for its lacklustre script, poor music, and limited screen allocation; competition from blockbusters like Dhurandhar and Avatar: Fire and Ash. Social media erupted with calls labelling him “overrated,” criticizing his repetitive expressions and dialogue delivery across genres. This downturn echoes Kartik’s past setbacks, including flops like Shehzada (2023), which prompted him to return part of his fee, and Chandu Champion (2024), which underperformed commercially despite earning him a Filmfare Best Actor award. Yet, he’s celebrated for revitalizing franchises with mega-hits like Bhool Bhulaiyaa 2 (post-COVID blockbuster) and Bhool Bhulaiyaa 3 (2024), which grossed over Rs 250 crore and outdid rivals at Diwali. His defenders highlight his crowd-pulling power in rom-coms like SatyaPrem Ki Katha, which opened at Rs 9.25 crore despite minimal hype. Adding fuel to the fire, reports surfaced that Karan Johar’s talent agency, Dharma Cornerstone Agency, parted ways with Kartik just two months after signing him, amid the film’s failure, reviving memories of their 2021 fallout over Dostana 2, where Kartik was ousted for alleged unprofessionalism, leading to a temporary “ban” from Dharma. Though they reconciled in 2025. The treatment meted out to Kartik underscores the industry’s ruthlessness: one hit elevates you, one flop buries you—unless you’re a nepo product. Kartik’s upcoming slate, including Naagzilla (releasing August 2026 with Johar) and an Anurag Basu project, could redeem him, but this episode highlights Bollywood’s cutthroat nature, where talent...

Tamil Nadu is experiencing a churning of this magnitude for the first time after MGR decoupled his political star with Kalaignar (his mentor and launch pad). The state was shaken, stirred and saturated with the rise of a new hope, an actor legend…a film super star pole vaulting into politics, with his unique generosity and charisma. MGR’s magic and the launch of his AIADMK, followed by the long years of dominance by his protégée J Jayalalithaa is still talked about. Shivaji Ganesan, Kamal Haasan tried but failed. Vijayakanth did make inroads while Rajinikanth very nearly entered it but backed off at the last moment. This is why everybody is keenly watching the entry of Vijay. He seems to have created some impact going by the huge attendance to his rallies. He has pitched himself and his party TVK as an alternative to DMK and this seems to have shaken the complacence of the DMK’s heir apparent …Udhayanidhi Stalin, another film star who basks in his entitlement. Is this jump from films to power as easy as it seems? Not really as Vijay is finding out. The Karur tragedy, roadblocks of the jittery opposition, the extreme challenges in releasing his swan song Jana Nayagan has hit hard but not shaken his confidence. His farewell film has run into trouble with Censor, then followed court cases as a resulted it will not be released during the Pongal festival. Will the late release work in his favour? Heads or tails, Vijay would have made his mark.

Tamil Nadu is on the boil over two cinematic events and the heroes involved…one aspiring to become the next chief minister, the other using his political sinews to hold on. Even as Vijay’s Jana Nayagan announced 9th January to hit cinemas and Red Giant’s distributed Parasakhti starring Sivakarthikeyan was pitched for the 10th January, a jugalbandi that many think is hopelessly one sided…pitched in Vijay’s favour. Add to that the trailer of Jana Nayagan released on 3rd January…testosterone action and rocking music filled with incendiary dialogues of Vijay; it got 20 lakh hits in just half an hour. Vijay’s character is Dalapathi Vettri Kondaan, a double meaning title which means “I am coming to stay. Not going back”. But there are some road bumps too, behind the scenes…delaying announcing booking and screens for Vijay’s film, seen as political pressure from Udhayanidhi Stalin’s Red Giant movies. There are those who insist that Jana Nayagan is commercially poised to get 60% of screens, Parasakhti a mere 40%. But, Theatre Owners Association President Thiruppur Subramanian is quick to correct this view of political pressure on the logistics of a film release. “Distributors want 75-80% of vasool. We can give only 70%…in Kerala it is only 60%… but in Coimbatore and Tirunelveli it is almost 80%”. Will Jana Nayagan win or the political Sakti of Parasakhti?.

A recent Tamil film with unknown cast and a pedestrian title, Middle Class did fair business at cinemas and is now getting attention on OTT. Middle Class is about a middle-class family, their middle class aspirations and a predictable middle class life that takes an unexpected turn for the not so middle class twist …Munishkant and Vijayalakshmi, pitch their ordinary life roles dramatically, to tug at the heart strings. The film has a touching existential life lesson too…sharing and caring brings the most happiness. Soon to be released Toxic …A Fairy Tale For Grown-Ups is definitely a Noire film, stylish, sexy and shadowy. A line up of femme fatales … .Kiara Advani, Nayanthara, Tara Sutaria , Huma Qureshi and Rukmini Vasanth orbiting Kannada super star Yash (of KGF fame ) ply their trade and tricks in Toxic. Directed by Geetu Mohandas bold, beautiful and boss director who has bagged significant film awards (Liar’s Dice, Akale) brings a tale of deception, betrayal and drug lord crime in the Goa of 80’s period gangster setting. Tamil cinema fans were treated to a Nayanthara still in her skin — flick ensemble …she plays Ganga in Toxic…memory dredges up another titillating title Ram Teri Ganga Maili. Toxic was filmed simultaneously in Kannada and English, dubbed in Tamil, Telugu and Hindi. These are just two extreme book ends of the variety films offer …whether the viewers lap up the offering or not, the cinema machine is ready to churn the pot of gold.

It must be hard to trade places with Vikram Prabhu, Kollywood’s heir to an illustrious film family. Whatever he achieves is sure to be overshadowed by his legendary grandfather, Thespian Shivaji Ganesan and his popular father, actor Prabhu. Maybe that’s why he went off to America as a youngster to find and immerse himself in a totally new, almost alien career path. To this day, Tamil cinema has not replicated an actor of Simha kuralon (Lion’s voice) Shivaji Ganesan’s talent…every role etched in the audience memory, a complete one-man acting university. His son Prabhu never tried to fit into his father’s legacy …he just carved himself a space, popular and acclaimed, never mind the role nor his persona. Vikram Prabhu is all set for the screening of his 25th film, Sirai (prison). It’s aptly titled even as this Nepo kid has established a name for himself, but trying his best to break out of that DNA prison, and set his own Star Trek. His first film Khumki was well received in 2012. Vikram Prabhu is a low key person…not stepping out of that spotlight that made his grandfather a cinematic legend. He still remembers his grandfather bellowing across a transcontinental line “Are you still an Indian or have you turned into an American?”. Today, Kollywood has a sudden exodus of super stars like Vijay and Ajith…Kamal and Rajini finding it challenging to please Gen Z , and Suriya, Sivakarthikeyan trying to fill the void. Vikram Prabhu has the right DNA .. if only he could prise himself out of the wall he has built around himself.

The battle lines have been drawn. Even as the much-hyped anticipation is churned up for Vijay’s last film Jana Nayagan to hit cinemas on January 9, avant garde director Sudha Kongara and Dawn Pictures have cantered in from behind to release Parasakthi on January 10, originally planned to be a Pongal screening. Vijay fans, now turned TVK party followers are fretting and fuming over this sudden change. Is Sivakarthikeyan throwing his gauntlet in the popularity ring? As it is, fans and fierce loyalists of Vijay drum beat about no suitable successor to fill his slot. But Sivakarthikeyan is super confident about moving into any slot. Kongara is canny enough to buy insurance …just in case. A very novel and creative promo event was staged at Valluvar Kottam, Chennai’s not-to-be missed Dravida symbol tourist spot. Sudha Kongara’s team built a full exhibition of Parasakthi sets, props and visuals that took fans on a Time Travel into the 1960s retro world of Parasakthi. The response from the public was overwhelming. Kongara said emotionally “For Gen Z it was a time machine that transported them to an entirely different cultural ethos of the 60s”. The antiquated train and the vintage Chevrolet were super draws, with AI providing thrill experiences to the visitor. But wait… is the old iconic Parasakthi film (a watershed joint venture of Shivaji Ganesan as hero and Kalaignar Karunanidhi as the script writer) being challenged by this new yet old Parasakthi?

The box‑office phenomenon around Ranveer Singh’s Dhurandhar has triggered an exhibition pivot: cinemas in Mumbai added a 12:45 am show and Pune introduced a 12:20 am screening, while several chains pushed regular schedules well past midnight into the early morning — a programming move usually reserved for only the most in‑demand releases. The reason being the consistently packed halls across key urban centres so the exhibitors risk these unconventional slots: audiences showed up in numbers that justified the supply. Dhurandhar’s commercial trajectory underscores that demand. The action drama crossed the Rs 300 crore mark within nine days, becoming one of the fastest films this year to join the milestone club. On its ninth day, the film recorded its highest single‑day collection of Rs 53 crore, taking the domestic cumulative to an estimated Rs 303 crore. Crucially, the Saturday spike — bigger than the previous weekend’s — and the surge in midnight attendance indicate momentum driven by word‑of‑mouth rather than opening weekend hype alone. Social media amplified that momentum. Memes, reels and trending soundtracks turned scenes and performances into viral currency, while controversies — including bans in several overseas markets — generated additional headlines and curiosity. What began as mixed critical response flipped into mass enthusiasm as online chatter translated into footfalls, proving how digital buzz can reshape a film’s theatrical destiny. If sustained, the success of late‑night Dhurandhar shows could set a precedent in Indian exhibition: when demand exists, exhibitors will extend screens and hours, turning midnight slots from novelty to viable revenue streams.

Ranbir Kapoor and Deepika Padukone are back together for a film. They were seriously dating each other but it did not culminate in a marriage.  Ranbir married Alia Bhat while Deepika tied knots to Ranveer Singh. Now, both of them, who have turned parents, are being paired together in Ayan Mukherji’s film which is a remake of Chori Chori.  Incidentally, after marriage Ranveer and Deepika never worked together but Alia and Ranbir have collaborated in Sanjay Leela Bhansali’s Love and War. But they are not the first ex-beaus to work together. Shahid Kapoor and Kareena Kapoor have worked together in Udta Punjab after their breakup. Although they were not paired together but worked in the same film and were cordial at public events. Shahid and Kareena broke up in the middle of Jab We Met shooting as Kareena fell in love with Saif Ali Khan on the sets of Tashan. Sanjay Dutt and Madhuri Dixit too never worked together after Khalnayak and Mahanta. She did shoot with him to complete the film after he was released on bail in the TADA case. But Madhuri agreed to work with him Kalank produced by Karan Johar though there were no scenes for them to be shot together. She in fact replaced Sridevi in the film who passed away in 2018.  Shraddha Kapoor and Aditya Roy Kapur worked together in Ok Jaanu. The two fell in love on the sets of Aashiqui 2 and this was the second film they worked together. In the past, Vinod Mehra was dating Rekha but it did not work out. But they continued working together in films even after their personal relationship ended.

At the 56th International Film Festival of India (IFFI) held in Goa, the audience stood up for this 74-year old legend as he accepted ‘The Lifetime Achievement Award’ not with filmi flamboyance, but remarkable humility and palpable sincerity “I love cinema and acting. How quickly 50 years have passed…for me it seems like 15 years…in every Janam I take I want to be born as Rajinikanth ” His only other competitor is Amitabh Bachchan. But the similarity of incomparable lifetime fame and name ends there…AB was born in high society, parents acclaimed artists. Rajini and the much-recounted story of a Bengaluru bus conductor and his meteoric, stylish and remarkable zoom to the very top of fame and fortune is a lore oft-repeated. His legion of fans who swoon over his every action and every movie stand as testimony that he is no accidental superstar. But his humility and simplicity remain unparalleled. His neighbors see him every day as he takes his morning walks on Raghava Veera Avenue …headphones on, tuft and fringe of white hair around a bald pate, in non-flashy attire. Just an elderly person on his walking routine .put him in front of the camera, glam make up, slick wig etc…lights, camera, action…a high voltage super energetic 40 something swashbuckler leaps and lunges at his enemies…an electrifying hero whose style hits you …was this man a bus conductor who hypnotized millions and still remains a heartthrob? Superstar Rajini has achieved phenomenal fame…yet his unchanged humility makes him Thalaiva.

Controversial artiste Rakhi Sawant’s shocking comments on actor Dharmendra’s demise rankled his fans and even some members of the public. A couple of days ago, Rakhi was present for an event in Mumbai. During the media interaction on the subject, Rakhi showed her acting prowess by donning a serious look instantly. She made many audacious claims. At one point, she alleged that Dharmendra had breathed his last two or three days before 24 November. Asked to state the basis of this shocker, Rakhi nonchalantly replied that several people had told her this. Unabashed, she claimed that Dharmendra had appeared in her dream. Rakhi lamented that she was hurt just like his numerous fans as she couldn’t get to see him one last time before his final rites. Rakhi is known for never missing a chance to create a sensation or to hog the limelight. Rakhi continues to face flack for her latest outpouring but is unfazed. Several social media posts have been uploaded against Rakhi. Most have described her as ‘insensitive’ for passing such hurtful remarks on the late superstar. Rakhi knows how to make waves. Her well-known roles have been in reality TV shows and Hindi movies. Rakhi has starred in a number of Bollywood films and is well-known for her item songs and fearless public persona. After appearing in “Bigg Boss 1” and making it to the finals of “Bigg Boss 14,” she gained wide publicity. To remain noticed, she manages to send shockwaves.

Sunny Deol finds himself both under the glare of the media and at the centre of a massive cinematic gamble. After the commercial success of Jaat, directed by Gopi Chand Malineni, the veteran actor is reportedly lined up for six major projects in 2026 — a slate that trade sources estimate represents roughly Rs 750–800 crore of production value riding on his presence. Leading the pack is Border 2, directed by Anurag Singh and said to boast an ensemble including Diljit Dosanjh, Varun Dhawan and Sonam Bajwa alongside Deol. Industry estimates peg its budget at around Rs 90 crore. The most eye-catching commitment is Ramayana: Part One, directed by Nitesh Tiwari — a highly ambitious epic that reports suggest could cost close to Rs 400 crore, making it one of the landmark productions on the horizon. Other noteworthy films on Deol’s plate include Lahore 1947, backed by Aamir Khan’s production house and expected to be a substantial project; M Padmakumar’s Soorya, a Hindi remake of the Malayalam thriller Joseph, which trades estimate at about Rs 60 crore; and Jaat 2, already announced and anticipated in the region of Rs 50 crore. Rounding out the list is Baap, directed by Vivek Singh Chauhan and reportedly featuring Jackie Shroff, Sanjay Dutt and Mithun Chakraborty in supporting roles — another mid-to-large-budget venture. Taken together, these six titles — Border 2, Ramayana: Part One, Lahore 1947, Soorya, Jaat 2 and Baap — place an unprecedented financial spotlight on Deol. While not all budgets and release plans are final, the sheer scale of this slate underscores his continued bankability and the high stakes studios are placing on his draw. With paparazzi headlines and production calendars both heating up, 2026 promises to be a defining year for Sunny Deol.

Ajay Devgn has long been a study in contrasts: a brooding intensity that anchors thrillers and dramas, and a surprisingly limited palette when it comes to frothier entertainments. As De De Pyaar De 2 hits theatres, it’s worth asking whether the actor’s recent script choices are eroding the cachet that once made him a dependable box-office draw. Devgn’s strengths are clear. He remains one of Hindi cinema’s most effective serious actors, capable of delivering taut, controlled performances in films that require grit rather than glamour. That steady gravitas has earned him big payoffs with the right material. But his flirtation with lighter comedy and flamboyant romcom territory has been uneven. Where he convinces as the silent, suffering hero, he often looks out of sync when a role demands snappy comic timing, dancing dexterity or an easy romantic swagger. Past attempts at broader comedy and mixed-genre projects have underlined this mismatch. Recent outings have done little to reassure audiences. Films such as Son of Sardar 2 and previously, Thank God had failed to fully connect with critics or viewers, De De Pyaar De’s first instalment drew mixed reactions, and a string of smaller turns and guest appearances went largely unnoticed. More recent projects like Auro Me Kaha Dum Tha’, Maidaan and Bholaa were widely seen as disappointments, reinforcing a narrative that not every script suits his strengths. For Devgn, the clear path forward is selective boldness — leaning into taut thrillers, moral dramas and textured character work, while being more discerning about lightweight fare that asks him to play against his core strengths. His next choices will determine whether he reaffirms his standing or drifts into forgettable territory.

The Federation of Cine Technicians and Workers of Eastern India has blocked the release of yet another Bengali film, fuelling speculation over whether it is merely a procedural dispute or one tangled with political undercurrents involving cast members Rudranil Ghosh and Sourav Das. The latest film caught in the crossfire is The Academy of Fine Arts directed by SRFTI debutant Jayabrata Das. Despite receiving the go ahead from the Central Board of Film Certification, the November 14 release was halted just 48 hours before opening. The move triggered a flood of social-media outrage, with many alleging arbitrary gatekeeping by the Federation. The guild claims the film breached industry rules due to the involvement of Pramod Films during post-production. That association, it argues, makes the project a commercial production, mandating guild-registered technicians and prior clearances. Federation president Swarup Biswas insists their objections target Pramod Films, not students, and has demanded the removal of the banner’s name from posters, trailers, and the censor certificate. He dismissed allegations of financial demands. Jayabrata, in a lengthy post, stated that the student team had worked independently for five years with scant resources and sought limited help from Pramod Films only when funds were depleted. The Federation has also questioned the film’s Mumbai registration, high-end shooting locations, extensive marketing, and a distribution plan involving INOX, PVR and UFO Cube, which typically costs Rs 18–20 lakh. The presence of actors like Rudranil Ghosh, now with the BJP, and Sourav Das, who appeared in The Bengal Files, has added to speculation on whether political optics are influencing the Federation’s stance. Meetings between the parties remain inconclusive, leaving the fate of the Rs 25-lakh partly crowdfunded film in limbo as calls for its release grow louder online.

After much speculation and expectation from ardent fans, Kamal Haasan and Rajinikanth announced a collaboration, after 40 years. The 173rd film of Rajini to be made under the Raj Kamal banner and Red Giant distribution. Was this the ultimate treat for adoring fans? It soon became the ultimate combo when Sundar C, Khushboo’s husband and hit director was announced as the third angle of this fusion. Things fell into place as smoothly as apple pie and cinnamon. Suddenly Sundar announced that he was quitting the project, with a dramatic communication that ran the gamut of polite language and sincere apologies, a communication clearly meant to convey his veiled, diplomatic unhappiness with the events that transpired. The film which was announced as a 2027 Pongal celebration, has now garnered much speculation and buzz as to what could have transpired. Did Sundar expect more remuneration? What was his grouse? Was the screenplay and story being tinkered with and tampered by the two veteran artists? Kollywood ears and eyes have pieced together a run of events high on surmise and low on veracity, yet compelling enough to accept…after all a Director does not storm out without strong reason. It seems Sundar was given a one liner to be fleshed out as the story by Kamal.  The serial versions had Sundar’s trademark ghost theme which Kamal was not happy with. Next it was Rajini’s turn to reject the story outright, a serious ego clash. Sundar made all the right noises when taking on two titans. Now Kollywood is humming with the buzz of who would be the replacement. Good publicity even before the film is made.

The crescendo of applause for Season 4 of Sony Liv ‘Maharani’ series is still reverberating. How did a complex political drama, set in the BIMARU list headed by Bihar cast a magnetic spell on viewers? Most would say it is Huma Qureshi’s smash hit performance. Rightfully so …rarely does India’s political ethos provide the backdrop for a woman to seize power, hold on to it and keep her family brood together …though her husband was murdered and she is framed as the killer. Suddenly you find the Bihar political setting powerfully manipulated and riveting ..just when you think you have decoded Maharani as Rabri Devi, Lalu Yadav’s proxy CM and expect the venality of Bihar politics, it’s continuous state of corruption, caste wars and criminalised politics , the plot takes several twists and turns. Indian cinema has definitely produced a brilliant series that mirrors our politics and politicians, the greed for power and almost vampire-like blood thirst. Is our realpolitik this shockingly complex and convoluted? The answer is a resounding yes…in fact the makers have truly succeeded in throwing the audience off the scent of real-life persons. The political and power hunger jousting and fencing is a treat to those immersed in the drama of politics. True to the title, Huma Qureshi straddles the series like a Maharani, tall, statuesque, compelling, dignified, yet so relatable to a Bihari housewife. Any wonder that women outnumbered men in the just concluded election? Maharani is their role model … she challenges every effort to box her into a stereotype “gharelu” woman. Subhash Kapoor! The open-ended Season 4 definitely raises hopes for yet another season. Following her total devastation after losing her son Jai and the bid for PM post, will Maharani rise like a Phoenix and avenge her tormentors?

Star’s entourage is not a new thing in the film industry. In the past, actresses were accompanied by their mothers, makeup/hair dresser and the spot boy. Then the numbers were officially less; but at times the star’s family members too travelled and exploited the producers and financially it was a burden for them. Prominent filmmaker Suneel Darshan in a podcast says nowadays star’s entourage is over 26 people and they have all to be taken care of by the producers. Actors like Govinda, Sunny Deol and a few actresses had at least 10 members travelling with them on outdoor shoots.  Today, most stars have an entourage of a dozen people comprising manager’s assistant, makeup artiste, hair stylist, fitness trainer, and chef.  The food department is an additional burden on the producers. Before the entry of food trucks, the stars & their families would make producers order food from 5-star hotels and often take it home. This saw producers come together and tell the big stars to cut down on their entourage numbers or pay from their own pockets. Many stars like Shah Rukh Khan, Aamir Khan and Salman Khan even agreed but it is learnt nobody is living up to their words. With Bollywood films taking a big beating at the box office, the industry is going through a correction phase and at such times it makes eminent sense for stars to more than cooperate by at least cutting down on their entourage numbers.

For serious cinema aficionados, new Tamil releases provide much grist for their passion mill…off beat themes and brilliant execution, new directors and experimental cast, those who climb to stardom fast. The just released film ‘Others’ is one such medico socio psychological thriller which would have garnered praise by itself but heroine Gauri Kishen and her strident response to RS Karthik, well known YouTuber, self-anointed “hero of questions” took it viral, very fast. A double whammy for the film. Karthik was gracing the promo event of Others, themed on Male, Female and Others. Did the boldness and audacity of Others trigger his body shaming query? He asked the Director Abin Hariharan and hero Adithya Madhavan, “What is the weight of Gauri Kishen, who is lifted by the hero in the film?”. Both tried to ignore this rude query, but when the journalist persisted, Gauri took him on “what are you going to do with my weight information? How are you concerned? When Karthik persisted with his justification that heroines like Khushboo and Sarita had responded to such personal questions, Gauri put him in his place, boldly, unashamed. The viral tide of support for her has made him apologise for his insensitivity. Strangely enough, Gauri who plays a crucial doctor’s role in Others, deep down empathised with the theme …we Indians have turned judgemental and crass in taking misogyny to extreme levels …a woman has to be svelte, slim and slender for the male beholder. Thin, Normal and Fat …a woman categorised into shapes that judge their very being with Beauty Queens setting impossible templates.

The 31st Kolkata International Film Festival (KIFF) opened with a strong focus on migration and displacement — themes at the heart of its newly introduced section, ‘Beyond Borders.’ Running from November 6 to 13, the festival will screen 315 films from 39 countries across 21 venues, with Poland as this year’s partner nation. The new segment presents nine films probing the emotional and political dimensions of migration, including Tales of the Wounded Land by Iraqi-French filmmaker Abbas Fahdel, Aisha Can’t Fly Away by Egyptian director Morad Mostafa, Passing Dreams by Palestinian filmmaker Rashid Masharawi, and Palestine 36 by another Palestinian filmmaker Annemarie Jacir. Festival chairperson and filmmaker Goutam Ghose described the new section as a response to the global displacement crisis. He noted that migration has emerged as one of the world’s defining challenges, and that filmmakers chronicling such realities take creative and political risks deserving both applause and empathy. West Bengal chief minister Mamata Banerjee was all praise for the inclusion of ‘Unheard India – Rare Language Films,’ a category honouring voices from linguistic peripheries such as Bodo, Santhali, and Konkani, remarking that cinema without grassroots connections cannot mirror ordinary lives. Mamata also announced the Bangabibhusan — West Bengal’s highest civilian honour — for legendary singer Arati Mukherjee and actor Shatrughan Sinha.

The angst, fear and insecurity of a Sri Lankan illegal immigrant family and their touching journey of acceptance by the locals is starkly and strikingly told by director Abhishan Jeevinth in Tourist Family, a runaway Tamil hit of 2025. This Rs 7 crore budget movie which raked in Rs 100 crore, now enjoying its OTT showing is surely a case study for cinematic treatment ….how an everyday event (go to Mandapam, Rameshwaram and watch the fear-ridden ephemeral no man’s land of Sri Lankan immigrants) is turned into a humanitarian story of love, laughter, fear and living in shadows. Tourist Family owes its hit status as much to its director Jeevinth as it does to its cast led by Sasi Kumar, Simran, their kids and a lovable dog, free of anxieties of an immigrant. Jeevinth is already on to his next venture. Oh, and his extraordinary success gave him another milestone …He married his 6th grade sweetheart Akila Ilangovan in a grand wedding at Poes Garden. Jeevinth proposed to her even as he was on stage for the promos of Tourist Family. He chose October to bring Akila into his family, taking a cue from Sasi Kumar and Simran’s love chemistry that holds up the hope that they will not remain tourists, permanently.

In a move aimed at ending perennial disputes over festival release slots, Tollywood’s leading industry bodies have drawn up new rules to prevent clashes of big-budget films and improve working conditions for technicians. The Eastern India Motion Pictures Association (EIMPA) and the Federation of Cine Technicians and Workers of Eastern India (FCTWEI) — headed by Pia Sengupta and Swarup Biswas — jointly announced that no more than three Bengali films will be released on a single day. The decision follows repeated controversies over the allocation of single-screen theatres during festive seasons. Under the revised policy, there must be a minimum gap of 15 days between two major releases, allowing each film sufficient box-office run. Smaller films, however, may release in between with mutual consent. This Christmas will see the release of Dev Entertainment and Bengal Talkies joint production Prajapati 2, Surinder Films Mitin Mashi, and one film from the Srikant Mohta–Mahendra Soni stable – Bijoynagarer Heere. For January 23, 2026, Hok Kolorob, another Mohta-Soni production, and Bhanupriya Bhuter Hotel are confirmed, while films by Ankush Hazra and Firdousul Hasan have been postponed. A new production structure has also been outlined. SVF, Surinder Films and Nandi Movies will produce six films each annually; Windows, DAG Creative Media and Camellia Productions four; and Jeet, Pia Sengupta and Ankush Hazra two. Prime-time slots will be allotted based on annual output. In a parallel move, the industry has approved a 30% pay hike for small-screen technicians and 33% for big-screen technicians, while reducing maximum working hours from 24 to 18. The ceiling for low-budget films is also set to rise from Rs30 lakh to Rs 35 lakh, offering greater flexibility to independent filmmakers.

They say success has many fathers and failure is an orphan, and the fate of ‘War 2’ illustrates that proverb perfectly. The film began with a show of camaraderie: Hrithik Roshan and Junior NTR promoted it together in Hyderabad and Mumbai, projecting a united front. But when the film flopped, that unity evaporated. Junior NTR distanced himself and pointed fingers at the producers; in turn another producer Naga Vamsi defended his own decisions while criticizing Yash Raj Films as the Main Producer and the Decision-maker, insisting that he along with Jr NTR had trusted the studio and backed the wrong creative choices. Made on a reported budget of 400 crores, War 2 failed to recover its costs, and the public spectacle of blame-shifting left the project politically and reputationally orphaned. Cast and crew who once stood shoulder to shoulder in promotion were suddenly eager to separate their names from the failure. The fallout extended beyond personal recriminations. Director Ayan Mukerji has claimed that he merely followed the script by writer Sridhar Raghavan and therefore had limited creative inputs, a statement that coincided with his exit from Yash Raj’s Dhoom 4 and his reported move to work on Brahmastra 2 with Dharma Productions. Meanwhile Aditya Chopra and Yash Raj Films have largely refrained from talking to the press about the disappointment. The production house that enjoyed a major hit like Saiyaara and a major flop like War 2 in the same year now finds itself fielding public criticism from former collaborators rather than defenders. In the end, War 2’s failure has few takers: while many involved were quick to distance themselves, silence or deflection remain the dominant responses—leaving the film, as the proverb warns, orphaned in its failure.

Malayalam films have set benchmarks in many dimensions of cinema…simple yet complex stories (contradiction?), slick editing, chilling suspense and above all gripping unravelling of a credible plot at budget spends. The English subtitles have further boosted their allure to audiences, weary and wary of boy meets girl stories, families fighting over wealth, incredible plots and huge budgets. People like Dulquer Salmaan are fully conscious of the boredom and ennui of run-of-the-mill films. So Dulquer eases into the change brigade. His Wayfarer Films is now enjoying the record-breaking success of Lokah Chapter 1: Chandra which had a dream run in cinemas, grossing Rs 300 crore…it set the trend for a film superheroine, a novel status. Heroine Kalyani Priyadarshan is still savouring the fantasy theme. It is learnt that Wayfarer Films already has the sequel to Lokah Chapter 1: Chandra almost ready to hit cinemas; even as Lokah 1 breezes into OTT. But there is a big change ….Tovino Thomas is the superhero playing Chathan Kutti in Lokah Chapter 2. Dulquer appears in the sequel too as the Odiyan Ninja. Malayalam cinema is reinventing itself like Rowling’s Harry Potter series …Ministry of Magic, a universe where good and evil fight, ghouls, goblins, house elves, wizards, witches, Yakshis who transport you to the world of ancient magic. Cinema as an art form is transforming itself from a “golden era” of diverse content to new wave entertainment of bold themes. The success of Bahubali and Kantara have definitely opened up audience appeal to folklore and fantasy.

GenZ may not be familiar with this metamorphosis in the film world of South India. But old timers and mid-gens do remember the scorn and dismissive attitude of the North for Southern heroines …fat, frumpy, matronly and of course “dark”. But, Vyjayanthimala, Padmini, Hema Malini, Rekha, Sridevi changed all that…turned this perception into sheer adoration.…Bollywood geniuses threw open not just their talent but their classic beauty and striking sexuality. Today, this change into sleek, sexy and sophisticated much in demand femme fatale stars has churned up more. Fifteen south Indian actresses lead the roster in terms of the number of brands and products they endorse, pan India. The reach of these cinema influencers only highlights their talent and striking looks to launch any product, from red hot jewellery to shimmering sarees and tech gadgets, even start-ups — any product that needs the absorbing presence of a woman of sustenance. The list is headed by Rashmika Mandana , the national crush, with Nayanthara and Kajal Aggarwal not far behind. Nayanthara’s Tanishq ad is a lesson in sleek jewellery that embellish Nayan …or is it Nayanthara’s exquisite presence launching a line of temptations? Hema Malini gave new meaning to Shudh Pani in her Kent Ad. Walk on Cathedral road, the Fifth Avenue of Chennai and Tamannaah Bhatia easily makes traffic stop with her jewellery ads. The brand success of Idhayam Nallennai is a testimony to graceful Jyothika whose calm and classy looks launch products as diverse and coveted as Diamond Jewellery to mundane ones like kitchen products. Trisha Krishnan has launched many jewellery brands. But behind these influencers who are so compelling, there must be an ethos, a work ethic, a professionalism. These stars have awesome linguistic skills to relate to customers …their regional and pan India filmi identity have launched them as ideal influencers for brands.

India’s wealthiest ‘farmer’ Amitabh Bachchan has celebrated his 83rd birthday on 11 October by purchasing three plots of land at Alibaug near Mumbai. Already owning a land parcel in the same locality, Amitabh has been leading the list of celebrities who have preferred Alibaug for land purchases. Alibaug, the Raigad district headquarters, has emerged as perhaps the most popular tourist destination over the years outside Mumbai. Now that multiple options like the expressway and the water transport services are becoming available, land prices in Alibaug and the environment are constantly showing an upward trend. Top stars like Shahrukh Khan, Anushka Sharma, Kartik Aaryan, Kriti Sanon and cricketer Virat Kohli are among those who have invested in land in the area. Amitabh’s latest purchase was registered on 7 October by paying stamp duty of over Rs.39 lakh. The lands have been sold by a firm, HOABL Landbuild, which had sold land to him earlier, too. That was in April 2024. Amitabh’s previous land purchase that became famous was in Ayodhya. It took place just before the Ram Temple was inaugurated in Ayodhya. The Alibaug land is near the Mandwa jetty, which runs regular sea trips to Mumbai daily. The land holds potential of development as a sprawling villa. Amitabh has so far maintained silence over the transactions. His three bungalows in Mumbai are in the elite Juhu area. The latest acquisition by him makes him one of prominent real estate owners in India.

This Diwali has exposed a striking contrast: Tamil cinema is enjoying a creative and commercial upswing while Bollywood offers a muted, formula-driven lineup. Two Tamil releases—Dude and Bison, both out on October 17, have captured audience attention. Dude, a breezy romantic comedy infused with local masala, opened strongly, while Bison, a sports drama from veteran director Mari Selvaraj, earned glowing reviews and solid opening numbers thanks to powerful storytelling and word-of-mouth. These films feel rooted, fresh and connected to contemporary audiences, especially younger and family viewers who respond to authenticity and strong narratives. By contrast, the Bollywood slate releasing mid-week on October 21 looks underwhelming. Thamma (an Ayushmann Khurrana horror-comedy) and Ek Deewane Ki Deewani (starring Harshvardhan Rane and Sonam Bajwa) are competent but lack the novelty and scale we normally associate with Diwali. With neither superstar-driven star power nor bold thematic risks, these mid-budget releases lean on familiar formulas rather than offering new cinematic experiences. Historically, Diwali has been the domain of spectacle—big stars, family entertainers and larger-than-life marketing—but this year Bollywood’s offerings fall short of those expectations. The difference comes down to ambition and audience connection. Tamil films are taking creative risks, genre blends, culturally specific stories and directors with distinct voices, resulting in stronger word-of-mouth and sustained interest. Bollywood’s conservative programming this festive season suggests risk aversion and reliance on safe templates, which may cost it market share as regional films continue to raise the bar.

Tamil Nadu’s Deepavali is not just about new clothes, sweets and crackers…a new film is a must to add to the festivities. Producers work overtime to ensure the movies are released during Deepavali. This year’s festival releases are three unusually titled films …Dude, Diesel and Bison. October 17 was truly a red-letter day for young Dhruv Vikram, veteran actor Vikram’s son. Coincidentally, Vikram’s first film too was released on October 17. Mari Selvaraj, the King creator of down-to-earth compelling movies like Pari Yerum Perumal, Karnan, Mamannan and Vazhai has again focussed on societal inequalities and caste-based exploitation …Bison is centered on Kabaddi, based on the true life Arjuna Award winner Manathi Ganesan. Selvaraj’s Bison not just holds up a clear mirror to the oppression of the underprivileged…he scores with real life depiction of a player tunnelling his way up in this caste overwhelmed social morass that makes the privileged sit up and take note …not just feel guilty about their conferred birth, but in some ways wanting to right these wrongs to bring more equity to the underdog. Kollywood is fortunate to have a clutch of prescient and compelling creators — directors, producers, script writers who remain faithful to ideologies of social inequality and in some way raise the awareness through their artistic craft of storytelling. Weaving the politics of TN into his hard-hitting film, Selvaraj builds Bison as the angry but aspirational archetype of an oppressed young man, determined to win. Even sports are not out of the clutch of caste oppression.  

No need to go to the auditorium to watch Soumitra Chatterjee’s plays. One Theater, India’s first theatre-focused OTT platform is bringing over 300 plays from Bengal’s rich dramatic heritage directly to viewers’ screens. Developed by ESI BPL Group and Banglamanch under G-TPL, the platform aims to unite theatre groups from every corner of the state, offering audiences a single, seamless digital stage. Organisers said that One Theater is more than entertainment — rather a bold step to preserve and celebrate Bengali theatre for generations to come. A highlight of the app is a dedicated archive of late legendary actor Soumitra Chatterjee’s theatrical works, allowing audiences to experience his timeless performances. The inaugural lineup features productions that span themes from human relationships to nostalgia and moral dilemmas. Typist, directed by Soumitra Chatterjee’s daughter Poulomi delves into the subtleties of office life and romantic undercurrents, featuring veteran theatre personality Debshankar Haldar and Poulomi Chatterjee. Mitali, directed by another theatre veteran Gautam Haldar, captures the tender story of teenage love in the era of handwritten letters, long before the digital age. Meanwhile, Chandanpur-er Chor, another Shyambazar Mukhomukhi production, blends humour and humanism as three thieves enter an elderly woman’s home, confronting ethical dilemmas, with performances by Rajatab Dutta, Shankar Chakraborty, Deblina Dutta, Pritha Majumdar, Saurav Kar, and a talented ensemble of young actors. The founders of One Theater envision the platform as more than a streaming service—it is a living archive, a cultural bridge, and a digital window into Bengal’s theatrical soul. They hope this initiative will bring Bengali theatre back to the national and international spotlight, ensuring that its stories continue to resonate across generations.

In a watershed year for Indian cinema, Kannada and Malayalam industries are leading the charge with blockbuster epics that blend cultural depth with universal spectacle. Rishab Shetty’s Kantara: Chapter 1 has shattered records, amassing Rs 500 crore worldwide, fuelled by its raw portrayal of Karnataka’s ‘Bhoota Kola’ rituals and environmental folklore. Shetty’s dual role as the fierce Panjara— a forest guardian clashing with modernity—delivers visceral action and spiritual resonance, backed by immersive folk music and stunning Udupi landscapes. The film’s grassroots appeal exploded through dubbed versions in Hindi, Tamil, and Telugu, turning rural myths into pan-Indian anthems and earning global acclaim at festivals like Busan. Hot on its heels, Malayalam’s Lokah Chapter 1: Chandra released on August 20, 2025, surged past Rs 300 crore in just six weeks, heralding a superhero saga rooted in Kerala’s matrilineal heritage. Director Dominic Arun masterfully fuses high-octane VFX with emotional intimacy, as producer Dulquer Salmaan crafts a universe where heroine Chandra (Kalyani Priyadarshan) wields ancestral powers against cosmic threats. Priyadarshan’s nuanced turn — from vulnerable orphan to empowered icon — fills a void in female-led genre tales, while spicy dialogue controversies sparked viral debates, boosting theatre footfalls. Salmaan’s bold vision promises spin-offs, blending local lore with Marvel-esque flair. This duo’s dominance underscores a broader renaissance: Gujarati’s Chhello Show 2 breached Rs 100 crore with its heartfelt immigrant saga; Marathi’s Dashaavtar hit Rs 50 crore via satirical family dramedy; and Tamil’s Coolie topped Rs 250 crore in labour-rights thriller mode. Smart OTT tie-ups, dubbed releases, and culturally authentic narratives propel these beyond regional silos, outshining Hindi’s faltering Param Sundari and Sunny Sankari ki Tulsi Kumari. As indigenous voices claim centre stage, Indian cinema evolves into a vibrant mosaic....

The idiom aging like an old wine seems apt for the 56-year old Bobby Deol. Finally, he has stepped out of the shadow of his father Dharmendra and brother Sunny Deol. For an actor who almost became a recluse and took to drinking, the comeback has proved all his detractors wrong. What changed his life was an innocent question by his children: why is daddy home and not going to work? This is what he said in an exhaustive interview to Times Now‘s Navika Kumar. He went out looking for a job and he was lucky. A web series came his way and his role as Baba Nirala in Aashram (2020) made audiences sit up again. Then came Animal (2023), where his near-silent performance stole the spotlight despite limited screen time. Suddenly, Bollywood’s “forgotten Deol” was the industry’s most talked-about star. Bobby made his debut in Barsaat (1995). With hit films like Gupt, Soldier, Badal and Bichhoo he had carved a niche for himself as the romantic action hero. His downfall started some time in 2010 as a lot of new faces emerged who were versatile. Now cut to current days, he seems breezing with confidence… zipping in and out of film sets or TV news studios. Sure, Bobby has bounced back but diehard industry watchers have a piece of advice for him. “Now, that films are coming the way, he should pick and choose…he should strike a fine balance between art and commerce…that’s a craft he needs to master”. 

In the intensely competitive ecosystem of Kollywood, traversing 22 years and reaching Lady Super Star status is no mean feat …in the same demanding profession where beauty, fitness and a modicum of acting talent combine to make a star. Forty-year old Nayanthara has achieved this milestone, still holding steady as one of the highest paid heroines (Rs 7 crore per film) pan India. Before she turned into the legend Nayan, she was Diane Mariam Kurian, dad Kurian Kudiyattu from the armed forces and mother Omana Kurian who bestowed her beauty and grace. Maybe she carried her military disciplined upbringing to her profession. But Nayan, went through some stormy and controversial romantic hookups too…her dalliance with a married Prabhu Deva, her brief affairs with Simbu and Arya provided much chomping fodder to the media, hungry for titillating bits and bytes. From her first film, Manasinakkare in Malayalam in 2003, to playing Sarat Kumar’s lead in Aiyya in 2005 …pairing with Rajinikanth in Chandramukhi which put her in orbit …soon Vijay, Ajitt, Suriya, Vikram, Simbu, Dhanush and Arya were her co-stars. Nayan’s name guaranteed a good box office run. She carried a mythological, Mookuthi Amman on her shoulders and turned a craze among women; the director is now ready with Mookuthi Amman 2. Vignesh Shivan, her husband came into her life with his directed film Naanum Rowdy Thaan, a relationship that merged into marriage in 2002, a much-hyped wedding… Netflix filmed and marketed it. Her twin boys, Uyir and Ulagh keep her busy, even as she still works in films with the same zeal in heroine-oriented roles. Nayan’s cosmetics start-up is sought after by fashionistas.

Trisha Krishnan is a beautiful and talented Tam Brahm enigma in Kollywood. At 40, she is still sought after. Trisha turned into a craze after Ponniyin Selvan, a Mani Rathnam magnum opus, though her Vidaamuyarchi with Ajith left the audience cold.  The media and fans are still trying to decode her persona …is she a Cool Cat or is she a Virago Vixen? Those close to her would vouch for a potent mixture of both. And making public statements like her recent bold dare “I am waiting for people to plan my honeymoon too”.  Is she tired of the talk about her romantic links or the presumed liaisons (Vijay figures prominently) or is she trumpeting her bold attitude? Not that Trisha is a boring, simpering and simple lady who pulls her housing shell tightly over her head and coils up. Not at all…she is a fun-loving effervescent girl who bubbles more like her Bubbly in her Chennai beach outings with her friends. But she has had some near escapes from permanent betrothal…her relationship with Rana Daggubati went on for long, then suddenly ended. Another engagement to a sturdy South Indian turned stormy, when Trisha stormed out of the ceremony. She does seem to get these last-minute jitters, poor girl but is not prepared for the backlash …constant chatter about her next romance. One such “almost real almost fake news” must have raised her hackles. Filmdom has many such encounters of a nasty kind but only a few like Trisha can take them head on.

Fifty-four-year old national award-winning Bengali actress Rituparna Sengupta flew into the UK recently for the premiere of her film Puratawn (The Ancient). Rituparna held two screenings — London and Manchester — to attract the Indian diaspora and other nationalities. The film received an overwhelming response from her fans and others, as the film revolved around the sensitive subject of dementia. The UK has a huge population suffering from this disease. Over one million suffer today, and the numbers are likely to increase to 1.4 million, say experts, thus making Rituparna’s film more relatable to the UK audiences. The Bengali film with English subtitles explores memory loss, and reconciliation through the story of Ritika, who returns to her ancestral home with her husband to celebrate her mother’s 80th birthday. What begins as a family gathering evolves into a profound meditation on ageing, identity, and the shadows of the past. The film stars screen legend Sharmila Tagore alongside Sengupta and Indraneil Sengupta, with cinematography by Ravi Kiran Ayyagari and music by Alokananda Dasgupta. The film’s delicate treatment of memory and its exploration of the bonds between generations touched the chords of the UK audiences. To Rituparna, producing and acting in the film was both a professional challenge and a personal journey.

There is some mysterious compulsion in film stars who hanker for media projection, compulsively, yet want to play hide and seek with their fans. Often, the liaisons go through many hoops…we are just friends, we are co-stars who respect each other, our families have known each other …but the real relationship surfaces only after many such games. National crush Rashmika and the middle ‘classic’ icon Vijay Deverakonda are supposed to have pledged their future together at an “intimate, private ceremony in Hyderabad”…a news item that immediately raised the radar of not just speculation, but certainty. Soon enough the mainstream media had the news flash. Rashmika may have instinctively realised that she couldn’t make Vijay wait indefinitely. Now the next speculation about how strong the bond is, as the age difference between the two is seven years, and the Telugu hero Deverakonda has been overtaken by Rashmika who has moved into a pan India super slot after her Pushpa, Animal, Chavva, Sikander and Kubera collectively grossing Rs 3,300 crore. Pushpa and sequel have of course hit the top slot many times over, with Rashmika competing equally with Allu Arjun for encore applause, 26 films in her kitty. Telugu audiences went crazy over their super chemistry in Geetha Govindam, the first film starring both, a chemistry that turned into a relationship over time. Forbes India lists Vijay as one of the highest paid Telugu film stars, even though his Kingdom and Khushi met with average success. The wedding is planned for February, 2026…in case you get invited.

This Dussehra weekend produced a striking box‑office lesson: Rishab Shetty’s Kantara Chapter 1, a regional franchise title released in multiple languages, dramatically outperformed the new Hindi release Sunny Sanskari Ki Tulsi Kumari starring Varun Dhawan despite modest marketing for both. Kantara’s all‑language opening was reported at Rs 60 crore, with the Hindi version alone contributing Rs 19.5 crore on day one; SSKTK’s day one tally was roughly Rs 9 crore. On day two Kantara held very strong — around Rs 43.65 crore across languages, with the Hindi slice at about Rs 12 crore — taking a two‑day cumulative near Rs 105.5 crore, while SSKTK dropped to about Rs 5.25 crore on day two, totalling roughly Rs 14.25 crore across two days. Those numbers are revealing. First, the Hindi‑belt audience clearly embraced Kantara’s Hindi version at levels more than double SSKTK’s in the initial 48 hours. This suggests that a compelling story, rooted identity and franchise momentum from the South can translate into pan‑Indian box office power, even against a star‑led mainstream Hindi release. Second, the performance underscores how audiences today often prioritize spectacle, strong world‑building and franchise potential over conventional star vehicles, especially during holiday windows when families seek high‑energy, communal viewing experiences. For Hindi industry stakeholders the takeaway is urgent: star power alone may no longer guarantee opening weekend dominance. Building durable IP, investing in cross‑lingual accessibility, and crafting marketing that conveys the film’s scale and emotional stakes are critical. Simultaneously, distributors and producers should respect release timing and ensure robust promotional pushes in non‑native markets. Kantara’s success is not merely regional pride; it is a reminder that content that feels native yet universal, backed by smart release strategy, can outshine traditional formulas and reshape audience expectations across India.

Tripti Dimri has a larger than life brief to enact when she plays stormy Parveen Babi in a soon to be made biopic by Netflix. Who doesn’t know Parveen Babi’s Royal Afghani lineage, her modelling career careening into Bollywood as a sex symbol, the eight films she co-starred with Amitabh Bachchan, her boldness to take on roles that closet cowards ached to ape, her riveting, sizzling on screen presence that turned on audiences? But destiny dealt a serious blow to her career when she was diagnosed as schizophrenic, soon labelled manic. Imagine her state of mind even as she rode the crest of filmi success when she accused Big B of being a Don, planning to kidnap and kill her. Many more such incidents weighed on her career. She tried a spiritual retreat and overseas trip. In 2005, this tempestuous and beautiful actor died alone in her Mumbai flat. After Tamil actress Silk Smitha’s biopic, Dirty Picture, is this another effort to lay bare an artist’s sad life or is it a homage to Parveen Babi who raked in millions for her producers? In a misogynistic social environment, women who are bold enough to smash so called societal norms are termed easy prey. One only hopes that this biopic will depict her talent and magnetic screen presence marred by mental health issues. Babi lived her personal and professional life on her terms.

Fifty-year old Bollywood actress, model and entrepreneur Shilpa Shetty Kundra is once again mired in controversies. The latest one pertains to Rs 60 crore fraud/cheating case filed by businessman Deepak Kothari, alleging misuse of funds meant for business growth in their now-defunct company Best Deal TV Pvt Ltd. He claims that between 2015-2023, money given for business expansion was used for other purposes, under the pretext of a loan or investment. A lookout circular (LOC) has been issued against both, and the High Court has denied them permission for a foreign trip amid the investigation. Earlier, she was drawn into a controversy involving her husband Raj Kundra over pornography/racy-content apps case, where Kundra was arrested in 2021 for allegedly producing and distributing adult content through mobile apps. During the porn app controversy, many were sympathetic to her, saying she was being dragged into her husband’s business affairs and unfairly targeted by the media. But, in the latest fraud case public sentiment seems divided. Then she said she was not aware of it and got a lot of public sympathy. Such controversy is certainly a setback for a celebrity like her. It has resulted in the closures of her Bandra restaurant being shut down. Shilpa who debuted in Baazigar (1993) has acted in over 50 films in Hindi, Tamil and Kannada.  Looks like she has de-risked her strategy. She does not have too many films on her hand.  She was recently seen in Hungama 2 and is working in OTT space. Shilpa has moved beyond films – judging reality shows, invested in gym/fitness business, fashion and brand endorsements. The general question everybody is asking is: was she a partner in crime?” Legally nothing has been proved. She and her lawyer are denying culpability. Investigation is ongoing. No court has declared her guilty as of now. 

It has become rather hard to classify a film star politician or a politician drawing massive crowds as a star in the South. At least two deputy CMs of significant states have added value to their Star status…Udhayanidhi Stalin and Pawan Kalyan. Pawan Kalyan’s just released film, They Call Him OG, is setting all kinds of records for crowds drawn, collections at box office and the craze for the actor politician. In just two days, OG swept in Rs 200 crore globally. Trade analysts are busy with their matrix of comparison with other “hits”. We in India are quite familiar with cinema and star craze. But Germany had a shocking incident …a poster of Pawan Kalyan was bathed in milk in public and incensed the Germans, who were angry about such low-level civic sense. In a Chittoor (Andhra Pradesh) cinema, a huge garland on the hero’s poster caught fire and people ran helter-skelter. But such over the top intense hero worship is par for the course in a star struck ecosystem. If the star is a weighty politician, the frenzy and celebrity fever only intensifies. Despite record-breaking collections, critics have cautiously slammed the plot and the film. But then do critics matter? When you lead a mammoth fan club, the film just flaunts the Hero…and all is in the well at the Box Office. Keep your hold on those fans …the magic formula.

Janhvi Kapoor has carved a distinctive space in Hindi cinema by consistently balancing content‑driven performances with mainstream, masala entertainers. From early hits like Dhadak to more challenging outings such as Gunjan Saxena: The Kargil Girl, Milli and Good Luck Jerry, her choices have demonstrated a willingness to oscillate between star‑led commercial projects and single‑minded, performance‑oriented films. That versatility has kept her visible: even when her filmography lacks a long list of commercial blockbusters, endorsements, a strong social‑media presence and curated publicity have ensured she remains in the public eye. What sets Janhvi apart is her readiness to embrace markedly different screen personas. On one hand, she takes on glamorous, crowd‑pleasing roles in big‑banner potboilers that rely on charm, song-and-dance and mass appeal. On the other, she accepts taxing, festival‑friendly parts that foreground craft over gloss. Her recent internationally lauded turn in Homebound — playing a marginalized, complex character — has won critical praise and is India’s Official Oscar entry, while her work in more commercial fare continues to draw mainstream attention. This duality is not accidental: it’s a strategic blend that expands her range and broadens her audience. Her upcoming releases further underscore this balance. The Dussehra‑timed Sunny Sanskari Ki Tulsi Kumari positions her in an ultra‑glamorous, high‑energy entertainer aimed at wide family audiences, even as her involvement in arthouse projects keeps her relevant on the festival circuit. Few contemporary actresses manage this tightrope so consistently: to command box‑office visibility while also earning critical credibility. By alternating between mass entertainers and serious, performance‑led films, Janhvi has ensured simultaneous traction in both columns — critical appreciation and commercial promise — keeping her career lively and versatile.

This soft gentle hero, R Madhavan has travelled all the way from a Jamshedpur TamBrahm middle class upbringing to the giddying heights of Bollywood and Kollywood with an untarnished reputation. He also made box office history with strong story line plots of love, sentiment and family bonds, and directed a few patriotic films. His biopic Rocketry: The Nambi Effect on Nambi Narayanan, was warmly received. In a recent media interaction, Madhavan decoded his strategy for choosing between “financial stability and making Good films”. If the overriding concern is financial stability, you tend to grab every film that falls your way …but choosing good films can happen only if you are financially secure. Profound or trite? With Madhavan there is no Dr Jekyll and Mr Hyde stand. This clean-cut hero has come a long way to make his home in Dubai. And that not to be missed trapping…he is the proud owner of a yacht. “There is buzz that I own a ship …nothing of the sort…it is just a Rs 16 crore 75 feet pleasure boat”. There is also talk that Maddy has dabbled in real estate and owns property in Mumbai. Sensible, down to earth middle-class values …use your money in sensible ways, not prowl for instant wealth. He does remind you of Dhoni who succeeded enough to make his name a brand with his outstanding play, quietly made his millions…balanced fame and fortune, curated. Dhoni and Maddy are like peas of the same pod …humble, practical and at the end of the day poster boys for middle class ethos, not razzmatazz power play.

It is striking how quickly lack of marketing leads some producers to resort to manufactured controversy as a substitute for a coherent release strategy. Hindi feature film, ‘Ajey: The Untold Story of a Yogi’, a biopic of Uttar Pradesh chief minister Yogi Adityanath illustrates the risks of that shortcut. The film, directed by Ravindra Gautam with newcomer Anant Joshi in the lead, endured censor delays and repeated postponements, and was released with almost no pre‑release publicity: no sustained trailer campaign, limited social assets, negligible media buying and no visible on‑ground outreach. With no established star, director profile, or promotional momentum, the makers appear to have leaned on controversy to generate interest. Media reports and social chatter suggested that some groups opposed the film and that it faced restrictions in certain overseas markets; those narratives were amplified across news channels and digital platforms, creating a storm of attention that had little to do with the film’s craft or storytelling. By contrast, Jolly LLB 3 benefited from classic, disciplined marketing: franchise recognition, TV integrations, viral short‑form content and broad social amplification. The result was Jolly LLB 3 reported opening day collection of around Rs 13 crore, while Ajey managed barely Rs 20 lakh nationwide. That gulf underlines a simple truth: controversy is not a marketing plan. Manufactured outrage may produce headlines, but it rarely translates into sustained audience trust or ticket sales. The Ajey case serves as a cautionary tale for low‑budget and debut projects. Effective promotion need not be extravagant, but it must be strategic: clear positioning, targeted digital spend, festival and critic engagement, and grassroots visibility. When films are launched without those basics, manufactured controversy becomes an all‑too‑tempting, and usually ineffective, fallback. 

Controversy continues to dog Tollywood, this time over the release of four much-awaited films that are set to clash during Durga Puja, the industry’s most lucrative season. Directors Nandita Roy-Shiboprosad Mukhopadhyay, Anik Dutta, Shubhrajit Mitra and Dhruva Banerjee have lined up their big-budget movies — Raktabeej 2, Joto Kando Kolkatatei, Debi Choudhurani, and Raghu Dakat. Despite a recent intervention by a state-appointed committee, industry insiders confirm that disputes have emerged over screen distribution and prime-time show slots. Speculation is rife that Dev’s Raghu Dakat, co-produced with SVF, has secured an edge in theatre count and timings. Writer Jinia Sen (Raktabeej 2) and producer Firdausal Hasan (Joto Kando Kolkatatei) admitted they had heard “market buzz” about Raghu Dakat cornering a good number of theatres. The speculation gained momentum when Trinamool Congress (TMC) spokesperson and actor Kunal Ghosh publicly questioned why an “influential” film had been given extra slots. Though he did not name anyone, many in the industry viewed it as an indirect swipe at actor-MP Dev, his party colleague with whom he has sparred earlier on social media. Dev’s recent release Dhumketu’s co-producer Rana Sarkar hinted at a deeper game. Exhibitors Naveen Chokhani and Jaydeep Mukhopadhyay, along with distributor Shatadip Saha, dismissed claims of preferential treatment for Raghu Dakat, saying no final decisions had been made. Still, several single-screen owners admitted the real pressure would fall on them, as unequal slot allocation during Puja season often sparks discontent. Ghosh also added a political edge, claiming Raghu Dakat owed thanks to TMC for the backing Dev reportedly received from local leaders during district promotions. 

Twenty-four action-filled years have passed on in 49-year old Malaika Arora’s life, since she gained global fame for her dance Chaiyya Chaiyya with Shah Rukh Khan atop a moving train in Dil Se. Nothing much has changed for this feisty and fast fashionista…her love for undiluted publicity, fashion statements and boundless energy have only grown along with her passion for fitness. Oh! Yes, her liaisons do make for high voltage news, not surprising that after her divorce from Arbaaz Khan (brother of Salman Khan) social media chatter made her every link newsworthy, especially her long standing relationship with Arjun Kapoor. Now the same ‘GRIPE VINE’ is trumpeting a break with Arjun Kapoor. Recently HT carried an interview with Malaika about her past state of mind and her present transformation, a weighty self-assessment and certification. “Till now my style quotient, dress sense, fashionista status and relationships determined my personality in the eyes of others”. Pardon us, but celebrities are scoped for this very reason, if this scrutiny and projection stop, the celebrity is no longer a celebrity. What was Malaika conveying? Others cannot influence what I should do. “But when I stopped justifying my actions and appearance, I felt a lot more free”.  She concluded by forgetting what people think, it’s important what you think of yourself. She justifies her boldness, openness and going that extra mile which has put her on top. For added measure she states that people who contain her in a narrow perception cage are not her well-wishers. Is Malaika down to earth honest or is she styling for her next move? Best to be an enigma and baffle the curious.

People are justifiably wondering about the movie title Idli Kadai, featuring popular Tamil star Dhanush with Nithya Menen as a leading lady. Perhaps the movie may just prove that titles don’t matter as long as the content is gripping. Strangely enough Dhanush seems to have that innate trick of marketing his film through the curiosity factor. In a recent promo event Dhanush talked about his childhood when his family couldn’t afford even idlis, how he yearned for them and hence centrifugal his plot with a well fermented storyline, soft, spongy and sentimental. Like all mid-level heroes, Dhanush is at the crossover crossroads …which option to jump to the next level? Especially after Vijay pole-vaulted to politics and his bête noire Sivakarthikeyan inching to top slot, though Madharaasi fell flat despite the hype. But Dhanush has a leg-up which many don’t have; he can multi-task as an actor, director, singer and scriptwriter. His female lead Nithya Menen is a dependable lead, talented and fearless …though her film Thalaivan Thalaivi was rejected both in cinemas and OTT. In that too Nithya romances a Kothu Parotta seller …food is the rocket to a man’s heart, head and bank.

Recent box‑office disappointments from Baaghi 4 and War 2 to the latest Housefull 5 instalment, all underline a fundamental shift: the star cast no longer guarantees good openings. In past decades marquee names could single‑handedly generate massive opening weekends; today even established superstars such as Tiger Shroff, Hrithik Roshan, Akshay Kumar, Salman Khan, Shahid Kapoor and Jr NTR struggle to ignite the immediate surge that once defined success. High‑profile casts with weak concepts are faltering, while content‑led films and global formats are finding passionate, sustainable audiences. Younger viewers, particularly Gen Z, now prioritise authenticity, narrative innovation and experiential value over celebrity worship. They binge Korean dramas, embrace Japanese anime like Demon Slayer, attend immersive live experiences and discover diverse global content on OTT platforms. The enthusiastic reception for Demon Slayer’s theatrical release and the success of content‑driven films such as Saiyaara demonstrate that strong storytelling, memorable music and convincing world‑building can outdraw even big‑name star vehicles. Conversely, titles that leaned primarily on star power including some recent franchise entries like Baaghi 4 and Housefull 5 have failed to translate celebrity into sustained box‑office momentum. For filmmakers, producers and studios the implications are clear. First, invest in content development: prioritise script refinement, richer character arcs and tonal clarity before locking in headline casting. Second, align casting to story needs rather than assuming star wattage will compensate for weak material. Third, embrace mid‑budget, high‑concept projects that allow creative risk and targeted marketing rather than relying solely on costly tentpoles.

Malayalam cinema’s suave hero, Dulquer Salmaan is truly a Lucky Baskhar. You might think so what? He is a nepo hero from the house of a film legend, Mammootty. Bloodlines can exalt a star only for a limited time, eventually they have to prove their mettle. Dulquer has leaped further than his father.  His company, Wayfarer Films just released Lokah: Chapter 1 – Chandra is setting new records at the box office. In just 13 days of showing, it has collected Rs 200 crore and much critical acclaim for its producer Dulquer who plays a cameo in the film. Dulquer is shrewdly strategizing his status not just as a star but a producer of quality stuff. Dulquer’s upcoming film, Kaantha was all set for release on September 12 but he suddenly decided to postpone its release to get the best of Lokah’s ROI. Its cost of production was Rs 32 crore and Dulquer is confident it will bring in Rs 300 crore. He has already announced that he will share the overflow with the crew of Lokah. Dulquer wants Kaantha too, to be an unforgettable film. Success needs well thought out master plans. Luck is the magic component.