She seems to hate the media — journalists and paparazzi. And the 77-year old actress-politician Jaya Bachchan makes no bones about it. At every event the paps get a taste of her snide remarks or sarcasm. Recently, at an event she was waiting for her car along with her daughter Shweta. When the car arrived, she sarcastically turned around asked the waiting media, “Chalo, aap log be saath mein, aajayeaa.”  A seasoned film journalist say she got the first glimpse of the veteran actress reacting negatively towards media way back in 2013 at Subhash Ghai’s birthday bash at a Andheri pub when a photographer addressed Aishwarya Rai as Aishwarya. Even before the Bachchan bahu could react an angry Jaya Bachchan asked, “Kya Aishwarya Aishwarya bula rahe ho, tumhare class mein padhti thi kya? ‘‘. The ‘Gudi’ actress historically loved by all seems to have surprised media by her rude behaviour.  Again, at a public event when an elderly female fan patted her, she immediately shrugged her hands off. One may have noticed she seems to avoid media in general. At the premiere of her grandson Agastya Nanda’s The Archies she even refused to pose for the media and had to be persuaded by the family to do it. At the prayer meeting of Rono Mukherjee, uncle of Kajol and Rani, she muttered something in Bengali at the paps covering the event. Most paps are wondering why she hates their tribe. By her own admission in her granddaughter Navya Naveli Nanda’s podcast she said “I despise the people who interfere in your personal life and fill their stomachs by selling those products. I hate it …”

Vijay Sethupathi, one of the most bankable stars of Tamil cinema is an institution of hits by himself. What happens when this powerhouse loves, clashes, and lives through a stormy marriage with Nithya Menen, an equally bankable leading lady, is the theme of Thalaivan Thalaivii to hit the screens on July 25. There is a small snag here…after a run of hits, especially last year’s Maharaja, Sethupathi stumbled in Ace this year. Maybe the makers wanted insurance for the new release …and they swung it, majorly. Thalaivan Thalaivii is the usual story…Vijay Sethupathi, a parrotta master is drawn towards a Masters holder, Nithya Menen. But director Pandiraj, known for hits like Pasanga, Kadaikutty Singam makes even ordinary, everyday stories extraordinary with his sensitive and layered treatment. Sethupathi and Nithya get married …Is this union a ho hum boredom filled marriage which loses its sheen after the first flush of love and lust fade? Does it turn into a battlefield? The lead pair has a full posse of talented support in Yogi Babu, Myna Nandhini, Saravanan and others who are not to be sneezed at as foils. They bring strong synergy to the script. Santosh Narayanan’s music has heightened the film’s intensity. Already songs Pottala Muttai and Aakash Veeran are social media hits. Every marriage has its quota of love, fights, separation, reconciliation. Has Pandiraj made these spouse dynamics powerful?  

Music has always been a cornerstone of Bollywood, shaping the success of films and the careers of newcomers. This is vividly illustrated in the recent release ‘Saiyaara’, featuring debutants Ahaan Panday and Aneet Padda, directed by the renowned Mohit Suri and produced by Akshaye Vidwani under the Yash Raj Films banner. The film has generated significant buzz, thanks in large part to its captivating soundtrack, which has resonated with audiences and critics alike. With an impressive collection of approximately Rs 45 crore in first two days, it’s clear that the combination of fresh talent and compelling music has struck a chord with viewers. Historically, Bollywood has a rich legacy of launching new stars through films that feature memorable love stories and unforgettable music. Classics like ‘Bobby’ ‘Betab’, ‘Maine Pyar Kiya’ and ‘Qayamat Se Qayamat Tak’ exemplify how the right blend of romance and melody can catapult newcomers into stardom. In Saiyaara, the soundtrack, consisting of seven tracks composed by a talented lineup including Mithoon, Sachet-Parampara and Tanishk Bagchi, serves as a powerful marketing tool, drawing in viewers and creating a lasting impression. In today’s competitive cinematic landscape, a strong musical score can be a game changer. The enchanting melodies and heartfelt lyrics elevate the film’s emotional depth, making the love stories more poignant and relatable. Mohit Suri’s understanding of music, showcased in hits like Aashiqui 2 and Ek Villain Returns shines through in this film, creating an experience that feels like attending a concert. Saiyaara exemplifies how a well-crafted musical experience can pave the way for success, ensuring that both the film and its stars are celebrated long after the credits roll.

Pooja Hegde, the almost Miss Universe turns overnight star yet trolled as not lucky for her heroes. She nearly walked away with the Miss Universe Tiara in 2010 but her destiny was in films. Pooja played the heroine in her first Tamil Film Mugamoodi. Now with 17 films, 4 SIIMA Awards, 3 Filmfare nominations and with overwhelming celebration of her beauty there is something lacking in her place as a superstar. Even with Prabhas as lead, ‘Radhe Shyam’ had a lukewarm reception. Despite item numbers Arabhikuthu and Jaalilo Gymkhana sizzling in Beast with Vijay as hero, the film flopped. Salman Khan serenading her in Kisike Bhai Kiseke Jan did nothing to boost the box office for the money backers. Deva and Retro were disappointing, even though the heroes were having a bad spell of filmy luck. But in the world of cinema, if a film fails, the hero does not have to take the whole blame …it is equitably distributed, sometimes passed off as “this heroine’s Rasi is not powerful” superstition. But significantly Pooja’s remuneration kept climbing up simultaneously. Reportedly, she is said to have been paid a whopping Rs 5 crore for ‘Jana Nayakan’ overtaking the remuneration of Kajal Aggarwal and Samantha. With too many films bombing, the buzz spread   …Pooja is not a lucky heroine. The trolls only jacked up her demand. Now the draw of her gorgeous persona has gone sky high — 5 million views for a cameo item in Rajinikanth’s Coolie. The number “Monica” is a guaranteed hot number. Pooja overtakes Katrina Kaif and Samantha with her raw appeal. And to shut all trolls, she has signed a new film with Dulquer Salman…yet another validation that trolls and myths cannot stop her rise.  

An increasing number of Bengali actors are heading to Mumbai, reflecting a growing trend of migration from Tollywood to Bollywood. Over the past few years, noted actors like Saswata Chatterjee, Jisshu Sengupta, and Parambrata Chattopadhyay have featured in several Hindi films and web series. Even big names such as Prosenjit Chatterjee and Jeet have stepped into Bollywood. Meanwhile, many TV stars from Bengal are also seeking roles in Hindi serials, hoping to make it big in Mumbai. Casting directors like Mukesh Chhabra have gained prominence, especially with the rise of social media. Known for discovering Sushant Singh Rajput, Chhabra is considered a star-maker. He recently visited the sets of Raktabeej 2 and reportedly selected Mimi Chakraborty to play Dona Ganguly in the upcoming Sourav Ganguly biopic. He recently conducted a three-hour workshop in Kolkata which was hosted by Pritimoy Chakraborty, who runs the Kolkata studio. This open-to- all workshop generated widespread interest, especially among Tollywood actors like Tota Roychowdhury, Debdut Ghosh, Debleena Dutta, and Dibyajyoti Dutta. The initiative aimed to build confidence among Bengali actors. He noted that many actors face challenges in diction and presentation, which are crucial in Mumbai’s competitive industry. The workshop addressed how to audition, develop mental strength, and present oneself effectively. Debleena Dutta stated that Kolkata’s work opportunities have visibly shrunk with nepotism affecting casting decisions. Debdut Ghosh highlighted that TV serials in Kolkata have dropped from 40–50 to around 20, and films have declined from 70–100 to around 20. Likewise, investment has halved from Rs 1,200 crore earlier.

Metro In Dino directed by Anurag Basu, has opened to disappointing box office numbers, grossing approximately Rs3.35 crore, a stark contrast to its hefty production budget of Rs100 crore. Despite the film receiving mixed reviews, with some intellectual critics praising its love story, music, and performances—particularly from the lead actress—audience reception has been lukewarm at best. The disconnect between critical acclaim and public enthusiasm is evident, as mainstream viewers have not resonated with the film, leading to a significant drop in expectations. The film’s three-year production timeline raises questions about its viability in an increasingly saturated market. The concept of love anthologies, once fresh and engaging, has been extensively explored across numerous OTT platforms, diluting its novelty. When “Life in a…Metro” was initially conceived in 2007, it boasted a unique premise and a strong musical score, but the landscape has shifted dramatically. With audiences now inundated with similar narratives, the film struggles to stand out. Moreover, the star cast, featuring Aditya Roy Kapoor, Sara Ali Khan, and Pankaj Tripathi, lacks the mass appeal necessary to draw in larger crowds. While each actor possesses talent, they do not command the box office clout that would ensure a successful opening. The ambitious attempt to revisit a concept after 18 years has proven misguided, as audiences have moved on, leaving the film feeling outdated.

Vivek Oberoi may have been crucified by Bollywood because of his fallout with Salman Khan but the same actor today is a successful entrepreneur and real estate baron in Dubai.  The actor’s company has a turnover of Rs 1200cr and many Bollywood stars have bought apartments in Dubai through him. Oberoi’s second act or changing career track has impressed one and all. The 49-year old Vivek, son of actor Suresh Oberoi, made his debut as a gangster in Ram Gopal Varma’s Company which was a runaway hit. More success followed. But his relationship with Aishwaraya Rai seemed to have upset Salman Khan. This rivalry saw him losing out as most producers decided to back Salman and sidelined him. With not many offers coming his way, it is learnt that for a fleeting moment he contemplated what Sushant Singh Rajput did. Then he picked up the gauntlet, moved to Dubai and plunged headlong into the real estate business. He was successful. There is a lesson here for lakhs of people; Vivek did not allow lobbies in Bollywood to decide his future and is now doing films on his terms. He was recently seen in Kesari Veer and will be seen playing vidyutjeeva in Nitesh Tiwari’s Ramayan. The actor now lives in Dubai and shuttles between Mumbai, Delhi and Dubai. Not many are aware of his philanthropic activities in the areas of education (he does not like to talk about it) and healthcare. He helps the underprivileged children of Vrindavan and also cancer patients. Vivek had a reason to change his track and fortunately he was successful. Others have tried but in vain. Rajesh Khanna plunged into politics full time while people like Shatrughan Sinha, Hema Malini, Ravi Kishan managed both the world. Amitabh Bachchan’s eternal regret is his political odyssey. 

Popular south star Priya Mani Raj, known as Priyamani has many comfort zones as a superb actor (she won the National Award for Paruthiveeran in which she played a rape victim), the OTT series The Family Man was as much about her as the Sri Lankan Terrorist  Samantha, ‘1234 get on the dance floor where she sizzled in a racy fun number with Shah Rukh Khan in Chennai Express and many a role as cop or CBI officer. She laughs as she says “I have done so many CBI /cop roles that I may be given a citation”. But even as she indirectly does not want typecast roles, she is grateful that she has gained this recognition…her pleasant looks, versatile performance in all language formats and impact filled roles make her an apt choice for all reasons. So, when Revathy directed Good Wife started filming, Priya was the obvious choice. She plays the role of a lawyer who has hung up her robe, but when her husband is charged in a scandal, she dons her lawyer robe once again. This 6-episode is based on the American OTT series. Forty-one year old Priyamani is also starring in Vijay’s last film (he claims) Jana Nayakan to be released in January, and in a third season of The Family Man on Amazon Prime. This unassuming lady from a middle class South Indian family has truly come a long way. 

As tensions escalate between a section of Tollywood’s directors and the Federation of Technicians, a pertinent question looms large over the Bengali film industry—can it afford to lose celebrated talents like Parambrata Chatterjee, Anirban Bhattacharya, Aritra Sen, Subrata Sen, Sudeshna Roy or heavyweight producers like SVF if this deadlock continues? Anirban, one of the industry’s most respected actor-directors, who also worked opposite Rani Mukherjee in her Chatterjee Vs Norway has openly expressed his frustration over the prevailing impasse. Despite recently wrapping up the shoot of Raghu Dakat, the actor revealed that he hasn’t received any new work offers in weeks. He was unable to shoot for the second part of the song Hooliganism for his band. He pointed out that while there are rumours of a boycott, there has been no official written or verbal statement. He now wonders if continued silence over the next few months might signal the end of his screen career altogether. This unofficial ban is not unique to Anirban.  Thirteen directors who had moved court against the Federation are being blocked from work. So too their close collaborators. Director Aritra Sen, an associate of Parambrata Chatterjee, has seen his projects stalled, while Souvik Mondal’s TV serial was halted due to his association with one of the 13 filmmakers. Although the Calcutta High Court has clearly stated that the Federation cannot interfere with the directors’ work or autonomy, filmmakers claim the reality defies the ruling.

Right on the heels of Ayothi and Tourist Family, Tamil audiences who have turned picky and particular about strong story lines and sinewy scripts are about to be treated to another cute film about the obstacles in acquiring a 3 BHK flat. R Sarath Kumar and his wife, a struggling middle class couple, want to realise their dream to own a house. Nothing monumental you may say but what they encounter as problems nearly scorches their aspiration. Was it just a coincidence or planned that the Saturday, June 28 the Chennai editions of Times Of India and The Hindu were peppered with housing projects ads. The Chennai real estate market is often called a surplus housing realty market. Yet modest budget aspirers are left out of this aspiration circle …cost and EMI speed bumps. Suddenly, a video of a 27-year old Sarath Kumar film, Sooryavamsam surfaced to draw the attention of netizens. The film, a blockbuster story and its hard-hitting dialogues, is still remembered and talked about. This particular hook video had a compelling Sarat telling his wife Devyani in chaste Tamil, “Enra kudumbathil elleraum vandachu, photo edunga”.(all my family members are here, take the photo) A tentative Devyani soulfully asking “Chinraasu”, referring to her estranged son waiting in the wings to reconcile with his dad. In this promo video, Siddharth is shown as the lonely one, hopefully, waiting in a corner. A powerful idiom for yet another father-son feud, with a helpless mother wanting to bring them close. This innovative promo for 3 BHK has already whetted audience expectations …small budget films, with identifiable story lines, that leave a strong emotional impact.

Is censorship back in India, 50 years after it was first introduced during the Emergency. Modi 3.0, which boasts of strengthening constitutional principles and opposing attempts to subvert it, is arming the Indian censor board with license to change names of central characters in a feature film. The Union Minister of State for Petroleum and Tourism, Suresh Gopi’s first film, after becoming a minister, has run into rough weather following its title.  The Malayalam movie, Janaki Vs State of Kerala (JSK), which was cleared by the local censor’s in Thiruvananthapuram a month back, has hit a roadblock at the hands of the revision committee. The committee, which previewed the movie in Mumbai, has suggested that the name of the titular character, Janaki be changed to get a certification. The CBFC revising committee has verbally informed the makers of the film to change the name of the titular character, as Janaki is another name of Goddess Sita. The producer of the film moved the Kerala High Court as they are unable to comply with the orders of the CBFC. The court has questioned the basis for CBFC order when movies like Seeta Aur Geeta, Ram Lakhan had no problems. The name Janaki is mentioned over 90 times throughout the film thereby making it impractical to change things. In fact, the trailers of the movie, cleared by the Thiruvananthapuram-based board, have been running at the theatres, TV screens etc for close to a month. Meanwhile, the Film Employees Federation of Kerala (FEFKA) has announced a protest march to the local Censor board office in Thiruvananthapuram. Interestingly, the name change is not a new issue in the Kerala film industry. Earlier, the film, Token Number, was cleared for release only after the female character’s name was changed from Janaki to Jayanthi.

Marathi celebrities and film stars find themselves getting called out for their silence on the Marathi issue. The issue of the imposition of Hindi language for primary students has raised hackles in Maharashtra since it is being perceived as an anti-Marathi decision. While a strong groundswell of protest has got both the estranged Thackeray cousins to rally together on this issue, Raj Thackeray is particularly upset that the average Marathi celebrity, particularly those from the Marathi film fraternity, have failed to stand up and speak about the issue. The fact that the ruling BJP-led Mahayuti government is pushing the initiative, makes it doubly difficult for many to voice their support. Asha Bhosale not just refused to take a stand but also publicly feigned knowing the Thackerays. Raj Thackeray, a known art aficionado, is known to patronise artists, academics and even film stars in a big way. Through his party — MNS film wing — he is known to fight for more theatre screens for Marathi films. He threatened to watch out for those who failed to support the issue. The Shiv Sena (UBT)’s Sanjay Raut specifically called out Nana Patekar, Madhuri Dixit and even Prashant Damle for their silence on this issue. Patekar is known to be a vocal voice on political issues and also known for his proximity with many political leaders.. Even the demigod of cricket Sachin Tendulkar was not spared for his silence. But, fortunately for him, the ex-ICC president chief Sharad Pawar rushed to defend him. Pawar stated that he should be allowed only to hold forth on subjects of his expertise. Now with both the Thackeray’s together, it remains to be seen how many celebrities from the Marathi film industry turn up on the streets for the Marathi language issue.

Diljit Dosanjh, a popular figure in the Punjabi music and film industry, finds himself at the centre of a brewing controversy that could significantly impact his career. His film Sardaarji 3, which features Pakistani actress Hania Aamir, has sparked a fierce debate within the Indian film fraternity. It reflects deeper tensions between Indian and Pakistani artists, particularly in light of the ongoing geopolitical issues between the two nations. The Federation of Western India Cine Employees (FWICE), a prominent body representing various stakeholders in the Indian film industry, has voiced its discontent regarding the film’s release. Their concerns stem from a broader sentiment within the industry that seeks to distance itself from Pakistani artists due to past incidents, including provocative social media statements made by some Pakistani celebrities. The FWICE’s opposition is significant, as it holds considerable influence and credibility within the industry, and their stance could lead to serious repercussions for Dosanjh. When confronted with the backlash, Diljit’s dismissive comments about Bollywood raised eyebrows. His apparent indifference to the Indian film industry, which has nurtured his career, could alienate him from a substantial segment of his fanbase. Such behaviour may be viewed as irresponsible, especially for someone in his position, and it poses a risk of escalating tensions further. As the situation unfolds, the potential for a ban on Diljit’s work in India looms large, threatening to overshadow his popularity and success. While he may continue to thrive in international markets, the lack of support from the Indian film community could hinder his growth and acceptance within his home country. While Jasbeer Jassi stood by him, Mika condemned his stand.

Notable things are happening in Samantha’s frenzied cinematic and real life. Strangely enough, much is not happening in her life and as rumours fly thick, every move is watched and noted…occupational hazard of a female star. Samantha started off in Tamil films, Khushi, Theri, Ega full of promise …her looks and talent were evident. Things moved fast after the initial success. Her marriage to Nag Chaitanya and the eventual breakup made news. A more defying fate hit when she was diagnosed with an autoimmune disease , myositis and her world seemed to crash around her ….even though she was an electrifying presence after her hot number ‘Ooh Antava’ in Pushpa The Rise….the remuneration of Rs 5 crore for a single item song opened jaws as much as her sensuality. Her Amazon OTT series , and her  incredible performance in The Family Man was much talked about. Suddenly things started nosediving…her films fared poorly, especially the much anticipated Shakuntala and the web series Citadel: Honey Bunny. What hit her most was that the new sensation Srileela was chosen for the sequel of Pushpa …same item number at much less cost. Talk was rife that Samantha had a tiff with Srileela, but at the GQ event Samantha openly asked her competitor to join her for a photo op. Recently, Samantha has stirred up more talk, about her vacation in Abu Dhabi. The destination was not significant but the escort, director Raj Nidimoru in close comfort raised a storm.

After a quiet spell, Tollywood is finally finding its rhythm again. The first half of 2025 has brought a surge in film releases like Binodini: Ekti Nadir Naam, Kilbil Society, Puraton, Amar Boss, Batsarik, Raas, Grihoprobesh to name a few. Despite fears of a downturn due to geopolitical tensions like the Pahalgam incident and Indo-Pak conflict, two films entered the crore club at national multiplexes: The Eken: Benarasey Bibhishika (Rs 3.12 cr in five weeks, outpacing Dev’s 2023 hit Khadān) and Amar Boss (Rs 1.42 cr). In broader earnings, The Eken grossed Rs 7 cr, Amar Boss Rs 4 cr, Kilbil Society Rs 2.5 cr, Puraton Rs 1.5 cr and Satyi Bole Satyi Kichhu Nei Rs 1.3 cr. Other films’ earnings were anywhere between Rs 18 lakh and Rs 96 lakh. According to Shiboprosad Mukherjee, director and actor of Amar Boss, consistent releases have kept audiences engaged. He pointed out 2025 as more promising than 2024, citing steady performance in single screens and varied content preventing viewer fatigue. Upcoming releases like Dear Maa, Mrigaya and Bhootpurbo are expected to maintain this momentum. Director Saurav Palodhi’s Ank Ki Kothin, a low-budget, star-less film, found success through word-of-mouth. He stressed that commercial hits like The Eken and Amar Boss are vital to support smaller films.  Distributors like Shatadeep Saha and Bablu Damani agreed the industry isn’t in crisis. Saha noted that consistent film output over three years, and Damani highlights Raas touching Rs 50 lakh without major studio backing.

The name Prashant Tipirineni Nani may not stir recognition until you notice Nani. Oh yes, HIT: The Third Case or Hit 3 starring Nani in an electric turbo action role will immediately stir memories of that action thriller. Much talked about but given mixed reviews by critics. But redemption too…it is the third highest grosser Telugu film, collecting Rs 56 crore in 6 days of cinema run. The team of Nani, Srinidhi Shetty and Director Sailesh Kolanu were happy that HIT 3, third instalment in the series, had surpassed Nani’s earlier Hi Nanna, Saripodhaa Sanivaram and HIT 1 collection. But happiness and celebrations in this mercurial make-believe world of cinema is often short lived…ghosts from the past or ghosts who walk in due to bad Karma often wreck the party and the high of commercial success soon, nosedives. Allegations of story/plot plagiarism are hurled and more often than not, end up in court. Hit 3 has just been hit by allegations from Soniya Vimal (Vimalavalan) who has accused Nani of lifting most of her story, making a few changes here and there in the making of HIT 3. The writer is now demanding copyright compensation of 20% of the take. Vimal claims she had registered her story with the South Indian Film Writers Association in 2021, met with Nani and gave him an outline but got no response from the makers. After watching the first show, she could identify and record every spin of the story, her original. The only recourse was to go to the court. The Madras High Court has now posted the hearing for July 7.

Aamir Khan, hailed as one of Bollywood’s most bankable stars, has consistently pushed the boundaries of Indian cinema with his choice of diverse and thought-provoking roles. However, his latest film, Sitare Zameen Par, which garnered approximately Rs 10.70 crore on its opening day, raises critical questions about the viability of niche cinema in a commercial landscape dominated by mass appeal. While the film showcases Aamir’s commitment to storytelling that resonates with a more elite audience, its limited screen release and lack of mainstream entertainment elements have significantly hampered its box office potential. Unlike his contemporaries, Shah Rukh Khan and Salman Khan, who frequently deliver mass-centric blockbusters, Aamir’s foray into niche narratives may alienate the average moviegoer. The film’s intellectual depth and artistic merit, although commendable, do not cater to the broader audience base that thrives on high-octane entertainment and relatable themes. The expectation for Aamir Khan films to cross the Rs 100-crore mark within the first three days has become a benchmark of success in Bollywood. However, Sitare Zameen Par weekend collections appear to be around Rs35-40 crore, a figure that many industry insiders deem disappointing for a film featuring such a prominent star. This trend raises concerns about the sustainability of niche cinema in a market that increasingly favours commercial viability over artistic expression. As the film fraternity navigates this evolving landscape, it is imperative for stars like Aamir Khan to strike a balance between artistic integrity and audience engagement. While niche films have their place in cinema, the current climate suggests that a more mass-oriented approach may be necessary to foster the growth of Indian cinema as a whole.

Tamil film’s popular hero Dhanush is an extraordinary artist. He has carved out a unique niche for himself in the last 25 years. He has come a long way … Oh yes, he did have a leg-up, having married the superstar Rajnikanth’s daughter Aishwaraya. But that tenuous tie too broke up. Recently he crossed another milestone with Kubera – it was his 51st film. His film graph carries several hits, some near misses but never total failures. His latest Kubera has a stupendous starcast …Rashmika Mandana as a leading lady, Telugu super star Nagarjuna, Bollywood’s Jim Serb to name a few. But it is Telugu director Sekar Kammula , who has attracted much attention. Dhanush was in the cinema with his son, director Kammula and other crew for the first day first show, humbly accepting his fans’ roaring admiration. Popular stars Sai Pallavi and Kartik Subburaj complimented Dhanush on his performance.  Sai Pallavi wrote on X that the most complicated roles bring out the best in Dhanush. But sadly enough, just two days of Kubera’s release in Tamil, Telugu and Hindi, news of its pirated release on the net hit them all where it hurt.

The question of whether Aamir Khan’s overexposure could hinder the success of Sitare Zameen Par is a compelling one. Aamir Khan is not only a celebrated filmmaker but also a masterful marketer. His ability to craft and dictate marketing strategies has played a significant role in the success of many films he has produced and starred in, including Lagaan, Rang De Basanti, Taare Zameen Par, Ghajini and more. He has consistently demonstrated an understanding of what resonates with audiences, employing innovative marketing techniques that have included unique promotional stunts and celebrity engagements.  However, with Sitare Zameen Par, Aamir’s omnipresence in the media raises concerns. He is currently everywhere — on podcasts, TV interviews, and social media—actively promoting the film by inviting celebrities and influencers to his home for discussions. While this level of visibility can create buzz, it risks becoming counterproductive. The saturation of Aamir Khan in promotional activities may lead audiences to feel overwhelmed, diluting the film’s impact and excitement. Effective marketing should strike a balance between visibility and intrigue. While traditional methods such as social media campaigns, public relations efforts, and billboard advertisements are essential, they should be complemented by innovative strategies that captivate the audience’s imagination. The current promotional approach for Sitare Zameen Par seems to rely heavily on routine visibility without offering a compelling narrative or unique engagement. Aamir Khan has previously employed similar strategies with his son Junaid’s film Loveyapa where he invited notable personalities like Raj Thackeray, Sachin Tendulkar and Salman Khan for special pre-release screenings. However, despite the visibility, the film did not perform well, highlighting that increased exposure does not guarantee success.

The New Indian Express has a whole op Ed by Prabhu Chawla on titled ‘Bollywood flops as the South shines’. Chawla quotes chapter, verse, stats, stars and spectacle as huge budget films are crashing. Even with the most tantalising attractions, big budget films of cult figures and classic heroes are cringing; in some cases even manipulated data on pre-booking and daily takes are cleverly presented to give an impression all is well. Recently, a top hero seeing how his latest much-touted film tottered, took to “rewarding” influencers for good reviews. The disturbing trend has festered for over three years. Khans and the Punjabi machos have not been able to draw sustained crowds, repeat audiences and clever Pan India plans have failed. Even OTT has built a strong resistance. Take Salman’s Sikander with every trick in the trade to showcase Bhai and Rashmika, fiery action, fierce fights and oodles of glamour could not stave off its tepid reception. SRK at least had a medium hit in Jawan. But it is Akshay Kumar who wears the crown for serial flops. Housefull 5 has fallen flat. It would be unfair to single out Bollywood alone; the South too has had its share of cringeworthy flops of Vikram, Suriya and even Kamal Haasan. The super star Rajini has snagged a new formula …sign up a big name from every “film wood” …it’s bound to draw the fans of the star and the sum of the parts would rake in overflows. It’s not the money spent or the overwhelming star cast, sets and show that have made Tamil films like Parking, Ayodhya, Tourist Family and few others succeed at box office. These engaging movies have all developed strong, relatable plots and gripping story telling which the audience identifies.

Vikrant Massey who bagged the Filmfare Critics Award winner for 12th Fail, and after his lead role in the sensitive political film The Sabarmati Report, had declared in December 2024 that he would retire from films. He said he would probably do just one film a year, and he would focus on his family life, spend time with his young child and recalibrate himself. Recently, Vikrant and his wife Sheetal visited Sri Sri Ravi Shankar’s International Art of Living Ashram in Benguluru. Reason: he is playing the role of Gurudev Sri Sri Ravi Shankar in an international thriller titled White.  So the visit to Bengaluru must be both to seek Gurudev’s blessings and closely observe him. The film White which is based on the real-life story of spiritual leader Sri Sri Ravi Shankar, will be a largely untold chapter of modern peace-building that will show how Sri Sri helped end Colombia’s 52-year-long civil war, and how ancient Indian wisdom played a pivotal role in resolving one of history’s longest-running conflicts. The film shooting is scheduled to begin in August 2025 and is expected to release in 2026. The makers intend to bring in an international cast and crew from Los Angeles to depict the true story of Sri Sri Ravi Shankar’s life. Directed by Siddharth Anand and produced by Mahaveer Jain, the film aims to bring a lesser-known story of peace and humanity to the big screen. The film will be produced in Hindi, English and Spanish.

Deepika Padukone has acquired significant sass after motherhood. Naturally when she has overtaken all female leads in Bollywood, is the brand ambassador to many snazzy brands and is now able to call the shots and crack the whip, she is a true Diva. Was she shown the door by Sandeep Vanga from the film Spirit or did she toss her regal mane and walk out? Now the buzz is she has walked out of Kalki 2 also? So, what are the reasons for this huff and puff?  After the success of Jawan, it is rumoured Deepika has set the base remuneration of Rs 25 crore plus10 % share in profit, and working time restricted to 8 hours. Next…Spirit demanded some risqué scenes and she was not agreeable, so chose to walk out. And walked into SUN Pictures Pan World, under production …#AA 22xA6 (sounds like a rocket out of NASA) directed by Attlee. The lead is iconic star Allu Arjun, a name that has carpetbagged crazy global fans and dizzy fanfare after the twin Pushpas. This blend of mega scale, lead popularity and now Deepika’s electric presence is expected to bring big money to SUN and Kalanithi Maran, he of the gilded golden goose touch. One cannot but help ponder over the pole-vaulting success dynamics of stars …when a lead is unknown, an able director with a strong script and a production house that wagers big money on the project go all out for a hit film. Three or four such hits, the unknown turns Diva…the scales turn, equations spin upside down. This happens so often in cinema …the chronicler of fantasy. Till the next Deepika Padukone. 

In recent times, the release of politically nuanced films ahead of elections has become a pattern too deliberate to ignore. Movies like Uri or The Kashmir Files, The Accidental Prime Minister or Mein Atal Hoon’s releases were timed so as to stir public sentiment during elections time. Now, with West Bengal’s assembly elections scheduled next year, acclaimed Bengali filmmaker Arindam Sil is on overdrive to get his film Karpoor, released this December. A politically charged mystery thriller it could test the boundaries between art and electoral influence. Karpoor is based on Dipanwita Roy’s novel Antardhaner Nepathye, which draws from the real-life disappearance of Manisha Mukhopadhyay, a former Assistant Controller at the University of Calcutta. Her vanishing in 1997, amid an alleged education scam, rocked Bengal’s academic and political landscape and triggered accusations against the then-ruling CPI(M) regime. Nearly three decades later, Sil revisits the unsolved case, threading it through dual timelines — 1997 and 2019 — with veteran actress Rituparna Sengupta leading the cast. The film is already generating buzz, not just for its sensitive storyline but also for its notable ensemble, which includes several political figures stepping into acting roles. Trinamool Congress spokesperson Kunal Ghosh makes his screen debut in a role reportedly inspired by the late CPI(M) heavyweight Anil Biswas. Minister and theatre stalwart Bratya Basu portrays the lead investigator, while TMC councillor Ananya Bandopadhyay takes on the role of a powerful media editor. Despite the presence of figures aligned with West Bengal’s ruling party, Sil has firmly denied any deliberate political messaging. The film’s content and timing could reignite and provoke fresh political discourse in the state.

The Indian cinema landscape is undergoing a transformative phase, characterized by bold choices and innovative storytelling. Aamir Khan’s decision to release his ambitious film, Sitare Zameen Par on YouTube channels instead of traditional OTT platforms exemplifies this shift. This choice aims to reach a broader audience, tapping into the millions who turn to YouTube for entertainment. By opting for this route, Khan seeks to engage a diverse demographic, ensuring that the film’s poignant themes of childhood, creativity, and the nurturing of talent resonate across various backgrounds. Sitare Zameen Par is set to spark conversations and inspire change in societal perceptions regarding education and artistic expression. Conversely, Sajid Khan’s Housefull 5 takes a different approach within the same industry. Renowned for its comedic flair, the Housefull franchise embraces the absurd and entertaining. This latest instalment promises to innovate further by introducing multiple endings, a groundbreaking concept in Indian cinema. This narrative technique will witness different endings in different Cinema and in fact, different screens as well. Such an approach could redefine audience excitement in the suspense genre in Bollywood, encouraging future filmmakers to explore unconventional storytelling methods. Both films, despite their differing genres, highlight the willingness of Indian filmmakers to experiment and take risks. Aamir Khan focuses on socially relevant themes, while Sajid Khan delivers entertaining escapism, showcasing the diverse storytelling that Indian cinema is embracing. As filmmakers navigate the digital landscape, blending traditional and modern distribution methods will likely become more common. With both Sitare Zameen Par and Housefull 5 exemplifying the coexistence of meaningful narratives and entertaining spectacles, audiences are invited to engage with some experiments as well.

Kamal Haasan, Ulaga Nayagan (world hero) for his drooling fans turned Ularal Nayagan (Blabbermouth) by his Kannada was born from Tamil comment. The timing of his comment made the film trade nervous. His movie Thug Life is all set to hit cinemas in the South on June 5.  Already Tamil Nadu and Karnataka are at loggerheads over sharing of Cauvery waters. This misplaced claim could jeopardise the film’s showing in Karnataka, a big market for Tamil films. Legendary director Mani Rathnam was presiding over the razzmatazz promos with his marquee cast on stage when a pap asked Rathnam, “You have teamed up with Kamal after 38 years. Would Thalapathy Rajini also get a film from you after 35 years?” Rathnam, as his wont, did not wade into this “intellectual” research. With great care he said “we have to consider his market, availability and most important a script equal to his magnetism, a long list of conditions”. Such diplomacy and discretion were scattered in the winds when Kamal turned Ularal Nayakan by his declaration that Kannada was the offspring of Tamil. Threats of Thug Life boycott and angry protests erupted just as quickly …but Kamal being Kamal refused to apologise. Kamal who has been nominated to the Rajya Sabha with the backing from MK Stalin was perhaps keen to prove his loyalty to Tamil and Stalin, stuck to his stand. Kamal was scorched by critics who alleged that his party MNM was pledged like Panchali in the gamble of the Mahabharat. Thug Life needed just one more embellishment, the cherry on the I scream…K Krishnaswamy, founder of Puthiya Tamizhagam said “The title Thug Life is not acceptable…as Thuggery has a very bad connotation. Why don’t you change the title to a more positive one?  

This Durga Puja, Bengali movie buffs are in for a treat as three highly anticipated films — Debi Chowdhurani, Raktabeej 2 and Raghu Dakat –will hit the silver screen promising a blend of history, drama, and star-studded performances. Director Subhrajit Mitra’s Debi Chowdhurani based on Bankim Chandra Chattopadhyay’s classic novel, explores the anti-British Sannyasi Rebellion and features Srabanti Chatterjee in the titular role alongside Prosenjit Chatterjee as Bhavani Pathak. Initially slated for an Independence Day release, the film, produced by Aparna Dasgupta’s Edited Motion Pictures, is now locked for a Puja debut. Subhajit points out that Big-budget films are typically reserved for Puja—it gives us time for extensive promotions. Meanwhile, acclaimed director duo Nandita Roy and Shiboprosad Mukherjee have commenced shooting for Raktabeej 2, the much-anticipated sequel to their 2023 hit Raktabeej. With Abir Chatterjee, Mimi Chakraborty, and Kanchan Mullick in key roles, the film promises a captivating blend of drama, emotion, and gripping storytelling—hallmarks of the duo’s work. The original film left a deep impact with Victor Banerjee’s portrayal of the former president, Late Pranab Mukherjee, highlighting socio-political tensions and real-life incidents. Adding to the festive buzz, Dhrubo Banerjee’s Raghu Dakat, starring Dev in the lead, aims to bring history alive with thrilling action and drama. Backed by Dev Entertainment Ventures and SVF, the film chronicles the life of the legendary Robin Hood-like figure who emerged during Bengal’s turbulent times. The ensemble cast includes Anirban Bhattacharya, Sohini Sarkar, and the much-awaited return of Roopa Ganguly.

Kamal Haasan, a multifaceted talent known for his remarkable acting and producing prowess, has often found himself at the center of political controversies. His statements frequently spark debates, and his recent remarks have once again placed him in a contentious spotlight. While promoting his highly anticipated film Thug Life directed by the acclaimed Mani Ratnam, Haasan made a statement in Karnataka suggesting that Kannada is derived from Tamil. Although he intended this comment to reflect love and affection, it was met with immediate backlash from pro-Kannada groups and various political organizations. The timing of this controversy is particularly precarious, as Thug Life is set to release on June 5, just days away. The film, featuring music by the legendary AR Rahman, is one of Haasan’s most ambitious projects, and the surrounding controversy could jeopardize its success. Many fans, as well as fellow politicians and industry colleagues, advised Haasan to issue an apology to mitigate the situation and ensure a smoother release. However, Haasan stood firm, asserting that he had no intention of apologizing, which has only intensified the backlash. This situation is reminiscent of the challenges he faced during the release of Vishwaroopam where political controversies resulted in significant financial losses. The current climate of heightened sensitivity surrounding regional identities in India adds another layer of complexity to the issue. Haasan’s refusal to back down could alienate potential audiences in Karnataka, a significant market for his films. As the release date approaches, the tension surrounding Thug Life raises concerns about its commercial viability. The potential for protests or calls for a ban could significantly impact box office performance, making it a risky venture for Haasan and his production team.

Malayalam movies are now much talked about, sought after for viewing. It has taken time for realism filled, low budget and totally identifiable cinema to overflow beyond Kerala, making 2023 and 2024 the years of Mollywood. But wait, another phenomenon has just shot to prominence to make 2025 as the year of (trumpets) Mohanlal, Lalettan. Lal is on a roll and his level of popularity as a vasool Raja is going to take a big effort by other stars to even come close. Why? Even as Empuraan 2 is on OTT, his latest hit Thudarum is going strong in theatres, delaying its OTT appearance. Lalettan’s team have just unveiled the first look of soon to release Hridayapoorvam, directed by Sathyan Anthikad, no pushover as a director of hits. Lalettan fans are giddy with anticipation for Hridayapoorvam. Malavika Mohanan, Sangeeth Parthap, Sangita, Siddique, SP Charan among others. Fans may recall that Lal has worked with Sathyan in numerous films, and this teaming up is after 10 years. Already Thudarum has swayed the audience (some say it’s another avatar of Drishyam) and word-of-mouth approval rating is high. Even as Lalettan is yet to feel the weight of adoration, two pan India films, Kannappa and Vrishaba have been announced. But the year-end bonanza for Mohan Lal fans is the film starring Mammootty, Boba, Fahad Fazil, Nayanthara , Revathi, Rajiv Menon and more. What more can an artist aspire for? Choice of directors, acceptable scripts and dedication to his craft have raised Mohan Lal to enviable heights. 2025 is definitely the year of Mohan Lal.

Kartik Aaryan has recently made headlines by clinching two of the most prestigious awards in Indian cinema: the Popular Best Actor for ‘Bhool Bhulaiyaa 3’ and Critics’ Best Actor for ‘Chandu Champion’ at the Zee Cine Awards 2025. This remarkable achievement underscores his versatility as an actor, proving that he is not only adored by fans but also respected by critics. His recent film, Chandu Champion portraying the character of Paralympics Gold Medalist Murlikant Petkar has garnered significant praise, highlighting his ability to take on diverse roles. Additionally, his portrayal of the quirky Rooh Baba in Bhool Bhulaiyaa 3 further solidified his status as a popular actor earning him accolades and recognition. Kartik’s journey has not been without its challenges. He faced a significant setback when he had a public fallout with renowned filmmaker Karan Johar. Reports surfaced claiming that Aaryan was unprofessional, so Johar’s Dharma Production dropped him from Dostana 2. It was followed by Shah Rukh Khan promoted Red Chillies Entertainment dropping him from Good-Bye Freddie. This conflict with such a heavyweight in the industry was a bold move, demonstrating his courage and confidence. Despite the controversy, Kartik managed to deliver hits like Satya Prem Ki Katha and Bhool Bhulaiyaa 2 establishing himself as a bankable star. In an unexpected turn of events, news has emerged that Kartik and Karan are set to collaborate on a new film. This development serves as a reminder that in the film industry, relationships can be complex and ever-changing. It is a testament to Kartik’s maturity that he can mend fences and move forward, proving that in Bollywood like politics there are no permanent friends, no permanent enemies, only permanent interests.

When two geniuses come together after a 38-year hiatus making Nayakan, director Mani Rathnam and hero Kamal Haasan have spared no gimmick to launch Thug Life as a money spinner hit. Suddenly cinematic audiences have turned analytical and critical of films both big budget and small chillar. It’s a guessing gambling game to predict what would draw crowds. So when the teasers and promos of Thug Life started, guesswork too sparked fast. Is it an anthology of earlier Rathnam hits? Nayakan, Thalapathi and other creative films that the audience lapped up? With June 5 set as release date, the first single song Jinguchan already rocked wedding sangeet. The entire marquee cast danced for Jinguchan. But it is the second song Sugar Baby which features heroine Trisha in a near item number (which slays Kamal with his cinematic penchant for steamy close ups) that has set off a viral fest…all kinds of reactions are pouring in. Not that the audience is averse to titillating scenes. But one wonders why use the heroine for such a raunchy number? The bigger controversy raging is the 30-year age gap between Kamal and Trisha and the song is appropriately named Sugar Baby as foil to Sugar Daddy? The next question is, what is Abirami doing in the film? Probably she is paired with Simbu but leaks of Kamal romancing Abirami too have made the rounds. Obviously, the piper calls the tune and Kamal in keeping with his status as Ulaga Nayakan has a love interest in both. The artistic genius of both director and lead have sketched out promos that keep the audience panting for the movie. Thug Life is expected to walk away with audience craze in slick story telling.

The Indian box office is currently witnessing an exhilarating showdown as two major film franchises go head-to-head this week. First up is Final Destination: Bloodline, the sixth instalment of the iconic horror thriller series, making its much-anticipated return after a 14-year gap since its fifth film. This franchise has built a loyal fan base over the years, thanks to its masterful blend of suspenseful storytelling and innovative horror elements. The captivating narrative and high production values have earned it a cult status, making it one of the most awaited releases in the horror genre. On the flip side, we have Mission: Impossible – The Final Reckoning, the second part of the franchise’s final instalment and the eighth entry in this legendary action series starring Tom Cruise. Initially set for a May 23 release in India, Paramount Studios has opted to advance it to May 15 coinciding with Final Destination: Bloodline. The stakes are high, particularly for Tom Cruise starrer which has previously achieved remarkable box office success in India, demonstrating a strong appetite for action-packed thrillers. Meanwhile, Final Destination: Bloodline is poised to draw horror enthusiasts eager for the next chapter in this beloved saga. As excitement builds among moviegoers, early projections indicate that Mission: Impossible – The Final Reckoning could rake in Rs20 -22 crore on its opening day. However, with both films vying for audience attention, this week promises to be a pivotal moment for Indian cinema.

It was in 2004 when the Tamil movie M. Kumaran Son of Mahalakshmi pole-vaulted a vanilla hero to fame in Kollywood. Ravi Mohan, credited as Jayam Ravi (to identify his lineage with Jayam Productions), was signed for many a family theme film that had little violence but much sentiment and romance. Suddenly he announced that he would be known now as Ravi Mohan despite his 25 years established brand name – Jayam Ravi. Simultaneously, he said that he is separating from wife Aarti of 18 years and started divorce proceedings. Name change and wife change? Yes …Ravi Mohan confidently walked into the lavish wedding of Producer and Vel’s Group Chairman, Isari Ganesh’s daughter Preetha. What set off the jungle drums was Ravi and escort Kenisha Francis were twinning in identical cream coloured attire. This was the moment for Aarti to go into a public lament and tear fest…“I kept silent all these days not because I am weak, but for the sake of my 14 and 10 year old sons and their emotional well-being. But Ravi has not only abandoned his family, but his responsibility as a father”. Was this the moment when Ravi Mohan reminisced about his very first movie where his mother, played by gorgeous Nadia boldly takes on her role as single mother, even as husband abandons his family? Trolls apart, the real reasons for Ravi Mohan wanting a divorce are not out in the open …only veiled talk in social media about Aarti’s mother Sujatha Vijayakumar’s overwhelming influence on the marriage. Now that Ravi Mohan has openly brought out his new choice, the pending case should take its natural course. Ah! Kollywood and its filmi, fragile marriages. 

As the release date of Housefull 5 approaches on June 9, renowned producer Sajid Nadiadwala finds himself at a crucial juncture. This highly anticipated instalment of the successful franchise is expected to be a litmus test for both Nadiadwala and the current state of the Indian film industry, particularly amidst the backdrop of rising political tensions between India and Pakistan. The challenges posed by these tensions could impact audience turnout and overall box office performance. Nadiadwala, who recently faced a string of disappointing releases — including Sikandar, Chandu Champion and Bachchan Pandey — has invested significantly in acquiring the rights to the trending song “Lal Puri” hoping it will resonate with audiences. The recent underperformance of his films, coupled with a generally lacklustre box office climate, has raised questions about the viability of his production house, Nadiadwala Grandson Entertainment. Housefull 5 boasts an impressive ensemble cast featuring Akshay Kumar, Riteish Deshmukh, Abhishek Bachchan, and more, making it one of the biggest films in recent times. The film’s success is not just vital for Nadiadwala; it could also serve as a bellwether for the exhibition sector in India, gauging whether audiences are ready to embrace cinema again after a period of uncertainty. As the film aims to capture the essence of what the Housefull franchise represents—comedy, entertainment, and escapism—its reception will be closely watched. Will it manage to overcome the prevailing sentiment and deliver a blockbuster experience, or will it join the ranks of recent flops? For Nadiadwala, Housefull 5 is not just another film; it’s a pivotal moment that could redefine his career and the future of Bollywood in these testing times. 

This year’s Annual Met Gala at the NY Metropolitan Museum of Arts had many celebs from Hollywood and Bollywood flaunting their plumes and blinding the drooling audience with their bling and sass. One Indian actor invited much attention with her drop-dead gorgeous looks and her prominent baby bump. Kiara Advani dazzled and dazed those present, celebrating motherhood in unapologetic terms. Married to Sid Malhotra in 2023, Kiara didn’t think that her pregnant look was an impediment for a ramp walk. On the contrary, she was much appreciated for her panache with which she wore designer Gaurav Gupta’s bold outfit, décolletage and all. But wait, there was a fly in the ointment …there always is especially in the world of show fashion and haute celebrity. Did Kiara’s costume remind the fashionistas about Aishwarya Rai’s last year Cannes costume? The haute monde seemed to think so …Kiara got some trolls too. But hey, who cares …celebs like Aishwarya go on and on, like Dhoni, Rohit Sharma and the aged super stars of filmdom. Aishwarya has walked the Cannes ramp in many bizarre outfits …got trolled too. The fact is India and Indian celebs draw crowds globally…the Met Gala had Shah Rukh Khan, Priyanka Chopra and Alia Bhatt striding stylishly with chic and panache.  Kiara has arrived and plans to shine till the next Diva walks on her stilettos.

As the rift between the new-age directors of Tollywood and the Federation of Cine Technicians and Workers of Eastern India deepens, the Directors’ Association of Eastern India (DAEI) has been abruptly dissolved and replaced by the East India Motion Pictures Directors’ Association (EIMPDA), the older organisation, which has now been reinstated as the officially recognised directors’ guild by the Federation. This development unfolded swiftly after a video statement released on April 30 by directors Parambrata Chattopadhyay, Anirban Bhattacharya, Sudeshna Roy, Indranil Roychowdhury, Bidula Bhattacharya, and Kingshuk Dey, who addressed the ongoing year-long conflict between DAEI and the Federation which has also resulted in a legal battle. They emphasised their continued support for technicians and denied any divide between directors and technical crew. Recently the Federation president Swaroop Biswas, a Trinamool leader and brother of cabinet minister Aroop Biswas, conducted a closed-door meeting, excluding all DAEI representatives. Besides this, all mentions of DAEI, including names of its president Subrata Sen and secretary Sudeshna Roy have been removed from the social media handles of the Federation. Not only this, the internal communication of the organisation’s WhatsApp group was also restricted, allowing only the Federation president to post messages, effectively silencing all other guild representatives. Subrata Sen, however, acknowledged the developments, stating that DAEI remains a legal member of the Federation under West Bengal labour laws. He accused certain forces of attempting to create a rift between directors and technicians and confirmed that a legal case has been filed in the High Court. Meanwhile, Federation treasurer Shubham Das described the Federation meeting as a united front against harmful elements and declared the industry’s collective intent to ensure smooth operations. 

Actor-Director-Producer M Sasikumar plays the lead role in the just released Tourist Family directed by 28-year old debutant Abishan Jeevinth. No wonder Jeevinth shed tears at the film’s release even as Sasikumar looked on indulgently and gently chided him …there will be many more from you. When the story was narrated, Sasikumar was told that the hero would play dad to a 16-year old. “Instinctively I knew no big hero would agree…instead the choice would be, eliminate the son or give me the 16-year olds role”. Sasi breezed into Tourist Family and led an impressive support cast comprising Simran, MS Bhaskar, Yogi Babu and others.  The film has drummed up much word of mouth endorsement and praise. How does one deal with the subject of a Sri Lankan immigrant family? Abishan has brought in a fresh take on the subject. Sasi’s ambition was to launch at least 10 debutant directors…he is now on the 12th. At the same time he glides in as hero. Take Ayodhi for example, Sasikumar carried this movie on his shoulders but never sidelined the rest of the cast. What is his alchemy? If lungi clad Sasi were to stand near the tea shop and shoot the breeze with his friends, you would never swoop down on him as a film hero. His choice of subjects, treatment and performance makes us emote, laugh, cry, think and ruminate about humanitarian values. Even as Retro, Raid 2 and Kesari 2 openly vie for business …Tourist Family easily breezes through with no top heavy hero, jazzy treatment and over the top spend.

The first week of May saw the release of six prominent films, each generating substantial buzz across various media platforms. The line-up includes two Hindi films featuring star power — Ajay Devgn’s Raid 2 and Sanjay Dutt’s The Bhootnii. The South Indian film industry saw three noteworthy entries: Retro a Tamil film starring Suriya, Tourist Family also a Tamil movie and Hit 3, a Telugu franchise film featuring the popular actor Nani. Among these films, Hit 3 is projected to perform exceptionally well at the box office, potentially raking in between Rs 90 to Rs 95 crore over its first weekend. This strong showing is indicative of the film’s popularity and the franchise’s established fan base. Meanwhile, Suriya’s Retro is also receiving positive reviews and expected to gross around Rs 80-85 crore in its opening weekend, further solidifying the trend of South Indian films capturing audience attention. Ajay Devgn starrer Raid 2 is expected to earn around Rs70-75 crore over the extended four-day weekend. Meanwhile Sunjay Dutt’s The Bhootni has not fared as well. It is struggling to surpass Rs 5 crore in its opening weekend; a major setback for the filmmakers. Turning to the Hollywood segment, Thunderbolts has also fallen short of expectations. Initial projections indicate it will earn between Rs 10-15 crore over the weekend, a figure that reflects a lukewarm reception from audiences. In summary, the first weekend of May has clearly demonstrated a prevailing trend: South Indian cinema is currently leading the box office race, with three of the six releases performing strongly. As the weekend progresses, it will be intriguing to observe how these films continue to perform and what this means for the future of Indian cinema as a whole.

Leading silver screen personality Atul Kulkarni has reached Kashmir to spread the message that the state belongs to India and every Indian will visit it. Kulkarni has been known for his fearless stand on many sensitive issues and has never minced words while expressing his sentiments. A fierce advocate of the freedom of expression, Kulkarni has been in great demand for a variety of roles on the stage and in films. His statement has been welcomed since several prominent thespians have chosen to remain mute after the dreaded Pahalgam terror attack. Kulkarni has made it clear that he has no shooting schedule in Kashmir neither has his visit been sponsored by any travel company or hotel. Kulkarni said the intent of the attack is to finish the tourism potential of Kashmir. Referring to his discussions with local people in the state over the past few days, he said the most vital factor is people’s unity, even more important than money. This process had started and over the last two years, a record number of tourists had visited the state. Local people are happy when tourists come. “We have to transmit this message all over,” he said. Another popular actor, Riteish Deshmukh said this attack was not just terror but was a targeted massacre. The masterminds and organisations behind this ghastly attack must be crushed, he said in a message while expressing his anguish.

This week has been particularly bleak for the Indian box office with a series of film releases failing to resonate with audiences and resulting in dismal collections. Ground Zero, featuring Emraan Hashmi and Sai Tamhankar opened with a mere Rs 1.15 crore, and despite a slight uptick to Rs 1.90 crore on its second day, the total collection of Rs 3.05 crore over the weekend is far from impressive. Lack of effective marketing played a significant role as it struggled to gain visibility and attract viewers. With no substantial draw for Emraan Hashmi, the film was destined for disaster.  So too was Ananth Mahadevan’s Phule. The film was mired in controversy, particularly due to opposition from certain groups in Pune and an outburst from Anurag Kashyap regarding Brahmin representation. Despite the buzz surrounding these issues, the film starring Prateek Gandhi and Patralekha, opened to a disappointing Rs 21 lakh on its first day. Although the reviews praised the direction and storytelling, the film managed to collect a meagre Rs 47 lakh over the weekend. This is one of the most underwhelming openings in recent memory, especially considering the positive reviews. The re-release of the classic Andaz Apna Apna was anticipated to follow in the footsteps of successful re-releases like Sanam Teri Kasam. However, it too fell flat, opening with just Rs 25 lakh on its first day…culminating in a total of Rs 55 lakh over the weekend. This performance is disappointing for a film with such a legacy, indicating that nostalgia alone is not enough to draw audiences back to theatres. Overall, the fate of these three Hindi films can be described as disastrous. Factors contributing to their lacklustre performance include weak scripts, average brand recall, insufficient visibility, and inadequate marketing strategies.

Film launches and releases are taking on novel and highly customised market promos. Naturally, with crores riding on success, all stakeholders pitch in their best. Suriya’s Retro, directed by Kartik Subburaj, slated for release on May 1 ensured all the bells and whistles…and more. Veteran South actor and Suriya’s dad, Sivakumar went on stage as a proud father and fan boy of his son. His over the top accolades for his son’s rise could be because Suriya is still recovering from the disaster of Kanguva and the team wanted to make the event eventful. Sivakumar said, Suriya was the first one to have six pack abs. Expectedly this got a spate of trolls as chiselled abs are nothing new in show business. But the way Sivakumar traced the rise and success journey of his son, it touched hearts. When both his sons – Suriya, Karthi – were teens the father had consulted an astro, who predicted a great presence for Suriya in the world of cinema. Sivakumar was nonplussed as Suriya hardly spoke four words in a day, he is so introverted and quiet. I think this soothsayer is “loose”. But things started gaining momentum when ace directors Vasanth and Mani Ratnam called Suriya for screen tests even as father pleaded with them not to raise high hopes. Mani Ratnam’s film Nerukku Ner was a hit. A still from that movie made Ratnam say “those eyes will give sleepless nights to female fans”. Yes, like all stars Suriya too had his ups and downs. But his place as a reliable hero and bankable star is assured. Retro may vault him back.

Multifaceted Kamal Haasan launched the first song of Thug Life written by him. The song titled Jingucchhan sounded Chinese to many of the pan India gathering of Journos. Kamal with his inimitable spontaneity started off in Tamil, quite expecting a mild protest…quickly sauntered to English, the “The Link Language” of India. Thug Life is a collaboration of ace director Mani Ratnam and Ulaga Nayagan (world hero) Kamal, after a gap of 35 years. They worked together for the iconic classic, Nayakan released in 1987. Kamal himself wondered why there was this hiatus? Before any surmises, he skipped on to actor Abirami (his one-time heroine), who had talked about being his ardent fan from age 11. A crestfallen Kamal gently chided her “with Trisha on the stage, you need not have referred to my age”. He built up the narrative to interesting highlights, especially the comparison of his two directors …late K Balachander and Mani Ratnam. Not just Kamal’s engaging oratory but Simbu’s compelling presence in a chequered suit and a luxurious man bun further added to his star personality when he openly vouched for Kamal as his Guru. Kamal for his part retaliated that through the movie he had no chance to say I love you to either Trisha or Abirami. Trisha and Simbu are paired after a 15-year gap. As always, a pragmatic Kamal said “now we wait for your verdict, after doing our best”. More memes of Thug Life to blow Tupac Shakur’s creation?

Action thriller Ground Zero featuring Emraan Hashmi and Sai Tamhankar in the lead roles is set for release. Directed by Tejas Deshkar, known for his work in both Marathi and Hindi cinema, the film has generated a fair amount of buzz, primarily due to its intriguing premise and the involvement of notable producers Ritish Sidhwani and Farhan Akhtar’s Excel Entertainment. Originally, a grand premiere was planned in Kashmir, marking as the first major film event in the region in recent years. However, due to security concerns, this event was cancelled. As the film gets ready for its release, there seems to be a palpable lack of excitement surrounding it, which raises questions about its potential success. Emraan Hashmi, while a recognizable name in Bollywood, has not proven to be a leading man who can shoulder the weight of an entire film. His recent works, such as The Body, Baadshaho, Selfie and Mumbai Saga have not particularly stood out, often blending into the background of a crowded cinematic landscape. Even his much-anticipated role as a villain in Tiger 3 failed to leave a lasting impression, as his character was underdeveloped and did not resonate with audiences. The casting of Hashmi as a Border Security Force (BSF) commander in Ground Zero raises eyebrows as his previous performances suggest he may not possess the gravitas required for such a pivotal role. Hashmi’s track record suggests that he may not bring the necessary passion and dedication to the character of a BSF commander. So, one has to wait and watch to see whether Hashmi will deliver a performance that defies expectations.  

The highly anticipated latest Hindi release Jaat which generated considerable excitement with its initial trailer release, ultimately fell short of expectations at the box office. Despite a strong opening, the film’s marketing strategy failed to maintain the momentum created by the initial euphoria. Released on Mahavir Jayanti, Jaat managed to collect Rs 9.5 crore on its opening day (Apr 10), but this figure dropped to Rs 7 crore on Friday (Apr 11). The weekend saw a slight rebound, with Saturday’s collection reaching Rs 9.75 crore and Sunday (Apr 13) peaking at Rs 14 crore, driven by positive word-of-mouth and favorable reviews. However, the following week revealed a decline, with Monday’s (Apr 14) earnings at Rs 7.25 crore and Tuesday dropping to Rs 6 crore, leading to a total domestic box office collection of approximately Rs 53.5 crore within the first six days. Given its production budget of Rs 100 crore, these figures are disappointing, especially since industry expectations were for Jaat to surpass the Rs 100-crore mark during its extended opening weekend. While the film may still prove to be a profitable venture for its lead actors, Sunny Deol and Randeep Hooda, the filmmakers face significant challenges in recouping their investment. The average performance of Jaat highlights the importance of sustained marketing efforts and audience engagement beyond the initial release phase. As the film’s prospects now hinge on OTT platform releases and overseas markets, it underscores the volatile nature of box office success and the critical role of strategic promotion in maximizing a film’s potential.

The North South divide along with the Tamil Hindi collIsion are set to hit each other in yet another field, cinema. Never-say-retire Rajinikanth and the suave dancing star Hrithik Roshan are about to wage war for the biggest grosser on August 14 with their Coolie and War 2. Lokesh Kanakaraj directed Coolie produced by Sun Pictures, with Anirudh’s rambunctious music has a marquee of stars from every state –a Rajini backed formula meant to draw the crowds in their home states. Coolie has Sathyaraj, Aamir Khan, Upendra and Nagarjuna with Shruti Haasan as the glamour quotient to bring in hordes of fans to cheer their favourite. The same date is planned for War 2, directed by Ayan Mukherji with Hrithik Roshan, Junior NTR, Anil Kapoor and Kiara Advani. So which film will be paisa vasool for the fans? Obviously, Coolie is sure to lead in the South and it is the talk that Aamir Khan’s souped up role is bound to floor fans. Is Coolie about to carry the big load in the North Indian market too? Even as federalism is in for heated discussion, state supremacy is ostensibly promoted …Nagarjuna the hot favourite in Andhra Pradesh and Telangana, Upendra in Karnataka and Soubin Shahir in Kerala. War2 Jr. NTR is no pushover, with his overwhelming fan base in Telugu Desam. and may have a better reception overseas too. If you think producers are playing a high stakes IPL, don’t discount and scorn the viewer as a walkover. Cinema is undergoing a huge churning, with multiple dimension competition…from OTT, piracy and small budget but significant story tellers. Many well thought out strategies can fail despite big stakes.

Tollywood is undergoing a quiet revolution where septuagenarian heroines are taking centre stage, not as stereotypical grandmothers or mothers-in-law, but as leading characters driving the narrative. Breaking away from ageist casting norms and prosthetic disguises, directors are now turning to veteran actresses to bring authenticity, depth, and grace to stories that reflect lived experiences. Legendary actresses Sharmila Tagore and Rakhee Gulzar have made a grand return to the industry, not in nostalgic cameos but as the central protagonists of major upcoming films. Sharmila Tagore, whose last Bengali film was Antaheen in 2009, marks her comeback with Puratawn, directed by Suman Ghosh and produced by the National award-winning actress Rituparna Sengupta. Rakhee Gulzar returns after 22 years with Aamar Boss directed by the popular duo Nandita Roy and Shiboprosad Mukhopadhyay. Her last appearance was in Shubho Mahurat (2003), a film still remembered as one of Rituparno Ghosh’s finest. This return of the stalwarts isn’t a coincidence. Bengali filmmakers are now crafting stories with these legends in mind, placing elderly women in the spotlight — not as background figures, but as emotionally rich, complex leads. Suman for his Puratawn, believed in casting 79-year-old Tagore not for commercial reasons but because she perfectly embodied the character he had in mind. He felt no need to compromise authenticity by choosing a younger actress made up to look older for box office collection. Shiboprasad, co-director of Aamar Boss, slated to release in May, observed that films featuring veteran heroines as protagonists often yield better returns than those led by younger stars. Looks like Bengali cinema is embracing age with pride. 

John Abraham has long struggled to establish himself as a consistent box office draw, and his recent release, The Diplomat, exemplifies this ongoing challenge. Despite the film’s potential, it has failed to recover its production costs, raising serious questions about Abraham’s viability as a producer. The film faced a protracted release timeline of over a year, primarily due to a lack of interest from its production partner, T-Series, and poor marketing strategies. The promotional efforts, which relied heavily on the presence of a real diplomat, did little to enhance visibility or generate audience excitement. Given the backdrop of several recent disappointments, including Veda, Ek Villain Returns and Satyamev Jayate 2, Abraham’s track record at the box office has become increasingly questionable. While Pathaan achieved remarkable success, it is essential to note that this triumph belongs to Shah Rukh Khan rather than Abraham. The disappointing performance of The Diplomat, which received critical acclaim but failed to resonate with mainstream audiences, casts a long shadow over his upcoming project, Tehran. With the fate of The Diplomat likely to influence the reception of Tehran, Abraham faces an uphill battle in securing a successful release. The lack of spectacular content in The Diplomat suggests that Tehran may encounter similar challenges. As audiences continue to demand engaging narratives and compelling performances, John Abraham must reassess his approach to both acting and production if he hopes to revitalize his career and reclaim his status in the competitive landscape of Bollywood. 

The recent failure of Sikandar serves as a significant blow to Salman Khan, particularly given its release during the auspicious Eid season — a time when he has historically been a major crowd-puller with hits like Wanted, Bajrangi Bhaijaan and Kick. Unfortunately, the film’s lacklustre performance is just the latest in a string of disappointments that have plagued his recent projects including Dabangg 3, Race 3, Tubelight, Bharat and Kisi Ka Bhai Kisi Ki Jaan. This trend suggests a worrying decline in his box office appeal. Khan’s portrayal in Sikandar has been criticized for its apparent laziness and lack of enthusiasm. His signature mannerisms, which once captivated audiences, now come across as repetitive and uninspired. Even during emotional scenes, his performance fails to resonate, leaving viewers feeling disconnected. This perceived disinterest in his craft raises questions about his commitment to selecting compelling scripts and delivering performances that capture the audience’s imagination. The essence of Khan’s on-screen persona seems to have shifted towards a brand of “toxic masculinity,” where his attempts to appear effortlessly cool have become tiresome and unoriginal. This disconnect between his star power and the expectations of his audience is becoming increasingly evident, as fans seek more meaningful narratives and authentic performances. The unfortunate fate of Sikandar serves as a stark reminder of the consequences of complacency in the film industry. The film has been rejected by both the masses and critics alike, highlighting a growing sentiment that Salman Khan’s current approach to filmmaking and performance is out of sync with contemporary audience preferences. If he hopes to reclaim his status as a box office titan, a re-evaluation of his acting choices and a renewed commitment to the craft may be imperative.

The last two years have been tough on Kollywood star Jyothika. When she and hubby Suriya, a popular Tamil star, moved out from Chennai to Mumbai, setting up a mound of tittle-tattle about in-law trouble and outlaw response, when the truth was the couple were just seeking different school systems and more career opportunities. Then Suriya’s much anticipated Kanguva nosedived at the box office and overnight, he became less of the revered hero, more of a bad luck star. Jyothika had only her current web series, Dabba Cartel and her role in it was no Titanic. But Jyothika being feisty and fearless, found the ideal outlet to enjoy and smile. A few days back, she hosted a party for her Chennai colleagues and friends at her Mumbai residence. Heroines Trisha Krishnan, Ramya Krishnan, Radhika Sarat; dance master Brinda Gopal, Ramya Subramanian and popular emcee Divya Dharshini (DD) were on hand to enjoy, have an exuberant and happy time with Jyothika. She posted these pictures on Insta and embellished them with catchy copy …“Time flies, takes us higher…we are strong when we cheer each other and our smiles say it all”. Probably the most apt message was for Brinda …“Cheers to the woman who made us dance on her fingers”. And her post to Ramya said it all: “To the one who keeps friendship alive with love”. Jyothika is not one to whine and whimper about turns that life or career take…she is her own strong motivator.

It was the trailer launch of AR Murugadoss directed Sikandar. Salman Khan with childlike enthusiasm brought Kollywood’s grizzly actor Sathyaraj to meet his dad Salim Khan — the iconic script and screenplay writer, celebrity half of Salim-Javed. “Pappa, Kattappa,” said Salman while introducing Sathyaraj to his dad. Sathyaraj, who plays the role of a transgender villain in Sikandar said, “Salim Sir has been my hero from my college days. I have worked for 47 years in 258 films. Today, I have fulfilled the wish to meet him in person.” He was delighted that Salman introduced him by his famous character’s name. Sathyaraj reiterated that his multi-dimensional role in Sikander may well be another Kattappa. At the event Salman got an opportunity to unburden his angst. “We see Rajni and Chiranjeevi films and welcome South Indian productions wholeheartedly. But find that though Bollywood stars are celebrated down South, our films don’t get the same overwhelming reception.” Bahubali made the Pan India trend into vogue. So, is Salman on the cusp of another EID Mubarak? His future is riding on Sikandar. He must have longed for that thumping box office success of earlier times when his career seemed it would never tank. But five years of a barren streak, and his efforts to keep his premium slot intact have been obvious. Sikandar’s muqaddar is set to change. At the Press meet Salman said that “Kitna bhi log bole…mere fans 100 crore toh pahuncha dete hai”.

The simultaneous release of three films, Tumko Meri Kasam directed by Vikram Bhatt, Pintu Ki Pappi by Shiv Hare and Baida by Sudhanshu Rai seems to have skidded at the box office. These films are emblematic of a troubling trend in the industry, characterized by poor marketing, lack of visibility, and minimal audience excitement. Tumko Meri Kasam features Adaah Sharma, Ishwak Singh, Isha Deol and Anupam Kher. However, it suffers from a lacklustre promotional strategy that fails to generate buzz. The film’s dark and dull poster does little to entice potential viewers, making it feel like a B-grade production rather than a cinematic offering worth watching. Similarly, Pintu Ki Pappi is struggling with a title that fails to convey its essence, leaving audiences confused and uninterested. With Ganesh Acharya as the producer and newcomers Sushant and Jaanya Joshi in leading roles, this film too lacks the marketing push to draw the audience. A title like Pintu Ki Pappi may be catchy, but without context or appeal, it risks alienating potential viewers. In the case of  Baida, a supernatural thriller that despite its intriguing premise, has not garnered attention. Directed by Sudhanshu Rai who also stars in the film, it suffers from a lack of awareness and visibility. All three films represent small-budget productions that have entered the market without effective marketing strategies or brand recall. The absence of excitement and visibility raises serious questions about how these films expect to attract audiences to theatres. The only commonality among these releases is their dismal box office performance, highlighting the urgent need for filmmakers to prioritize marketing and audience engagement if they hope to succeed in an increasingly competitive landscape.

The two amazing Malayalam superstars clash at cinemas but Mohanlal undertakes a tough pilgrimage to Sabarimala to pray for Mammootty. Suddenly Mollywood is agog with “news” and communiques about superstar Mammootty’s health. He is spending the Holy month of Ramzan quietly and not making public appearances. But when Mohanlal aka Lal Ettan undertook the challenging pilgrimage to Sabarimala and offered special pooja for Lord Ayyappa in Mohammad Kutty’s name, the news spread wider and wilder. Mohanlal also did a special pooja for his wife Suchitra too.  And those who knew the inside goings on, reminded the “soothsayers” to think of Mohanlal’s just to be released film, Empuraan. Don’t stars pray for the box office success of their film? But then, why would Mohanlal convey to Mammootty that he was on the Sabarimala trip to pray for him, a pilgrimage undertaken after 10 years. Even as surmises were flying thick and fast, yet another news about Mammootty made his fans sit up and salivate. The superstar had lived for 45 years in Cochin’s Pannapillai Nagar on KC Joseph Street and his son Dulquer Salmaan was born there and got married in that house. Now that Mammooka has moved to another house, he has plans to turn his old house as a vacation home for fans. It is learnt fans can stay in the same rooms the Mammootty had lived in…they could order the favourite dishes that he liked. For cinema crazed fans, any bit of news makes the day.