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.

Why Ollywood’s two big stars, former Kendrapara BJD MP Anubhav Mohanty now in the BJP camp and ex-wife Varsha Priyadarshini grabbing headlines in Odisha?  Anubhav Mohanty had married Varsha in 2014 but it did not work and some six years later, Varsha filed a domestic violence case against Anubhav in 2020. In response, Anubhav filed divorce petition in July 2020 and was granted the same by the Cuttack High Court. Why did Anubhav’s marriage with Varsha fail? Anubhav says it was because of non-consummation of marriage and this fact was brought to light by the Odisha High Court’s findings. However, Varsha’s fans don’t believe it to be true.  With court granting him divorce, Anubhav has moved on by marrying his biographer Jagruti Shukla.  It seems the public sympathy is with Anubhav’s ex-wife Varsha; she is a role model in Odia cinema. Looks like the trouble for Anubhav is not over as Varsha has now released a movie titled Wife that brings to the public what really happened in their marriage. For a star-politician this could dent his image among his fans and vote banks.

The legendary trio of Bollywood—Aamir Khan, Shah Rukh Khan, and Salman Khan—continues to command the spotlight as they gracefully embrace their sixties this year. Recently, Aamir celebrated his 60th birthday (Mar 14), generating headlines not only for this milestone but also for announcing a new relationship, which underscores his enduring appeal and the public’s fascination with his personal life. This news resonated throughout Indian media, highlighting the unmatched influence these three superstars wield over the industry. Whenever Shah Rukh, Salman, or Aamir makes a statement or announcement, it instantly becomes a headline, reinforcing their formidable presence in the entertainment landscape. They are not merely actors; they are cultural icons whose words and actions resonate deeply with fans across generations. SRK, with his recent box office triumphs, has reaffirmed why he remains one of the most sought-after stars, effortlessly drawing audiences to theatres. Salman, the perennial Eid favourite, consistently reigns at the box office, with even his less successful films crossing the coveted Rs 100 crore mark—a testament to his box office magic. Though Aamir faced setbacks with his last two films, he remains undeterred, gearing up for exciting projects like Sitare Zameen Par and a collaboration with Lokesh Kanagaraj. Each Khan possesses a unique charm and business acumen that keeps them relevant in an ever-evolving industry. Their timeless appeal mirrors that of legends like Amitabh Bachchan and Rajinikanth, who have crossed 60 long ago, yet remain socially and culturally relevant through their work. As they continue to redefine success, it’s clear that the magic of the Khans remains undiminished, proving that age is merely a number in the realm of Bollywood stardom.

In Tollywood, filmmakers are moving from one group to another in a quiet but calculated migration that began as a conflict over policy and ideals. The Directors’ Association of Eastern India (DAEI) and the East India Motion Pictures Association (EIMPA) are two important organizations at the centre of this change. Once linked to legends like Satyajit Ray and Mrinal Sen, EIMPA is a legacy organization that has mostly lain dormant in recent years. Conversely, DAEI was established as a more modern substitute and has been associated with the Federation of Cine Technicians and Workers of Eastern India. It is ironic that the directors who led demonstrations against Federation rules are now favouring EIMPA. Last year, a disagreement between filmmaker Rahul Mukhopadhyay and the Federation resulted in a standoff. The Chief Minister had to step in as the tension turned into a complete work halt. Leading directors, including Parambrata Chatterjee, Raj Chakraborty, Kaushik Ganguly, Srijit Mukherji, and Shiboprosad Mukherjee, had publicly challenged the Federation’s management of industrial matters. When Federation president Swaroop Biswas controversially claimed that 60% of Tollywood’s directors were accused of sexual harassment, things took an unpleasant turn and further divided the Federation and DAEI. As a result, the Federation’s workers declined to work for Kaushik Ganguly’s film bringing production to a standstill. In response, Ganguly distanced himself from DAEI and settled his conflict with the Federation. Now, EIMPA has re-emerged as a significant entity led by president Anup Sengupta and Swaroop Biswas has been appointed as an advisor.  The central issue that emerges is whether these changes stem from authentic ideological shifts or is it survival instinct. A director revealed that the coercive strategies of stopping production have led filmmakers to fall in line. 

The recent release Mere Husband Ki Biwi has bombed at the box office, collecting less than Rs 5 crore in its opening three days against a hefty making cost of around Rs 60 crore. This underwhelming performance marks yet another flop for producer Vashu Bhagnani. Bhagnani, once celebrated for his successful films, has seen a string of failures such as Ganpat, Mission Raniganj and Bellbottom. He has faced financial setbacks with projects like Bade Miya Chhote Miya and is currently embroiled in a legal dispute with its director. The direction of Mere Husband Ki Biwi was helmed by Mudassar Aziz, known for his earlier works like Khel Khel Mein, Pati Patni Aur Woh and Happy Phirr Bhag Jayegi. The film’s lead actor, Arjun Kapoor, has struggled to find success as a solo performer, with his recent projects—including The Lady Killer, Kuttey and Bhoot Police — failing to make a mark at the box office. Similarly, the leading actresses, including the likes of Bhumi Pednekar, have also faced a streak of underwhelming films like The Lady killer, Afwaah, Bheed, and Rakshabandhan and thus making it difficult for Mere Husband Ki Biwi to generate excitement among viewers. Rakul Preet Singh is known for other disappointments like Thank God, Doctor G, Runway 34, Attack and Marjaawan. With a cast and crew associated with a series of unsuccessful films, the expectations from Mere Husband Ki Biwi were understandably low. Despite attempts to engage audiences with remixed songs, the film has failed to captivate, illustrating that audiences are no longer willing to watch films that lack compelling narratives and star power.

Indians are compulsorily global now …travel, gourmet food, curated art, Boston Brahmin lifestyles, wine connoisseurs and of course elevating music crowned by symphonies and operas. This maestro is 82, has composed music for 1,000 films in nine languages and is considered as the Kohinoor of music. Ilaiyaraaja is our national treasure and his own pride and exhilaration was hard to hide as he spoke to the press on his way to London to record and launch his first symphony, Valient on 8th March. It is not an effort to denigrate pop and filmi music but composing a symphony puts him in that elite list of iconic names starting with Joseph Hayden (who created his first symphony in 1700), Beethoven, Brahms, Tchaikovasky and Mahler; legends who took this very structured and elevated creation to heights that few could emulate. Tamil Nadu chief minister MK Stalin called on the genius composer at his home to congratulate him on this achievement. Indeed, it is a matter of pride that India can boast of such a genius. For those of us who want to know why a symphony is special, systemised and soothing. It has four large pieces or “movements”, the first is the Sonata, the highlight of this structured music creation. The second, Scherzo is a slow and gentle exposition that calms your mind. The third is a dance, light and lively, preparing the audience for the fourth …the Finale, an exuberant crescendo culminating with high notes. At the recording, the emcee and music interpreter called Valient “a texturally brilliant piece of music”. Play the video and participate in the creation of Ilaiyaraaja.

Despite the release of contemporary Bengali films, audiences in Kolkata are gravitating towards the re-released classics of Satyajit Ray. Mahanagar and Nayak, restored and re-released by RD Bansal Productions, have drawn huge crowds to theatres across Kolkata, Delhi, Mumbai, and Bengaluru. Uttam Kumar and Sharmila Tagore starring Nayak originally released on May 6, 1966, was Ray’s second original screenplay after Kanchenjungha (1962). Mahanagar, first released in 1963, offers a powerful depiction of Kolkata’s transition into a capitalistic society. The restored versions, presented in 2K and 4K, have not only enhanced their visual appeal but also reaffirmed their timeless relevance, attracting both nostalgic viewers and first-time audiences. In contrast, the re-release of Chander Pahar (2013), directed by Kamaleswar Mukherjee and starring Dev, saw a lukewarm response despite commemorating the 130th birth anniversary of author Bibhutibhushan Bandyopadhyay. Similarly, Shudhu Tomari Jonyo, a multi-starrer romantic drama produced by SVF, failed to garner significant attention. The success of Ray’s films has reignited interest in classic Bengali cinema, with discussions underway for re-releases of Joi Baba Felunath and other masterpieces. Meanwhile, Saat Pake Bandha (1963), starring Suchitra Sen and Soumitra Chatterjee and later adapted into Kora Kagaz (1974), is undergoing restoration. The resurgence of Mahanagar and Nayak in cinemas underscores the lasting impact of Ray’s storytelling, proving that masterful filmmaking continues to captivate audiences across generations.  

A 30-year-old man from Bengaluru, Abhishek MR, has made headlines after winning Rs 65,000 in compensation from PVR Cinemas, INOX, and BookMyShow for what he described as a waste of time due to lengthy advertisements before a movie screening. The consumer court ruled in his favor, highlighting the principle that “time is money” and labelling the practice as “unfair trade.” This landmark decision has resonated with many moviegoers who often voice their frustrations over ticket prices, the cost of food and beverages, and the excessive time spent watching ads before their favourite films. In 2023, Abhishek booked three tickets to see the film Sam Bahadur, scheduled to start at 4:05 pm. However, the screening was delayed by nearly 30 minutes due to a barrage of advertisements and trailers, prompting him to take legal action. His case has sparked a conversation about the growing dissatisfaction among consumers regarding the overall cinema experience, which often feels marred by high costs and lengthy pre-show content. This ruling has instilled confidence in the average consumer who frequently complains about the escalating expenses associated with a trip to the multiplex. With cinema chains like PVR INOX already facing criticism for their pricing strategies, this decision may serve as a wake-up call for these establishments to reconsider their advertising practices. Many patrons feel that after paying a premium for tickets, they should not have to endure an extended advertising session before the film begins. As multiplexes continue to generate revenue from box office sales, food and beverages, the pressure to provide a more satisfying experience for customers is mounting. This ruling could potentially lead to restrictions on the length and frequency of advertisements, ultimately enhancing the movie-watching experience and restoring consumer trust in the industry.

Thirty six year old Vicky Kaushal is rapidly emerging as the new superstar of the Indian film industry, particularly following the phenomenal success of Chhaava directed by Laxman Utekar. The film has made waves at the box office, grossing over Rs 400 crore plus in just 10 days, marking a significant relief for the exhibition industry, which has been in dire need of such a blockbuster. Chhaava’s success reinforces Kaushal’s status as a leading figure in contemporary cinema. Examining his filmography reveals a trajectory of impressive versatility. While his previous film, Bad News was met with average reviews, his performances in Sam Bahadur and Zara HatKe Zara Bachke showcased his ability to connect with audiences. Kaushal’s breakout role in Uri: The Surgical Strike catapulted him to commercial success, and he has since delivered commendable performances in supporting roles in films like Sanju, Dunki and Raman Raghav 2.0. Vicky’s filmography is a testament to his range, encompassing biopics like Sardar Udham Singh anthology films like Lust Stories and commercial ventures such as Govinda Mera Naam. His journey began as an assistant to Anurag Kashyap, and he has since evolved from art-house films to mainstream cinema. As the veteran superstars — Aamir Khan, Shah Rukh Khan and Salman Khan — become increasingly selective with their projects, and with contemporaries like Ranbir Kapoor and Ranveer Singh also taking fewer roles, Vicky Kaushal stands poised to fill that void. His versatility and consistent performances suggest that he is not just a rising star but a potential new pillar of the industry. 

There are movie stars, and there are movie stars who want to be a part of society and its serious concerns. R Madhavan (54) has consistently come through as a middle class mascot and muse for social issues. His film Rocketry: The Nambi Effect — a sensitive work to lay bare how politics impacts individual brilliance, focussed on the need to bring controversy to closure. His Railway Men, series on the 1984 Bhopal Gas tragedy was an effort to highlight the same puerile political interferences that leave a trail of human tragedy behind. His very first Tamil film AlaiPayuthey was directed by Mani Ratnam in which he played the romantic hero. After this movie, Madhavan became every girl’s chocolate hero. Try as he could, his middle class Jamshedpur upbringing and morally upright, wholesome image could never be dented by filmi pretentiousness. So, it did not come as a surprise that he recently launched his socially conscious app, Parent Geenee with an impassioned plea for parents to become more involved with their children’s way of life. Today’s kids are overly precocious, almost shedding their childhood and innocence, an integral part of growing up. And games like Blue Whale and Port Knight send shivers down the spine… every child is in his own world, his parents lost to any communication or bonding. This app is meant to be a responsible “seeing eye” to parents, giving them elbow room to know and be aware of what their offspring is up to. In an era where film folks make news for broken marriages and stormy lives, here is a hero who wants to be with his audience as a silent force in bringing up children. There are heroes but a socially conscious hero is special.

In South India, February is definitely a lean month for movie releases. Especially after big releases during Pongal week and Republic Day. However, this Pongal had few releases, especially films starring the big sharks…Vijay busy with his political outfit. Ajith racing formula cars. So, the shortest month with the leanest audience has inspired some avant garde films, made on shoestring budgets and rubber bands has surprisingly drawn the millennium kid viewers. Dhanush has bravely directed his home production film, Nilavuku En Mel Ennadi Kobam…this long title has been accordion-pleated into an origami NEEK. Dhanush has introduced a total cast of newbies especially his nephew Pavish. Oh, we must mention that Dhanush’s older son Yatra has collaborated in the lyrics. Dhanush has motivated the audience to encourage these newcomers. But the real surprise is Dragon which has drawn much appreciation for the performance of hero Pradeep Ranganathan under the gripping direction of Ashwath Marimuthu. The film raises many questions about the GenNext rebellion and “couldn’t care less” attitude. Ranganathan is bound to go places. Bad Girl has already made news by its theme of a teenager discovering the nuances of hormones and sex. It has been panned for its racist, class divide …such bordering on erotic does not need a lean month to bring in voyeurs. Ramam Raghavam is probably a film to think about that may appeal with Samuthirakani as the pivot father who wants to mould his son is a story that may resonate with every generation. The filmi cauldron has to dip into time-tested formulae…love, rejection, conflict, resolution, compromise and aspirations. With tight budgets, it’s brave of such productions to risk their all on unique stories and hope to hit that pot of gold. 

The recent release of Chaava, featuring Vicky Kaushal and Rashmika Mandanna, has ignited significant discussions around the intersection of art and political scrutiny in India. While the film has garnered considerable buzz and attention at the box office, it has also faced backlash from various political groups, often dubbed as the “moral police.” This scrutiny particularly intensified around a promotional song featuring a traditional lezim dance that depicted the historical figure Sambhaji Maharaj in a manner some deemed inappropriate. Critics argued that the portrayal of the king dancing was historically inaccurate and disrespectful, prompting Maharashtra Minister Uday Samant to advocate for a review by historians to preserve the dignity of the Sambhaji Maharaj. In response to this pressure, director Laxman Utekar met with political leader Raj Thackeray and ultimately decided to remove the contentious scene. This incident reflects a growing trend where political entities feel entitled to intervene in Bollywood productions, raising concerns about the freedom of expression for artists. This pattern is not new; previous controversies, such as the uproar over the song “Besharam Rang” from Pathaan and the backlash against the song “Malhari” from Jodha Akbar which faced criticism for its use of the phrase “Vaat Laavli,” underscore the inconsistent responses from the industry and authorities. Sanjay Leela Bhansali, known for his grand historical narratives, has frequently found himself at odds with political outfits, from Jodha Akbar to Padmaavat to Gangubai Kathiawadi. This trend illustrates a troubling reality where the creative landscape is increasingly shaped by political agendas, often at the expense of artistic integrity and historical representation. As the lines between art and politics blur, it raises critical questions about the future of creative freedom in India. 

The silent war for supremacy claims between Rajini and Vijay’s fans has been smouldering for a few years now. Vijay has conquered that top slot in box office status which Rajini and Kamal shared. Who is the highest paid actor is the bone of contention…obviously the commercial success of Vijay’s formula padded high-octane films is hard to ignore, harder not to acknowledge it. Recently, it took an ugly turn when the X (formerly Twitter) handle of Rajini fan clubs carried an unsavoury threat to Vijay. The plan was to chuck rotten eggs at Vijay in his political meetings. The rotten eggs were to be sourced at bulk rates from Namakkal. This audio caused a major flutter and Rajini’s PR mouthpiece condemned the plan. “A genuine fan of our Thalaivar would never think of such base actions. Mutual respect for fans is what we profess. Don’t make cinema a divisive force”. Another distasteful event had preceded this one on February 7 when Ajith’s long-awaited Vidaamuyarchi hit the screens. Suddenly at the Nellai’s Ram theatre, a bunch of diehard Vijay fans and newly minted party acolytes came, waving TVK flags and matching swag to impress the crowd about their leader. A few Ajith fans caught hold of the enthusiasts and thrashed them, saying you want to watch a movie, do so without pomp and flag fare. Even when celebrity stars don’t resort to cheap publicity, the fan clubs bring a bad reputation. And when cine glitz transforms into politics, the stakes are higher. 

In Bollywood a new trend is emerging. The traditional approach of the big launch of star kids via big screen is history. For instance, Saif Ali Khan’s son Ibrahim Ali Khan’s debut film Nadaaniyan will be released on Netflix with the usual marketing drive. According to film historian Dilip Thakur, “Gone are the days when big launches would happen for newcomers or star kids; the last big launch was that of Hrithik Roshan…that was 25 years ago.” There is not going to be any superstar with the advent of OTT culture and GenNext seems okay with it. Junaid Khan and Khushi Kapoor’s film Loveyapa is their first theatrical release; both have already made their debut on OTT with Maharaj and The Archies. Junaid’s father Aamir Khan is going around promoting them. Unlike Janhvi kapoor, Khushi had a rather quiet launch with The Archies but her acting prowess was noticed. Both are somewhere sure that they have been accepted and therefore fine with it. Thakur says the business of cinema is all about the first weekend and that the game is over unless it is Pushpa or a Pathaan.  Besides the exposure to OTT is more than the cinema and only spectacles are going to work in cinemas and the generation next knows it and is practical about it. Hypothetically, if they don’t make their cut in acting, the paparazzi culture has already made them influencers so they will be around in some form connected with Bollywood.

The re-release of Sanam Teri Kasam, a 2016 romantic drama starring debutants Harshvardhan Rane and Mawra Hocane,has been surrounded by an intriguing wave of drama and fanfare. Recently, a passionate group of fans gathered outside the office of producer Deepak Mukut, accompanied by actor Harshvardhan Rane, fervently urging him to re-release the film. In a surprising turn of events, Mukut not only confirmed the film’s re-release but also announced a sequel, generating significant buzz in the industry. Initially launched to lacklustre box office performance, Sanam Teri Kasam was deemed a disaster upon its first release. However, the film’s soundtrack, featuring hit songs, kept it alive in conversations, gradually transforming it into a cult favorite. Now, with its re-release across 400 to 500 screens, Sanam Teri Kasam finds itself in direct competition with two fresh titles: Loveyappa, starring Junaid Khan and Khushi Kapoor, and Himesh Reshammiya’s Badass Ravi Kumar. Interestingly, while both new films struggled to make a significant impact at the box office, Sanam Teri Kasam has shown promising advance bookings, leading many exhibitors to consider increasing its showtimes over the weekend. This resurgence is particularly noteworthy for a film that was initially dismissed, highlighting a curious trend in the industry where previously overlooked content receives a second chance. Adding to the irony, the film’s popular music was composed by Himesh Reshammiya, who is simultaneously competing with his own project, underscoring the unpredictable nature of audience preferences and the evolving landscape of Bollywood.

In recent times, Bollywood has seen a noticeable shift, with many newcomers struggling to leave a lasting impression on audiences. This decline can be traced back to a variety of factors, including the selection of projects that fail to resonate with viewers. Gone are the days when iconic films like Betaab, which introduced Sunny Deol or Rocky which launched Sanjay Dutt, captivated audiences and launched the careers of these stars. So too Jackie Shroff with Hero. In contrast, today’s newcomers like Suraj Pancholi, Siddhant Kapoor and Sasha Agha find themselves lost in films that do not provide them with the platform to showcase their talents effectively. The recent film Azaad featuring Aaman Devgan and Rasha Thadani serves as a case in point. Aaman Devgn, nephew of Ajay Devgn has struggled to make a significant impact, while Raveena Tandon’s daughter Rasha Thadani managed to capture some attention with her performance. Many of the films do not offer the newcomers a fair opportunity to shine; often focusing more on star power than on storytelling. For instance, in Azaad, the narrative centres around the titular horse rather than the lead pair, which diminishes the impact of the human characters. This misalignment can lead to a lack of engagement from the audience, making it difficult for the actors to connect with viewers. Aaman’s performance, despite being camera-friendly, lacks the emotional depth and histrionics that are often necessary to truly engage the audience. In contrast, Rasha stands out with her strong screen presence and impressive dance moves, showcasing a talent that could potentially elevate her career. Ultimately, even when a film does not resonate with audiences, a standout performance can create opportunities for newcomers to prove themselves.