By this time next week, the biopic on Uttar Pradesh chief minister Yogi Adityanath — Ajey: The Untold Story Of A Yogi — is slated for global release on September 19. The film made in multiple languages traces the remarkable journey of Ajay Singh Bisht, from a Himalayan village to becoming Yogi Adityanath, a monk, spiritual leader and his emergence as CM of Uttar Pradesh. Based on Shantanu Gupta’s bestselling book, The Monk Who Became Chief Minister (published in 2017) the film blends politics and spirituality in a compelling biopic. Gupta says an effort was made to produce it like M.S. Dhoni: The Untold Story (2016).”We got Dhoni script writer — Dilip Jha — to work on the film. Along with Priyank Dubey and me on the script, ” he says.  The idea of making the film came to the author during Covid years. Gupta says it was his chance meeting with the California-based NRI Ajay Menji in course of promoting his book that led to the making of the biopic. When asked if Yogi had a sneak preview of the film, Gupta shared that of the two books that he had written on the UP CM, Yogi always preferred the second one — The Monk Who Transformed Uttar Pradesh (2021) — as it showcased his work. “He has not seen the film yet,” says Gupta. With only Bihar polls round the corner and UP polls, a good two years away.”Ajey” may have nothing to do with votes. The film under Samrat Cinematics banner with a modest budget of Rs 35 crore is directed by Lucknow born Rajinder Gautam. It has a stellar cast with Anantvijay Joshi, Paresh Rawal, Nirahua, Ajay Mengi, Rajesh Khattar, Pawan Malhotra, Garima Vikrant Singh and others.

Inban Udhayanidhi is all of 20 years of age even as he moves in as CEO of Red Giant Movies, a production and distribution company, incubated and grown by his father Udhayanidhi Stalin, now deputy CM of Tamil Nadu. In just 17 years, Red Giant emerged as a near monopoly in terms of its scale and reach. Inba, as he is informally called by his closest friends, has the provenance of politics, power and privilege, a DNA soaked in cinematic and political wealth. WunderbarFilms and Don Pictures combined production, soon to be on screen, Idli Kadai directed and lead by Dhanush is the first film to be distributed under Inban Udhayanidhi’s watch. Don’t be irreverent to this banal title …Idli Kadai (idli shop). Dhanush is known to choose powerful themes and dramatic storytelling. Idli Kadai marketed and promoted by Red Giant is expected to strike that Midas touch too, with push and pull from this well-known political family. The news is that Inban is simultaneously being coached and trained in acting, another legacy from his father who could orchestrate his film and family status with agility. In a state where cinema and politics are de rigueur as environmental interests, Inba has his play station all mapped and pegged. Red Giant’s popularity hit a high in 2010 when all four of its distributed films… Vinnaithaandi Varuvaya, Madrasapattinam, Boss Engira Bhaskaran and Myna became popular hits. Since 2022, film promos could no longer use Udhayanidhi’s name as he was Minister for Youth Welfare and Sports. Inban Udhayanidhi inherited the reins. Ah, the inscrutable ways of destiny.

A fresh controversy has erupted in Tollywood with the list of names proposed for the Bengali film review committee, to be submitted in the High Court as part of an ongoing case between a section of filmmakers and the Federation of Cine Technicians and Workers of Eastern India (FCTWEI). The proposed panel has left out practicing Bengali directors, sparking sharp discontent within the industry. The development comes close on the heels of West Bengal chief minister Mamata Banerjee’s directive to single screen and multiplexes to screen Bengali films in primetime. While the order was widely welcomed, insiders now argue that the celebratory mood is being eclipsed by what they describe as a snub to local talent. One of the petitioners, director Indranil Roychowdhury maintained that Kolkata insiders could be influenced and therefore only nationally reputed figures from outside Bengal should be included. The proposed list features directors Dibakar Banerjee, Konkona Sen Sharma, Nandita Das, Adil Hussain, Nagraj Manjule and Hansal Mehta. A senior director, requesting anonymity, pointed out that earlier committees had stalwarts like Prabhat Roy and Haranath Chakraborty, but the new list excludes Tollywood filmmakers. He questioned whether Bengali directors were being treated as outsiders in their own industry. The Calcutta High Court has requested a final committee list by September 8. Information & Broadcasting Secretary Shantanu Basu has been tasked with drawing it up, based on names submitted separately by the 13 petitioner directors and the Federation. Questions have also arisen over whether institutions like SRFTI can serve as committee members, and who will bear the costs of bringing in outstation experts.

It was the audio launch of the just released Sivakarthikeyan film Madharaasi. No point in asking why this title (time was when all south of the Vindhyas were Madrasis often parodied by comedian Mehmood). Sivakarthikeyan did not need aide memoirs or pre coded script to grip audience attention …his TV anchor days experience seamlessly slipped into his hero status on stage. He was all praise for director AR Murugadoss (ARM) and the hit films Deena, Ramana, Ghazni and Thuppakki ..headlined by Thala Ajith, Suriya, Vijay  and late Vijayakanth, …each one moulded by ARM to portray powerful roles and make hit films. SK’s praise for the ARM acting method was not stage “feel good” acclaim. The vacancy left by Vijay (riding into politics) and Thala Ajith (adrenaline amped up race cars) were waiting to be filled. Naturally, SK, the romantic comedian hero, has set his sights on an action hero mould …how Madharaasi will catapult him to this fighter mode depends on how powerful his transition is …his Amaran was praised as a classic.  Madharaasi’s story is about guns brought in containers to be stored in a factory for future mayhem in TN. This danger needs a suicidal hero to put his life on the line. “I took steroids to replicate an intense craze driven look.” This simple Simon who talks without rancour recalls his struggling aspiring days …even water wouldn’t be given for those who knock on film doors. Today, they ask me Sir , some juice, cake? I have Tamannaah to my left and Samantha on my right…a distraction when I failed to notice Dhanush in the front row. SK has now overtaken his finder, Dhanush. Is SK destined to ride the crest of cinema without borders?

The soon to be released film Manusi led by singer and talented actor Andrea Jeremiah directed by Aram fame Gopi Nainar has a parallel story of its own to recount before release. Manushi is swinging like a pendulum between the Central Board Of Film Certification Board (CBFC), the filmmakers and the Madras High Court. For added misery to producer Vetrimaaran, the film is ready, yet its public viewing is uncertain. So what’s delaying it? The CBFC is apparently unhappy with the film’s potshots at the government, fiery dialogues and what is apparently seen as a mix up with communist ideology. So Vetrimaaran, approached the CBFC and the Madras HC after several cuts of scenes, dialogues chopped and probably ended up making an impactful film, insipid and inane; falling between two stools. CBFC did not give any certificate so the producer approached the HC. Recently, Sun Pictures’ got ‘A’ certificate for Rajini starrer Coolie. Sun Pictures moved the court to get ‘UA’ instead of ‘A’. Probably the makers wanted the youth and kids to view this masterpiece. The Court promptly set aside the plea. But like the Scottish folklore of Robert Bruce, producer Vetrimaaran try again approach seem to have with the HC. He approached the court, objected to the multiple cuts and changes. This time, Judge Anand Venkatesh watched the movie. He was so moved by Manusi and its portrayal of “the dark underbelly of power”. His review of this film was carried in all media. All one can say is that the learned Judge taught movie reviewers to fully understand the nuances of a film before reviewing it. He also ordered a few changes in the film but more importantly, the CBFC had to issue a certificate for release within two weeks. 

Sixty-one-year old Govinda, who ruled Bollywood throughout the 90s and then saw years of no work, seems to be in the news for all the wrong reasons. The rumours of his divorce from Sunita has been making headlines at regular intervals. While some dismiss it as a publicity stunt, a few film insiders say it’s for real. A few days back there were reports that wife Sunita and her son Yashvardhan were spotted in the family court, Bandra, Mumbai’s western suburb. A few days later paparazzi got an invite from Govinda-Sunita for the Ganpati festival just to indicate all is well between the couple. Not only those close to the couple say that there were issues and Sunita had been vocal about it. And few it’s a publicity stunt to invite attention. Again, people close to Sunita, she did move the court in December 2024 alleging cheating and desertion. During this time there were strong rumours of some Marathi actress entering Govinda’s life. The latest buzz is that counselling is on and the next court hearing is at the end of the year. Ideally, his diehard fans would want Govinda who has acted in over 165 films to make a big comeback and save his marriage. Wishful thinking! 

‘Param Sundari’s opening weekend has put a spotlight back on Siddharth Malhotra’s commercial pull — and the picture isn’t flattering. The film debuted with a Friday of roughly Rs 7.25 crore and, with mixed-to-negative reviews and early controversies (criticism over the portrayal of a Malayali character by Janhavi Kapoor, stereotypical use of Mohiniyattam and jasmine motifs, claims about one song’s origins), is now pegged to finish the weekend near Rs 25 crore. With an estimated production cost of around Rs 50 crore, and reported fees of about Rs 12 crore for Siddharth and Rs 5 crore for Janhvi, theatrical recovery looks challenging unless the film finds strong legs or ancillary revenue. Siddharth’s track record in recent years has been uneven. He has had high points — notably Ek Villain and his supporting turn in Kapoor & Sons — but several solo outings such as Yodha, Thank God, Jabariya Jodi, Mission Majnu, Marjaavaan and others failed to translate into consistent box-office domination. That patchy filmography suggests he is not, at present, a reliably bankable solo star who can guarantee big openings that make producers comfortable taking large commercial bets. In Param Sundari’s case, the controversies and perceived lack of charm relative to mainstream entertainers have clearly dampened audience enthusiasm. The film also invited unfavourable comparisons to more successful masala entertainers like Chennai Express. For Siddharth to reassert himself as a genuine box-office force he needs sharper script choices, stronger director collaborations, and perhaps strategic fee negotiations so producers can allocate more to production and promotion. After Param Sundari he is not a guaranteed box-office anchor. 

Once again filmmaker Vivek Agnihotri has been mired in controversy. This time it’s over his soon-to-be-released The Bengal Files. Since the launch of its trailer in Kolkata, it has been locked in legal disputes, political allegations, clarifications from lead actors and objections from freedom fighter Gopal Mukherjee’s grandson. Agnihotri has accused the Mamata Banerjee government of trying to stall the release. He claimed actors Saswata Chatterjee and Sourav Das were compelled by Didi’s government to issue media statements. The Bengali actors distanced themselves, saying they were unaware of the full script and were only briefed on their roles. Saswata Chatterjee, who plays the antagonist, clarified his role was limited to acting, with no involvement in political or historical debates. He admitted he had not read the complete script—describing this as common in the industry—and learned of the title change from The Delhi Files to The Bengal Files only after shooting ended. Santana Mukherjee, grandson of freedom fighter Gopal Mukherjee (Gopal Patha), filed a FIR objecting to the portrayal of his grandfather as a butcher. He described this as distortion, stressing that Patha, a member of Anushilon Samity, owned two goat-meat shops, was a wrestler, and had taken up arms in 1946 to protect civilians from Muslim League attacks. He alleged misrepresentation without consulting the family. Sourav Das, who plays Gopal Patha, distanced himself too, saying he was only briefed on his role. Amid the uproar, National award-winning filmmaker Goutam Ghose released a video statement, noting Bengal’s pioneering role in India’s independence but also its scars from Partition. Ghose insisted films on Partition or communal riots must rest on rigorous research rather than political or emotional motives.

Aryan Khan’s directorial debut arrives with a confident, offbeat pulse that immediately distinguishes it from routine star launches. The promo’s cheekiest beat comes when Aryan breaks the fourth wall, addressing the camera as the familiar, violin-laced Shah Rukh Khan motif plays — an audacious, meta wink that signals reverence without reverence’s usual stiffness. That tonal gamble pays off: the piece feels mischievous and smart rather than self-important. Visually, the promo is polished and assured. Clean frames, slick colour palettes and an Arri Alexa–style sheen hint at streaming-grade cinematic ambition. Art direction and sound design suggest a larger production muscle at work, while the supporting cast — names like Bobby Deol and Raghav Juyal — promise layered turns that complement Aryan’s youthful voice rather than overshadow it. The world he sketches is slightly chaotic and deliberately uncertain, an apt playground for an emerging filmmaker aiming to stake out an identity. Beyond style, the project carries heavyweight goodwill. Glimpses of Shah Rukh Khan and buzz from industry peers amplify attention; Netflix’s visible enthusiasm — from executives in India to global leadership — underscores how much is riding on the series as a conversation-starter for the streamer.  But flash isn’t the same as staying power. The promo does its job: it teases tone, talent and production values and provokes curiosity rather than answers. Whether Aryan “scores” will depend on what follows — sharp writing, assured long-form direction and committed performances across episodes. This moment also sits within a broader trend: star children and actor-turned-directors reworking industry legacies into new careers. From the lineage of filmmakers such as Randhir Kapoor and Rakesh Roshan to contemporary scions like Utkarsh Sharma, Junaid Khan and Krishna Shroff exploring directoral roles, filmmaking has long been a family trade.

In her recent interview to Tamil magazine Kumudam, ageless wonder and popular actress Nadhiya talks about the secret of her youthful looks, energy and enthusiasm as if it is as easy as plucking a low hanging fruit off a tree. She made her mark even in her first Tamil film Poove Poochoodava in which she played the granddaughter of another rocking beauty, Padmini. Not just looks but talent too, earning a Filmfare Award. But several Tamil, Telugu and Malayalam films later, it was her role as a single mother in M Kumaran S/O Mahalakshmi that brought her a huge wave of adulation ..Ravi Mohan, Asin and Prakash Raj were just foils to this dedicated actor …she takes her son to be enrolled in school…the Principal insists that the field “father” must be filled. Nadhiya just grabs the pen and fills the form as Son of Mahalakshmi. This scene inspired many single mothers. Then she looked like an older sister to Ravi Mohan …now, paradoxically, he looks like her older brother. At the height of her career, in 1988, she married Shirish Godbole and winged off to America, to live her life as a family maker. What made her give up fame, celebrity status? She is clear why…I knew him as a student, we planned to marry only after he settled down. Two daughters and American life did not erode her magnetism. When she flew into Mumbai, her fans accepted her. Even if she sashayed into her modelling role, she could have launched several products — bangles, sarees, sandals. She shares the secret of her youth and energy…a down to earth attitude to life, eat only when needed, workouts are non-negotiable and focus on tasks. Her fans are perplexed about why this talented and striking beauty is not chosen for more rewarding roles.

On paper this film had everything: a near Rs 400 crore production, two of India’s biggest stars — Hrithik Roshan and Jr NTR — backed by Kiara Advani, Anil Kapoor and Ashutosh Rana, and the marketing muscle of a major studio. It should have been a global blockbuster. Instead it collapsed under its own weight, and the fault lies squarely with the writers. The story is credited to Aditya Chopra, a name associated with some of Hindi cinema’s biggest commercial properties. The screenplay and execution were entrusted to Sridhar Raghavan (whose earlier work on big projects raised expectations) and dialogue by Abbas Tyrewala, a writer capable of sharp lines. Together they should have turned this star-studded canvas into a taut, emotional spectacle. Instead, overconfidence and sloppy plotting have produced a film that looks spectacular but feels hollow. Technically, the film often delivers: lavish set pieces, slick VFX and ambitious action set-pieces that scream big-budget cinema. But those production values only highlight the script’s failures. Characters are one-dimensional; motivations are perfunctory; scenes exist to justify action rather than to emerge from character. Even sequences that should thrill — aerial dogfights, tense confrontations — veer into the absurd and invite laughter instead of awe. This is not a failure of stars or resources but of storytelling. Aditya Chopra’s confidence in scale seems to have tipped into complacency: the belief that marquee names and massive budgets can substitute for a coherent story. What should have been a Rs 1,000 crore-level tentpole looks unlikely even to cross Rs 250 crore. This movie is a reminder: scale magnifies both strengths and weaknesses. No amount of star wattage, stunts or VFX can compensate for an unmoored script.

Malayalam movies abound in realism, and low budgets. But even as these movies gained recognition for down to earth plots, the reality of gender exploitation had become a scourge…female artists often faced casting couch exploitation, and other forms of sexual harassment. AMMA (Association of Malayalam Movie Artists) under superstar Mohanlal faced serious charges, chapter and verse instances that could not be swept under the carpet. The Hema Committee Report forced the entire body to resign and face fresh elections. When former Miss India Femina Beauty Queen, 51-year old Shwetha Menon threw her hat in the ring, the male oligopoly did not take it as a serious threat. But just to ensure Shwetha got besmirched by bad publicity, a scandal campaign on Shwetha made the rounds; it quoted and charged her under Section 67 A of the obscene films law …a smear campaign that would have scorched any other female artist. But not her…she got acquitted. Not only that she worked her way to win 159 votes against actor Devan who got only 132 votes. For the first time in its 31-year old history, AMMA has a female artist as its head. Even though she tries to pun on AMMA, “Yes, a real Amma heads the Association now.” She has a plan but first she wants to get all the members on her side and work without rancour. Workplace sex exploitation is widespread. But women are now getting tough and willing to crack the whip on those whose touch is creepy.

After years of CIA and FBI stranglehold on the global cinema audience, an Israeli spy story series Fauda in 2015 became the benchmark for spine-chilling storytelling, pitting bitter enemies in death strangleholds. Fauda and later Teheran much-watched and lauded spawned a long line of spy thrillers, some even playing out the most recent and may be still unfolding events of Ranneeti: Balakot & Beyond. Fauda was cloned as Tanaav for India. But why clone, when we have our own braveheart stories? Our creative teams scaled new heights in espionage thrillers with Sare Jahan Se Accha, The Family Man, Special Ops (two seasons of pure thrills, spills and chills in which Kay Kay Menon plays the antagonist-protagonist), Sarzameen, Rannneeti: Balakot & Beyond and currently Salakaar, a hit show guaranteed to nail bite to stumps. Naveen Kasthuria, an unmistakable Ajit Doval with Mouni Roy, the alluring honey trap Mariam aka Shrishti, give a new meaning to heroism. Are these new genres building new age heroes? The valiant and versatile intel agents who risk their lives as much as the military combatant, gathering invaluable humint? We predict OTT will be the future launch pad for real life (but unseen) heroes …the reel life ones have had their day. No one denies that these thrillers carry significant hype…intel failures have changed the course of border protection. But it is clearly an era of Sare Jehan Se Acha.

 ‘Sholay’ has become a legend and keeps on attracting film lovers even after half a century. Many stories, real and apocryphal, associated with it abound. It has been widely reported how some of the actors in ‘Sholay’ were paid small sums for their performances and how they accepted the amounts without any murmur. One of them is veteran Marathi actor Sachin Pilgaonkar, who also has recently celebrated his film career spanning 50 years. Sachin’s role of Ahmed in ‘Sholay’ was very brief but quite powerful. The grandson of a wheelchair-bound septuagenarian, played by AK Hangal, the then teenager Sachin is remembered even today for the effective depiction. Equally interesting is the fact that Sachin was gifted with a refrigerator instead of monetary remuneration. He did not grumble since it was a common practice in those days to compensate in kind. Sachin has since appeared in numerous films and is an icon for the Marathi stage and cinema. His wife Supriya is a household name due to her varied film roles while their daughter Shriya, too, has made her debut on the screen and is well accepted. Recalling the history, Sachin has said in a social media post, “Sholay is an emotion. A celebration. I’ll always be grateful to Ramesh Sippy Ji who I considered one of my Gurus for making me a part of this magnum opus and for giving me the opportunity to learn so much even behind the scenes.”  

On August 8, 2025, Bollywood witnessed a disheartening chapter for two of its veteran filmmakers, Suneel Darshan and Rajiv Rai, whose latest releases, Andaaz 2 and Zora respectively, met with resounding rejection at the box office. These senior filmmakers, once titans of the Hindi film industry, are struggling to resonate with today’s audience, their latest works exposing a stark disconnect rooted in their adherence to outdated storytelling and production styles. Suneel Darshan, celebrated for launching stars like Priyanka Chopra and delivering hits like Jaanwar (1999) and Andaz (2001), returned with Andaaz 2, a sequel banking on nostalgia. Similarly, Rajiv Rai, known for stylish, music-driven blockbusters like Vishwatma (1992) and Gupt (1997), presented Zora, a murder mystery. Both films crumbled because of poor execution, weak screenplays and ineffective marketing. Andaaz 2 featured music by Nadeem of Nadeem-Shravan fame and lyrics by Sameer, the names synonymous with 90s chartbusters, but the soundtrack failed to evoke the same magic, sounding dated and uninspired. Zora’ suffered from a weak narrative and forgettable music, failing to capture the intrigue expected of a thriller. Both films were dismissed by audiences underscoring a critical truth: nostalgia alone cannot sustain success in today’s dynamic cinematic landscape. Interviews with Suneel Darshan and Rajiv Rai reveal a bitterness toward past collaborators, particularly actors who no longer align with their projects. This resentment, coupled with their reliance on 90s filmmaking tropes —melodramatic narratives, formulaic music, and predictable plots —highlights their struggle to adapt. The failure of Andaaz 2 and Zora mirrors the struggles of other veterans like Subhash Ghai and Ram Gopal Varma. Filmmakers, regardless of past laurels, must shed outdated baggage and embrace modern techniques. 

Amid Chief Minister Mamata Banerjee’s recent call for a “Language Andolan” after alleged assaults on Bengali-speaking migrants outside the state — and her accusation that the BJP is targeting Bengalis through citizenship and voter list revisions — West Bengal’s film fraternity has revived its long-standing demand for primetime slots for Bengali films in all theatres. Leading actor-producers Rituparna Sengupta and Dev, filmmakers Kaushik Ganguly and Srijit Mukherji, SVF heads Shrikant Mohta and Mahendra Soni, among others, wrote to Banerjee alleging that distributors and exhibitors push single-screen theatres and multiplexes to give primetime to Bollywood films sidelining Bengali releases. They noted that such bias is absent in southern states or Punjab, where local films dominate prime slots. The state government has responded with a directive: all cinema halls and multiplexes in West Bengal, except GTA areas, must screen at least one Bengali film in primetime (12 noon–9 pm) for 120 days a year. Filmmaker Aniket Chattopadhyay called it timely, but Eastern India Motion Pictures Association chairman Ratan Saha warned that some theatres could face losses where Bengali viewership is low. The move coincides with Tollywood’s united front ahead of the August 14 release of Dhumketu starring Dev and Subhashree Ganguly. The industry claims distributors of Hrithik Roshan–Kiara Advani’s War 2 have pressured halls to allot all four shows to the Bollywood release during the lucrative Independence Day weekend. This sparked outrage from the Bengali film industry which petitioned Banerjee for fair screen sharing. Clearly, the fight is about survival of Bengali cinema for the next decade. With Dhumketu and War 2 set to collide, Tollywood vows this battle will redefine Bengal’s box-office rules. 

Shruti Haasan is drop dead gorgeous…a classic beauty, inherited from both Kamal and Sarika. The powerful range of her voice often rock’s a stage with her talent and superb stage presence. But something has held back her climb to the top as an actor who could have given Nayanthara and Trisha a run for their money. Talent, looks and DNA of provenance, 39-year old Shruti has done over 45 films in Tamil, Telugu and Hindi from her debut in 2009. Her latest movie is Coolie with Rajinikanth. Even as Coolie’s promos are out like mushrooms in the monsoon, Shruti too has found her media voice …“acting with Rajini Sir is a blessing I have longed for. She is banking on Coolie big time. Director Lokesh Kanagaraj, who directed Kamal’s blockbuster Vikram (a film that pulled Kamal from his lean time) teamed up with Shruti for an album….Inimel (from now onwards), a pairing that was not too lauded . But it was Shruti’s stepping stone for Coolie; Lokesh asked her directly if she would join the Rajini film. Who wouldn’t like to act with the legend? Recently she basked in Kamal’s political success as she toured Parliament when he took his oath as a Rajya Sabha MP. The buzz is also strong..her performance in Coolie is one for the arc lights… Shruti Haasan …you deserve to be at that summit. 

The release of Son of Sardaar 2 was notably overshadowed by a fierce competition with Dhadak 2, as both films contended for screen space during the ongoing box office success of Saiyaara. Despite the latter’s impressive performance, which left exhibitors reluctant to allocate screens to Son of Sardaar 2, the film ultimately managed to secure a substantial release. The makers had hoped that by postponing their film by a week, they would allow Saiyaara to run its course, thus creating a safer release window. However, to their dismay, Saiyaara continued to dominate the box office, raking in significant revenue even in its second weekend. Opening with a disappointing collection of Rs 7.25 crore on Day one, Son of Sardaar 2 fell short of expectations, particularly given its substantial production budget of approximately Rs 70 crore. It experienced a modest increase on Day two at Rs 8.25 crore and Rs 9.25 crore on Day three (Sunday), bringing its weekend collection to around Rs 25 crore. This figure is considered inadequate for a film of its scale, as even the prequel was just an average fare released in 2012. Critics and audiences alike were quick to point out the film’s outdated humor and weak character development, particularly in Ajay Devgn’s portrayal of the titular “Innocent Sardar.” The casting of Devgn in a role that required a more innocent and naïve demeanor felt misaligned, leading to a perception of the character as a caricature rather than a relatable figure. The writing and overall execution suffered from a lack of freshness, which significantly diminished the film’s appeal. Ultimately, the failure of Son of Sardaar 2 can be attributed to a combination of poor script choices by Ajay Devgn , drawing unfavourable comparisons to his past disasters like Bhola and Auro Me Kaha Dum Tha.

Controversial film ‘Khalid ka Shivaji’ will be removed from the Cannes listings through legal and administrative action following a public outcry, which had alleged that the movie distorts history and hurts public sentiments. Maharashtra cultural affairs minister Ashish Shelar said that it will be investigated how the film was submitted to the Cannes Film Festival by the state machinery in his department. The principal objection is that the film wrongly portrays the legacy of Chhatrapati Shivaji Maharaj. The state government has requested the Centre to revoke the film’s censor certification and halt its screenings. As a result, Central authorities have issued urgent notices to the film’s producers and director Raju More. There are half a dozen objections cited by the film’s critics but the main pertains to a depiction that Shivaji Maharaj had constructed a mosque at his capital, Raigad. Clarifying his side, More has claimed that there are mentions of such a construction in several references. For instance, the Kulaba Gazetteer published by the Union government in 1964 says on page 928 about the mosque and even gives its measurements. Similar mentions are found, he said, pleading that it is the job of the historians to write history and film makers create their works based on that information. In a retort, Hindu Mahasangh leader Anand Dave has appealed to all cinema hall owners in Pune not to screen the movie, alleging that history was tampered with due to such depictions. Dave has taken a strong objection to the film’s title itself.

Coolie is an endangered species even in the busiest of railway stations dominated by all pervasive airline luggage. Yet the megalith entertainment company, SUN Pictures chose this archaic title for the 50th year of Rajini’s super stardom, an enviable success many a hero yearns for. Coolie, certified A, is a big budget, big production teeming with big stars from other languages…big music and naturally big stakes for all concerned. Why did director Lokesh Kanagaraj, who has a whole universe named after him, choose this archaic title for hero Rajini? Maybe he carries the entire load of the film on his superstar back, despite the alphabet language soup of regional stars Aamir Khan, Nagarjuna, Soubin Shahir, Upendra, Sathyaraj, Shruthi Hassan and Pooja Hegde pitching in their weight. Pan India, Coolie is insured to bring in fans of each star …the sum of the parts exceeding expectations. Cinema is truly challenging for number crunchers. To add sound to the music, Anirudh has drummed up a storm with his style of Gen Z music. His hit numbers Powerhouse (Rajini, of course), Chikkudu Vibe, Monica (item song for which Pooja Hegde has swivelled her svelte self) have already stormed Spotify and YouTube. Chennai’s iconic launch pad, the Nehru Stadium went turbo on Coolie’s audio launch. Milling crowds clashed …delirious fans and genuine pass holders had a free for all according to media reports! But quickly quelled by the guards even as Rajini stood up in the sun roof car and acknowledged the cheering crowds. Age cannot wither his style nor custom stale the variety. 

Forty-nine-year old Smriti Irani, who took a long break from the entertainment world after plunging into politics, is now back with a bang with her most iconic TV serial Kyunki Saas Bhi Kabhi Bahu Thi on Star Plus. Will her second innings after be successful? But she is not the first to re-enter the acting world.  Big B, Govinda staged a successful comeback. In recent times, Kangana Ranaut, who was successfully elected on a BJP ticket from Mandi Lok Sabha constituency in 2024, is also scripting her return to the big screen. Tanu Weds Manu girl will be seen on screen with Telugu superstar Pawan Kalyan, also a force to reckon with in the political world. Successful Kollywood star Khushbu Sundar who entered politics long ago, changed several parties, has been appointed vice president of Tamil Nadu BJP cell. This articulate speaker is also making sure her acting career is also chugging along. The two leading ladies of the 70s Hema Malini and Jaya Bachchan continue to be in active politics…not chasing roles barring a few ads and occasionally signing up for movies. But when it comes to male stars like Vinod Khanna, Shatrugan Sinha and Rajesh Khanna they have not been a spectacular hit in politics. Sure, Sinha became a minister but could not keep that title for too long. Shotgun, a diehard BJP man was forced to quit BJP to join Congress and later TMC. After a long stint in both Samajwadi Party and Congress, Raj Babbar re-entered Bollywood. BJP MP Manoj Tiwari is more of a spokesperson and is seen focusing more on making music videos and songs. Ravi Kishan who is an MP is facing some resistance in UP politics and therefore is looking for more work in TV, OTT and films.  It’s an art to manage both worlds. 

The 2013 film Raanjhanaa directed by Aanand L Rai, stands as a testament to the power of storytelling, featuring an unconventional pairing of Dhanush and Sonam Kapoor. Its memorable music and poignant direction marked a significant milestone in Indian cinema, propelling Rai into the realm of celebrated directors. The film’s narrative, with its bittersweet ending, resonated deeply with audiences, creating a lasting emotional impact akin to classics like Sadma, Qayamat Se Qayamat Tak and Ek Duje Ke Liye. In the age of artificial intelligence, the temptation to alter established narratives for the sake of novelty or entertainment poses a significant threat to the integrity of original works. The notion of revisiting Raanjhanaa to create a happier ending, albeit under the guise of innovation, undermines the artistic vision of its creators, including the director and writer. Once a film is released into the public domain, it becomes a shared experience, and any post-release alterations—especially those that disregard the original intent—can be seen as a disservice to the creative process. Eros International, the rights holder of Raanjhanaa pursuing an alternate ending without the director’s consent is not just an inappropriate approach; it sets a troubling precedent for other producers. Such actions could lead to a slippery slope where the creative authority of filmmakers is undermined, allowing producers to alter endings at will. Using AI to trivialize or distort established narratives is a misuse of technology. As we navigate the intersection of technology and creativity, it is crucial to uphold the sanctity of original narratives, ensuring that the heart of storytelling remains intact.

The trailer for ‘War 2’ has all the ingredients of a quintessential masala potboiler, promising to deliver an exhilarating cinematic experience. As the sixth instalment in the expansive Spy Universe of Yashraj Studios, this film boasts impressive production values, breathtaking action sequences and a palpable energy that is sure to captivate audiences worldwide. Starring Telugu superstar NTR Jr and Bollywood icon Hrithik Roshan, the film is set to release on August 14th. With simultaneous release in Hindi, Telugu and Tamil, War 2 is expected to make a big impact at the box office. Initial projections suggest that the Hindi box office alone could exceed Rs 50 crore on its opening day, with a global total—encompassing all three languages—expected to surpass Rs 100 crore. If the film crosses the Rs 100-crore mark on its first day, it could potentially gross upwards of Rs 300 crore throughout its theatrical run. Audiences can expect breathtaking visuals, including high-speed chases, intense ground battles, and aerial dogfights, all choreographed to perfection. director Ayan Mukerji, known for his work on Brahmastra brings his visionary approach to the project, while writer-producer Aditya Chopra, celebrated for hits like Tiger 3 and the original War ensures a compelling script. War 2 is shaping up to be the quintessential masala entertainer, blending style, substance and sheer excitement—a formula that has historically resonated with audiences, reminiscent of the fervour generated by the Dhoom franchise for Yash Raj Films.

Probably no other actor, pan India has launched such a plethora of memes as Vadivelu.  Tamil media, be it politics, cinema or just everyday life peppers their narratives with Vadivelu memes and gifs…his pathetic expression, beat up state, costumes and crazy dialogues are memorised and talked about, long after taking the bus home from the cinema. The 64-year old Vaigai Payal Vadivelu (reference to a storm from Vaigai river) has acted in countless comedy roles, a comic timing so perfect that it cannot be replicated. At one point he took on hero roles, his 23 Aam Pulikesi, a comic balloon that burst all myths about classic heroes. Suddenly his career climb took a beating as the Tamil Film Producers Council red carded him. It was a temp ban from 2018-2020. But Vadivelu’s drunken outbursts, run in with late Vijayakant founder of DMDK, his films failing all these led to his break. His master comic dialogue, “Varum aana Varadhu” ad libbed by thousands kept the fan following only clamouring for Vadivelu. But Maamannan brought him back…a film which proved that Vadivelu’s versatility was vintage. Director Sudesh Sankar knew what he wanted in Maareesan, the just released film of Vadivelu (as Velayudhaswami Pillai) and Malayalam artist Fahad Fasil (as Dhayalan) under the Super Good Films banner. Maareesan is a serious comedy with shades of humorous pathos.

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.