I don’t think Bollywood is overshadowed by south films-Ravi Varman


Rishabh Suri (HINDUSTAN TIMES; April 3, 2025)

Cinematographer Ravi Varman’s work has influenced films in more ways than one can imagine. A member of the Academy of Motion Picture Arts and Sciences, he was recently inducted into the prestigious American Society of Cinematographers — becoming only the second Indian to do so after filmmaker Santosh Sivan.

Having created iconic frames across both Hindi (Goliyon Ki Raasleela Ram Leela, 2013) and Tamil (Ponniyin Selvan: I, 2022) cinema, does Ravi agree with the buzz that south films have begun “overshadowing” Bollywood?

“It’s not like that,” Ravi tells us. He explains that the streaming space has blurred the lines between Hindi and regional films: “After OTT platforms, [showbiz] became the Indian film industry. So many films from the south are now released all over India and do so well. And Hindi cinema has always had a classic quality of filmmaking.”

Given that he’s worked across industries, what sort of film has been the toughest to work on? Ravi replies, “I can’t say. I never thought I’d get into films — it was accidental. For me, every film is equally important.”

The 51-year-old feels audiences should rethink the parameters of judging a film. “Films that won at the Oscars this year were well acted, but not all of them were superhits commercially. It’s the quality that matters,” he ends.

Laapataa Ladies accused of copying Arabic film Burqa City


HINDUSTAN TIMES (April 3, 2025)

Director Kiran Rao’s Laapataa Ladies (2024), which was India’s official entry to the Oscars 2025, has found itself at the centre of a plagiarism controversy yet again. After being accused of copying the 1999 film, Ghoonghat Ke Pat Khol, several social media users are now pointing out striking similarities between Laapataa Ladies and a 2019 Arabic film called Burqa City, after the latter’s video clips went viral recently.

Burqa City, a 19-minute satirical short film, tells the story of a newlywed man who frantically searches for his wife after she is mistakenly swapped with another woman wearing an identical burqa. The film delivers a critique of patriarchal societies and the erasure of women’s identities. Its similarity with the plot of Laapataa Ladies has not gone unnoticed by social media users.

One wrote on X, “Kiran Rao’s Lapata Ladies, India’s official entry to the Oscars and projected as an original work, actually seems heavily inspired by a 2019 short film titled Burqa City.... Kiran Rao made Lapata Ladies, with the same theme, replacing burqas with ghoonghats (sic).”

Another user wrote, “There is nothing Original about Bollywood anymore (sic).” A post read: “This is embarrassing....the creators were enjoying the success as if they had made something original (sic).” Kiran is yet to respond to the controversy.

If Pushpa can work in Punjab, Akaal can do well in south-Gippy Grewal

Gippy Grewal with Karan Johar

Ready with his ambitious period drama Akaal, Punjabi star Gippy Grewal discusses teaming up with producer Karan Johar to take the film across India
Mohar Basu (MID-DAY; April 3, 2025)

Right when we begin our chat, Gippy Grewal tells us that he is averse to the term ‘pressure’. Writing, directing and starring in the ambitious venture, Akaal, must have been an arduous responsibility, but the Punjabi actor-director says he had prepared himself mentally before setting foot on the set.

“When I go on the set, I never go with pressure. I know exactly the performance I have to deliver, what to extract from my actors, and how to shoot. I was prepared for [all the hurdles] when I decided to do this,” he says.

Set in Punjab of the 1840s, Akaal tells the story of Sardar Akaal Singh and his village as they are attacked by Jangi Jahan. As he retold a chapter of Sikh history, Grewal says that he was mindful about not depicting any community in a bad light.

“This story is of Sikhs, but Hindus, Muslims and other religions have been shown in a positive light because I believe it’s not about religion. In the past, a lot of people have [furthered] these divisive narratives. Even during the partition, if there were bad people on both sides, there were good people too. We’ve told the story of Sikh warriors, but we’ve not shown that people belonging to any particular religion are bad—that will never happen in my film,” he asserts.

With a larger-than-life central figure and its roots in Punjab, Akaal—also starring Nimrat Khaira—has the same palette as The Legend Of Maula Jatt (2022). Was the film an inspiration for him? “I have seen the new Maula Jatt, and the old one [1979]. It’s very interesting, but has no parallel with ours. Our film is based on our Sikh principles and Sikh warriors.”

Akaal is being touted as the biggest Punjabi film of the decade. It also marks producer Karan Johar’s foray into Punjabi cinema. Grewal says that Johar came on board after being captivated by the film’s vision.

The actor recalls, “When we decided to release it in Hindi as well, we went straight to Dharma [Productions] and showed the content. We met Karan and in half-an-hour, everything was locked. He loved the trailer. Language is hardly a barrier anymore. It’s about marketing a film in a big way. If Pushpa can be a rage in Punjab, Akaal can do well in south too.”

Marketing prowess of big films, expensive tickets are killing small films-Abhishek Chaubey

Abhishek Chaubey: Marketing prowess of big films, expensive tickets are killing small films

Hoping to return to theatres after six years with a period thriller, director Abhishek Chaubey rues that the big screen has no place for small films
Priyanka Sharma (MID-DAY; April 3, 2025)

Abhishek Chaubey hasn’t had a film play out on the big screen after Sonchiriya (2019). The director has been happy dabbling in digital entertainment with a segment in Ray (2021) and the web series, Killer Soup (2023). But now, the big screen is calling out to him.

“I am currently writing a period thriller,” he reveals, hoping to take it to cinemas. “I have also written a show, a thriller [that explores] a social phenomenon. It’s set in Bihar. Now, I am at the mercy of the streamers,” he smiles.

As he flirts with the idea of returning to the movie halls after over six years, the director is aware that a lot has changed in the theatrical space. Chaubey notes that the big screen has become synonymous with spectacles, leaving little room for small films to survive.

“We are only making tentpole films. We must find a way for the middle-of-the-road films to have a well-marketed release and make sure that the audience goes to watch them. We have to find our mojo again,” he insists.

Citing the example of his debut film Ishqiya (2009), Chaubey points out how small films would find an audience 15 years ago.

“Ishqiya is a small film, but Chandan theatre [in Juhu] ran housefull. Even a film that didn’t work at the box office would make enough money so as to not break the production company. Now, the star and marketing prowess of a big film, coupled with expensive tickets, are completely killing small films. Earlier, the audience that watched mainstream movies also watched a Gulzar or a Shyam Benegal offering. That was our culture. Today, that culture is dead.”

When Jayeshbhai Jordaar didn’t work, I became harsh on myself-Shalini Pandey


Akash Bhatnagar (HINDUSTAN TIMES; April 3, 2025)

After a successful outing, Maharaj, last year, actor Shalini Pandey’s latest release, Dabba Cartel, also earned her rave reviews. However, her entry into the industry wasn’t smooth, as her debut film, Jayeshbhai Jordaar (2022), didn’t do well at the box office: “When you do a film like that, with such a strong character to play, it’s amazing. But my heart broke when it didn’t work. When everything looks great and you feel like people will love you, but it does not play out that way, you feel shattered.”

Then, her Maharaj co-stars Junaid Khan and Sharvari were spoken about more than her after the project’s success. Did that impact her? “It’s not in my hand. I do not remember how I felt, because I move on quickly. I am someone who gets done with my work, takes the love or the feedback and just move on,” she answers.

Shalini adds, “Earlier, I wasn’t kind to myself. When Jayeshbhai Jordaar didn’t work, I became harsh on myself. But it taught me why it’s important to take pride in one’s journey.”

Dia Mirza on Nadaaniyan backlash: "I feel there’s a culture of ‘eat the privilege’, which is harsh"

World Environment Day 2024: Dia Mirza picked her Mumbai home for its dense green cover | Exclusive

Roopa Radhakrishnan (BOMBAY TIMES; April 3, 2025)

While she started her film journey as a background dancer in the Tamil film En Swasa Kaatre (1999), Dia Mirza hasn’t acted in any Tamil film so far. “I have no idea why I haven’t done a Tamil film yet; I would love to work here,” states the Bollywood actress, who was recently in Chennai. She speaks to us about her wish to be part of Tamil films, making her debut in Rehnaa Hai Terre Dil Mein (RHTDM) alongside Madhavan, the backlash against her recent film, Nadaaniyan, and more…

‘OPINIONS SHOULDN’T BE EXPRESSED AT THE COST OF SOMEBODY’S MENTAL HEALTH’
Addressing the backlash directed at Ibrahim Ali Khan and Khushi Kapoor for Nadaaniyan, Dia, who was also a part of the film, states, “I have never been in favour of personal attacks and find them extremely disrespectful. Everyone is free to have an opinion, but it shouldn’t be expressed at the cost of somebody’s mental health. I’ve been concerned, especially for the younger actors, about the harshness of what’s being said. I feel there’s a culture of ‘eat the privilege’, which is harsh, because people have their own stuff to deal with.”

‘MANI RATNAM SIR CHANGED MY PERCEPTION OF STORYTELLING’
Sharing about her recent interaction with director Mani Ratnam, Dia says, “Mani Ratnam sir is one of my all-time favourite directors. We were recently on a flight together, and I was awestruck by him. I went up to him and said, ‘I don’t want to lose this opportunity to tell you how much I admire you.’ It was interesting to see how awkward he is with praise. His cinema impacted my childhood and influenced my perception of storytelling.”

‘I HAVE A DEEP REGARD AND RESPECT FOR ARVIND SWAMI SIR; SIDDHARTH IS PHENOMENAL’
The actress was part of IC 814: The Kandahar Hijack that featured actor Arvind Swami. Speaking about him, she says, “I didn’t get to share a scene with Arvind (Swami) sir, but I have a deep regard and respect for him. He is a phenomenal artiste. Another artiste I admire from here is Siddharth, who is phenomenal. I watched Chithha, a film he produced and acted in, and what a powerful film it was! The entire cast was so compelling.

‘NAGARJUNA SIR WAS WARM, KIND AND ACCESSIBLE’
Dia is also all praise for actor Nagarjuna, who acted opposite her in her Telugu debut, Wild Dog. “COVID-19 had just started when we did the film, and we were all terrified. But Nag sir made the experience very easy, which says a lot about him. It can be extremely intimidating when you are working with a superstar, but he was the most accessible co-actor. He was so warm and kind. I also spent a lot of time with Amala ma’am. I’ve always admired her and love the work that she’s done for animal care,” she shares.

‘MY IDEA OF SUCCESS WAS CONNECTED MORE TO BOX OFFICE’
Speaking about how her idea of success has changed over the years, Dia says, “When I started out, my idea of success was connected more to box office and material gains. Over the years, I’ve realized that success is about showing up every moment with preparedness and an understanding of the medium that you are a part of. It’s about being able to offer your best self to the opportunity.”

‘As a teenager, I had the biggest crush on Maddy’
Talking to us about her first film, a remake of the Tamil film Minnale, which starred Madhavan and was directed by Gautham Vasudev Menon, Dia shares, “Working with them was wonderful. I would attribute a big part of the love the film continues to receive to Harris Jayaraj’s music. Zara Zara (Vaseegara in Tamil) evokes an indescribable feeling. I’m still in touch with Maddy, but not with Gautham sir. As a teenager, I used to watch Maddy’s TV shows and had the biggest crush on him.”

For me, tattoos come at significant turning points in my life-Malaika Arora


Onkar Kulkarni (BOMBAY TIMES; April 3, 2025)

At a recent red carpet event, Malaika Arora caught everyone’s attention when she revealed her new tattoo, albeit unintentionally. Her new ink, which reads sabr shukr, obviously has a deep-rooted meaning. We spoke to Malaika about this new addition to her life and the thought behind it.

‘My tattoos have deep personal meaning’
Malaika, who is really excited about her new tattoo, explains, “For me, tattoos come at significant turning points in my life. I don’t get them just for the sake of it, they have deep personal meaning. This particular one symbolizes the year that 2024 has been for me. The words ‘patience’ (sabr) and ‘gratitude’ (shukr) are very comforting. These words resonate with me when I think about where I am now, compared to where I was just a year ago.”

2024 was a challenging year for the actress – she lost her father Anil Mehta in September. Also, her breakup with Arjun Kapoor made headlines for most part of the year.

‘My previous tattoo was done eight years ago after my divorce’
Malaika believes that every tattoo should tell a unique story. “I see tattoos as symbols of memories and thoughts I want to carry with me forever,” she says, adding, “I got this new tattoo on the day it got revealed. They had placed a plaster over it, and it was irritating me, which is when the cameras caught it. I didn’t even realise it then. My previous tattoo was done eight years ago, after my divorce (from Arbaaz Khan). That tattoo shows three birds in flight marking a new phase in my life.”

‘If love is meant to be, it will be’
Taking a cue from her tattoo, we ask Malaika if she is open to seek love again. She replies, “I’m not focused on that right now. These are things you can’t plan. I’m just grateful for the patience I’ve had, which has helped me reach a better headspace. I wasn’t in a great place before, but I’m in a much better, calmer and happier space now. I can’t force what happens next… if it’s meant to be, it will be. Talking more on matters of the heart, Malaika adds, “I’ll always believe in love, until my last breath. Love drives me, and I’ll always have love in my life.”

Malaika on her social media posts: There’s nothing cryptic about my posts
Malaika is often seen sharing her thoughts on Instagram, leading many to believe that her posts are cryptic and hinting at certain things or people. One of her recent posts read, “Touching a heart for a second can touch a soul for a lifetime,” while another one read, “Some days you are healing, some days you are feeling, some days you are thriving, some days you are just getting by and it’s all valid.”

Talking about that, she says, “There’s nothing cryptic about my posts. They are not aimed at anyone. They are just my thoughts that I feel like sharing. People sometimes overanalyze them and create their own stories. Many of these posts are shared by my mom. I like them, so I post them on social media. That’s all there is to it.”

When I began winning National Awards, female actors started feeling ki iss space mein kuchh hai-Shabana Azmi

Shabana Azmi: Book to be written on Mijwan's women

Neha Maheshwri (BOMBAY TIMES; April 2, 2025)

From her early days navigating the then-distinct worlds of art-house and mainstream cinema, to her current place as a celebrated actress, who is keen to explore roles across mediums, Shabana Azmi has consistently broken stereotypes and paved the way for generations of actors. In an interview with BT, she reflects on her journey, talks about the positive changes happening in Hindi cinema, and how she wants to have a choice of films to work in. Read on...

‘Art-house cinema automatically placed me on a pedestal’
Shabana entered the film industry at a time when actresses were often just a glamorous addition to a hero’s narrative. Art-house cinema, while respected, was not considered commercially viable. However, the actress skilfully navigated both spaces, showcasing her versatility with every role she played.

She reflects, “When I started working, the fact that I was doing art-house cinema automatically placed me on a pedestal, putting me on the same level as Hema Malini. Had I started out in mainstream cinema, it would have taken me much longer to reach a certain level. When I began winning National Awards, female actors started feeling ki iss space mein kuchh hai. There is respectability. So, they began exploring.”

The actress believes the blurring lines between art-house and mainstream cinema have been beneficial for the industry. She says, “It has led to greater realism in filmmaking. I always felt, why should there be a division between the two.”

She adds, “The actresses today want agency because they have realised that something more is needed than just a role in which you are glamorous, pretty, and playing second fiddle to the hero. If you look at the actresses at the top, they are all playing substantial characters and that’s really good.”

‘Zeenat Aman & Jaya Bachchan didn’t wear wigs or make-up like their contemporaries’
Bring up how there is a certain homogenization of appearance in the way actors look on screen these days, and she explains, “These standards have been shaped by ideas of glamour we have now. So, the way your hair is done, the way your clothes are worn, all that is very similar,” she says. However, she believes there is a positive shift that is visible with actors embracing more individual and realistic looks. “I think there is a change, which makes me happy, as there is now an attempt at characterization that feels much more realistic. In the past, there were only two people – Zeenat Aman in western roles and Jaya Bachchan in Indian roles – who had distinct personalities, and neither wore wigs or make-up in a particular way,” she explains.

There is this belief that actors in our industry, especially female leads, are easily replaceable, hence, one needs to stand out in the way they look and the roles they choose to create their own identity. On that, she recalls how her husband, writer-poet-lyricist Javed Akhtar, has an interesting point of view.

She says, “It’s a strange thing because Javed saab believes it’s an anachronism. If you aspire to be a star, the audience expects certain things from you. They’ll feel cheated if Shah Rukh Khan goes through a film without doing his signature arm spread. Yet, he also has to strive to be different. It’s a dichotomy.”

‘Rocky Aur Rani Kii Prem Kahaani paid me great dividends’
Talking about her current selectivity in choosing projects across mediums, the actress, who was recently seen in the web series Dabba Cartel, says, “I am an actor, and I love to do everything. People have this impression of me being drawn to art cinema. Aisa kuchh nahi hai, I want to do mainstream cinema. I had a ball when I did Rocky Aur Rani Kii Prem Kahaani. It also paid me great dividends. But I’m greedy and I want more. I want to work with all kinds of filmmakers. I want to work with both independent and mainstream directors. I want to have a choice of films to work in.”

‘I was not talented in the mainstream; I could not dance to save my life’
Shabana also believes that she made an awkward heroine in mainstream cinema. “I was not talented in the mainstream scene,” she says, elaborating, “I couldn’t dance to save my life. I was very awkward because I had this notion that I was Kaifi Azmi’s daughter, and I was from St. Xavier’s College and if I ran around trees, what would my friends think? I had certain inhibitions that took me a long time to overcome. I am saying all this in retrospect. It’s not that I was mindful of it in the beginning, or that there was any great design.”

Sikandar collects 52 cr in 2 days

<i>Sikandar</i> Review: Salman Khan's Film Is An All-Out Assault On All Things Logical
Box Office India Trade Network

SIKANDAR collected 27 crore nett on its second day which was a holiday for Eid but the film saw drops in collections in many places. But because of the Eid crowd, the film managed to show growth in its overall collections. This is mainly because of UP as the state showed huge improvement from the previous day and if we take the collections from the state only, then it would be double the previous day.

There is a drop in business in the national chains of around 10% while circuits like Gujarat and East Punjab are down around 25%. Delhi/UP jumped around 40-50% thanks to UP but there was a drop in the NCR belt. The South also made gains as both Nizam / Andhra and Mysore showed improvement from the first day.

The issue for the film is places like Rajasthan and CI, which are pretty much flat with limited growth, and these circuits should be going up by a margin on Eid day. The trend in these circuits means there is little hope in the long run. The Eid crowd will dwindle every day and the peak for this was Monday.

The film has put up a 52 crore nett in two days which is an average collection but these average numbers have come on Sunday and a national holiday. If it were normal days, the collections would have been poor and eventually the normal days will come and collections will come down heavily.

Its another big film going down on a big holiday release and its not the first time post the pandemic. SIKANDAR needs a miracle to even hit the average mark as collections on Tuesday need to be similar to the first two days which will not happen. Basically you cant afford to have middling collections on holidays with good numbers being the minimum requirement for a big film. SIKANDAR needed 100 crore nett in 3 days as a minimum with solid growth on Eid but its going to fall well short of that.

The collections of SIKANDAR till date are as follows.
Sunday - 25,00,00,000
Monday - 27,00,00,000
TOTAL - 52,00,00,000

Kartik Aaryan to go up against a 'snake' in Karan Johar's creature comedy

Exclusive: Kartik Aaryan to go up against a 'snake' in Karan Johar's creature comedy

Sources say Kartik Aaryan to go up against a snake in a creature comedy, which marks his second collaboration with Karan Johar after Tu Meri Main Tera
Priyanka Sharma (MID-DAY; April 2, 2025)

Until now, the audience has seen Kartik Aaryan tackling the spirit, Manjulika, on screen. But now, it looks like the actor will have another unusual nemesis—a snake. Sources tell mid-day that Aaryan is set to front his first creature comedy. It is being produced by Karan Johar, marking their second collaboration after Tu Meri Main Tera, Main Tera Tu Meri.

“The film will be directed by Mrighdeep Lamba, who previously helmed the Fukrey franchise. The actor and director have displayed their command over comedy in their respective projects, and with the yet-untitled movie, they will venture into the relatively unexplored space of creature comedy. Hindi television has famously tackled the theme of naagin. Now, it will be interesting to see the subject, which was popular in Hindi films in the 1980s, returning on the silver screen,” reveals a source.

Aaryan is currently shooting for Anurag Basu’s yet-untitled musical love story with Sreeleela. If things go as planned, the Dharma production will roll in October.

The source adds, “After the love story, the actor will kick off Tu Meri Main Tera, Main Tera Tu Meri that has Ananya Panday opposite him. Soon after, he will dive into his second Dharma film. It’s a packed 2025 for the actor.”

We reached out to Aaryan and Johar’s teams, who did not respond till press time.