Following claims that Kiran Rao’s Laapataa Ladies bore similarities to the Arabic short film Burqa City (2019), writer Biplab Goswami issued a statement dismissing the plagiarism allegations. Meanwhile, Burqa City director Fabrice Bracq, in an interview to IFP World, expressed shock over the similarities between the two films, citing several overlapping scenes and character dynamics.

Surprised to see the similarities: Burqa City director Fabrice Bracq, director of the 2019 Arabic short film Burqa City, recently spoke to IFP World and detailed his observations on the similarities. “First of all, even before watching the film, I was surprised by how closely the pitch matched that of my short film. Notably – and this is by no means an exhaustive list – the kind, loving, naive husband who loses his wife, contrasted with the other husband who is violent and despicable. The scene with the police officer is also striking: a corrupt, violent, and intimidating policeman surrounded by two sidekicks. Of course, there’s the moment with the photo of the veiled woman,” Fabrice said.

He added, “The scene where the kind husband searches for his wife in various shops is particularly revealing – he shows the shopkeepers a photo of his veiled wife, just like in the short film, and then the shopkeeper’s wife comes out wearing a burqa, almost like a nod to Burqa City. There’s also the similarity in the plot twist at the end, where we learn that the woman deliberately chose to run away from her abusive husband.”

In a statement, Laapataa Ladies writer Biplab Goswami said, “I first registered the film’s detailed synopsis, outlining the entire story with the working title Two Brides, with the Screenwriters Association (SWA) on July 3, 2014. Even within this registered synopsis, there is a scene that clearly describes the groom bringing home the wrong bride and being shocked and stricken upon realising his mistake because of the veil, along with the rest of his family. This is where the story takes off. I had also clearly written about the scene of the worried groom going to the police station and showing the only photograph he had of his missing bride to the police officer, but the bride’s face was covered with a veil, resulting in a comedic moment. On June 30, 2018, I registered the feature-length script Two Brides with the SWA. This script won the runner-up award at the Cinestaan Storytellers Competition in 2018. Again, in this screenplay, I had the scene of the policeman amused by the photograph of the veiled bride.”

He added, “Our story, characters, and dialogues are 100% original. Any allegations of plagiarism are completely untrue.”

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Biplab Goswami, who wrote the original story of Laapataa Ladies (2024), is unhappy with the plagiarism allegations levelled against his work. He took to Instagram and X on Saturday, calling the accusations untrue. Trouble started recently, when social media users pointed out similarities between the Kiran Rao-directorial and Arabic film Burqa City (2019), directed by Fabrice Bracq.

Speaking to us, Biplab rues: “I got my story registered with the Screenwriters Association (SWA) in 2014 and the full script was registered in 2018. Koi poocha bhi nahin mujhse (about the controversy). I didn’t know it was being compared with Burqa City until Saturday.”

He adds, “The Laapataa Ladies team had a chat about these allegations, everyone was concerned. As a writer, one’s credibility gets affected when something like this happens. Kharab lagta hain, aur dukh iss baat pe hota hai ki koi pooch toh leta ek baar. It’s very painful. I worked on my story for 10 years. the film’s team worked on it so much.”

This isn’t the first time Laapataa Ladies is accused of being ‘inspired’. Actor-filmmaker Ananth Mahadevan had earlier raised concerns about its resemblance to his 1999 movie, Ghoonghat Ke Pat Khol. Addressing the allegation, Biplab says, “Honestly, (Laapataa Ladies) meri khud ki kahaani hai, it has no connection with any other story or novel. There is no basis to these allegations.”

Meanwhile, in an interview to IFP, Fabrice said that he wrote his short film in 2017, shot it in 2018 and presented it the following year. He claimed, “Even before watching the film (Laapataa Ladies), I was surprised by how closely the pitch matched that of my short film. Then I watched the film, and I was both surprised and shocked to see that, although the story had been adapted to Indian culture, many aspects of my short were clearly present... Of course, there’s the moment with the photo of the veiled woman.” However, in the proof shared by Biplab, the same scene existed in the story registered with the SWA in 2014.

We reached out to Fabrice for a response on the timeline of his film, but there was no response till the time of going to press.

In March, mid-day reported that Ajay Devgn and director Raj Kumar Gupta, who had wrapped up Raid 2’s shoot in May 2024, decided to add two songs to the narrative (The end? Not quite, March 25). Sure enough, last week, singer-musician Yo Yo Honey Singh and actor Jacqueline Fernandez filmed a dance number for the crime thriller. Now, we have learnt that Tamannaah Bhatia leads the second song, a club number, along with Singh. The duo kicked off the shoot in a suburban studio in Mumbai over the weekend.

Bhatia has been on a high since her dance number, Aaj Ki Raat, from Stree 2 (2024) became wildly popular. Can we expect another chartbuster from her?

An insider reveals, “The team has designed an opulent set, inspired by the underground club scene—think shimmering lights, bold colour palettes, and strobe effect. It’s a glamorous track with Tamannaah sporting a sequinned ensemble and displaying her dancing prowess, while Honey Singh matches her with his signature swag.”

Devgn, who plays income tax officer Amay Patnaik in Raid 2, is not part of the shoot as he is filming Ranger in Tamil Nadu. The source, however, adds, “Ajay sir was keen to add a catchy track that could be a crowd-puller.”

The song shoot is likely to be wrapped up by next week, as the film—also starring Riteish Deshmukh—readies for its May 1 release.

Dear Piyush Goyal ji,

Your recent remarks at the Startup Mahakumbh about Indian startups needing introspection and real value-addition in the face of global competition — especially against China’s strides in EVs, semiconductors, and robotics — were deeply resonant. Your push to move beyond superficial ventures like “fancy ice cream and cookies” and focus on meaningful innovation is timely. In this vein, I wish to highlight a sector with immense cultural and economic potential — Indian cinema — which, despite its legacy, is failing to innovate, compete globally, or harness its soft power potential like South Korea or Japan.  

Globally, cinema and OTT thrive on bold storytelling and technological disruption. Films like Boyhood (shot over 12 years and released in 2014), the single-take illusion of 1917 or the social commentary of Parasite (both 2019) and even a raw, real-time dive into teenage chaos shot in one take such as that in Adolescence, showcase how innovation drives cultural influence.

Today, K-entertainment contributes over $12 billion (approximately Rs. 1,200 crore) to Korea’s economy, while Japan’s anime industry exceeds $20 billion (about Rs. 2,000 crore) in revenue. Hollywood dominates through streaming platform Netflix’s $31 billion (Rs. 3,100 crore) content budget, making it a global content empire.

Meanwhile, Indian cinema remains stagnant — copying formats without mastering their essence. We are the world’s second-largest film producer, yet ironically, most of our content ends up being sold to American platforms. It’s the East India Company syndrome all over again — we create the raw material, but others own and profit from our stories.  

The decay is evident. Studios are shutting down; producers flee to real estate. Visionary filmmakers struggle to survive, while the system promotes non-actors better suited to making Instagram reels or dancing in weddings than meaningful cinema. Rooted, Indic stories are missing. Bollywood, once a soft power beacon, is now “flower power” — style without substance.

The viewer experience is equally dismal with outdated multiplex screens, exorbitant ticket and food prices, and theatres that now resemble food courts. Cinema, once a middle-class joy, is now an unaffordable luxury with diminishing returns. I speak from experience. The Kashmir Files (2022) — a non-starrer, risky narrative — broke Bollywood’s formulaic mould; but this came at a personal cost: fatwas, security threats, relentless backlash and character assassination. If truth invites such hostility, how can we expect innovation?

The industry needs government support — funding, incentives, and platforms — to nurture bold storytellers, not just star-driven fluff. Indic cinema can be the biggest startup of India, with potential to generate jobs, export cultural capital, and build global influence just as South Korea’s entertainment industry has done. Just as startups must prioritize real value, Bollywood must shift from elite appeasement to global relevance. Cinema can be an economic and cultural powerhouse, India’s leading soft power but only with introspection and disruptive innovation.

I urge your intervention to empower filmmakers who dare to dream—help Indian cinema reclaim its place as a global leader, not a copycat.  

Sincerely,

Vivek Ranjan Agnihotri

Indic Filmmaker

Disclaimer: The views shared in the above article belong solely to the author

Actor Akshaye Khanna will soon debut in Telugu. He will play a pivotal role in the first female superhero film in the Prasanth Varma Cinematic Universe (PVCU), Mahakali.

Though the source, close to the film’s unit, is mum on whether his character is an antagonist or a positive one, they tell HT that, “All we can reveal is that his role will add intrigue and depth to the growing PVCU universe. His role will span across multiple films in the franchise and will prove to be an exciting addition. We’re hoping Mahakali is received as well as HanuMan (2024) was.”

The source also tells us that the film is yet to go on floors, as Prasanth, who conceptualised the film, and director Puja Aparna Kolluru are working on finalising the cast and other details.

“Prasanth is particular about who he wants to cast as the lead because this will be his first female superhero, and it requires a certain charm while challenging beauty standards. Hopefully, all details will be ironed out soon, and the film will officially be rolled out,” says the source.

PVCU was kicked off last year with Teja Sajja’s superhero film HanuMan, based on Lord Hanuman’s lore. A sequel to it, Jai Hanuman with actor Rishab Shetty, is in the works. Mahakali is the third superhero film in the franchise, based on Goddess Kali.

Prasanth spoke to HT about the film, last year in October after the film’s announcement, and had said, “Casting a big star to play Mahakali is no longer challenging, but that’s not the point. When the film is being made to challenge beauty standards, I want to ensure we do our bit not to propagate it, too.”

Actor Ram Kapoor surprised his fans in December 2024, when he shared his drastic physical transformation by losing 55 kilos. On Worth Health Day today, the actor emphasises that people should quit their obsession with “just losing weight” and focus on improving overall health for long-term results.

The 51-year-old actor tells us, “I had become an ambassador for ill health, which I did not have a problem with because I was doing well (professionally). However, I have a personal life, too, and I cannot promote being unhealthy to my (two) children who look up to me. So, I decided to set a goal.”

Ram set a target of one year to achieve his fitness goals. Ask about his biggest challenge and he says, “Nothing. This is my best achievement, and I’m going to continue this till the end of my life. It’s so much fun, where is the toughness?”

The actor also questions people’s obsession with just losing weight: “The problem is that everybody targets only weight loss. That’s what I also did. During the past five years, I lost 30 kg twice because I targeted weight loss, but that will eventually fail. Why do you want to lose weight? Just to become thin? Becoming thin doesn’t mean you’re healthy. There are a lot of fat people who are healthier than thin people. So, this time around, I changed my mindset, and decided to be the healthiest version of myself.”

Talking about changing one’s mindset, he shares, “I did a lot of research, and it took me six months to change myself mentally to commit to becoming healthy and fit. You have to forget about weight loss and focus on being healthy.”

Ram signs off with a thought-provoking statement: “Do you want to be on a wheelchair, dependent on somebody else, during the last 15 years of your life? If you do, then don’t worry about health. But if you want to be on your feet and self-reliant for the last 15 years of your life, you have to become fit and healthy.”

Samantha Ruth Prabhu became a voice for many when, in 2022, she opened up about her autoimmune disease, myositis. Since then, the actor has been spreading awareness about the importance of embracing a healthy lifestyle. On World Health Day today, she tells us about what motivated her.

“I am talking as someone who is going through a health condition. I find the need to share my story because you can feel a bit lonely and helpless when you’re facing a health crisis. I understand that people in similar situations need an extra helping hand. So, I am trying to be that,” she says.

The 37-year-old adds, “You really don’t have problems until you have a health issue. Now, I am keen to be the captain of my ship and not a naive passenger listening to others without any control over my life.”

For Samantha, healthy lifestyle has become a way of life. “Even if people assume that I’m making sacrifices for my health, I am not. I enjoy putting my health, body and mind first,” she says, adding, “My greatest flex right now are my health markers which are phenomenal.”

Samantha says that we also need to prioritize mental well-being, and for that, establishing a routine is important. “I can be having a bad day, but if I stick to my routine, I forget any bad thought that might have crept up. We underestimate how powerful certain routines can be. It might seem boring, but in the long run, this is what has helped me,” she shares.

For filmmaker Shonali Bose, 60 is the perfect time to return to her old self. To her indie roots, as she puts it. Even as she, along with co-director Nilesh Maniyar, is taking their documentary, A Fly on the Wall, to film festivals, Bose is simultaneously setting the stage for her indie film.

“I’m turning 60 this year. I felt I needed to go back to my indie roots, and by that, I don’t only mean budget but where I won’t have any creative interference,” she begins. Though tight-lipped about the film, Bose shares an integral detail. “It’s based in the North-east,” she says.

In her mind, the National Award-winning director—who previously helmed The Sky Is Pink (2019) and a segment in Modern Love: Mumbai (2022)—has a blueprint of how she wants the next phase of her career to shape up. “I will work for free on the indie film. Also, there is a studio film that I’m hopeful will happen. Every year I want to make one indie film and a commercial film.”

Studio-backed films take time as they depend on stars’ availability. But the director points out that Priyanka Chopra and Farhan Akhtar kept their stardom away as they shaped The Sky Is Pink, a life-affirming tale of a couple whose daughter passed away.

“Priyanka told me later that her performance was inspired by getting into my skin [and by my journey after] losing my son, Ishan. Nilesh [co-writer] and I spent three days with Priyanka where she wanted to discuss the script. When we came out of a meeting, I had [multiple] missed calls from Siddharth [Roy Kapur, producer]. That’s when I realized we were gone for 10 hours [in one session]!”

Though the film was lauded, Bose reveals Chopra was dejected by the response to her performance. “People close to her felt it was too subtle. She felt bad. After she went to the US, I got a video call from Nick [Jonas, Chopra’s husband]. He said, ‘I watched the film and Priyanka is outstanding!’ I asked him to hand over the phone to Priyanka. When I asked her how she was feeling, she was so happy. The US audience’s response was similar to that of Nick.”

Bose is currently taking A Fly On The Wall, a documentary she helmed with co-director Nilesh Maniyar, to film festivals. It charts the last days of Chika Kapadia, the duo’s friend, who chose physician-assisted suicide in Switzerland in 2022, following a terminal cancer diagnosis.

It’s not easy for an outsider to get a break in this industry. Varun Sharma knows that, having worked his way up in the movies. That’s why he is only too happy to support writer Vipul Vig, who is foraying into direction with Rahu Ketu. Sharma is fronting Vig’s comedy, thus staying true to the promise he had made to the writer when they both had met on the sets of Fukrey over a decade ago. “Fukrey launched both of us. Vipul and I had hit it off instantly, and bonded over our love for cinema and comedy,” recalls the actor.

While shooting for Fukrey (2013), Sharma had told Vig that whenever he decided to direct a film, he would help him in any way he can. Their friendship strengthened as they collaborated on Fukrey Returns (2017) and Fukrey 3 (2023). When Vig wrote the screenplay of his directorial debut, he couldn’t think of anyone except Sharma and his Fukrey co-star Pulkit Samrat.

Sharma adds, “Vipul believed in me when I was a nobody. We all made Choocha together. I’ve always believed in him and his quirky humour. When he told me he was ready to direct, I knew I had to be a part of it. This film is a celebration of our friendship and a realization of our innocent dreams. I’m thrilled that another [artiste] like me, who comes from nothing, is ready to begin a fresh chapter here.”

The comedy, which also stars Shalini Pandey, is currently being shot in Mumbai.