The past few years has seen films from the South score and even break records which was a rarity earlier but it has been presented as some sort of dominating wave which has left Hindi cinema behind which is very far from the truth. Whatever the struggles of Hindi films, it will remain the biggest film industry in the country simply because of the POTENTIAL audience it has in sheer numbers. Its a different matter that this potential audience has not been reached generally over the last few decades or so.

This so called pan India thing is just not there, no matter how much the media shouts as the majority of these so called pan India films bite the dust. But the ones which get though are talked about. It is going to be even tougher now for this South content as generally its built on sequels. The first film gets appreciation and then the second one gets the numbers but this game is just not valid for South films but all films.

The sequel thing will run its course as it cannot go on forever due to over supply be it from Hindi cinema or South. Hollywood has already seen this happen. There was this South wave in the 80's but it was slightly different as it was banners and directors from the South making films in Hindi with Hindi film stars and it lasted 3-4 years before normal service was resumed. Also that was actually a wave while the present is more media made.   

The problem the South films will face are expectations because of this media made wave and their huge budgets and how they open when they are not sequels. The wider audience responds when its a sequel to an appreciated film but outside that, its just a few areas where there is a ready audience.

Below are the opening day collections of South films in Hindi when not sequels and they pretty much say it all with just a handful which can be called good opening and mainly Prabhas starrers who has a following in certain Hindi belts. There are not many films to get even 5 crore nett till date and it will be similar films going forward which history shows is always dwindling returns. The road is only going to be tougher from here.

1. Saaho - 25,82,00,000

2. Kalki 2898 AD - 20,86,00,000

3. RRR - 19,38,00,000

4. Salaar - 15,73,00,000

5. Devara - 7,13,00,000

6. Game Changer - 6,83,00,000

7. The RajaSaab - 5,03,00,000

8. Baahubali: The Beginning - 4,92,00,000

9. Coolie - 4,14,00,000

10. Radhe Shyam - 4,09,00,000

This is that time in Jamie Lever’s comedy calendar when she’s revising her act, tweaking jokes, adding something and subtracting what doesn’t work. The last-minute changes are on, as the comedienne gears up for The Jamie Lever Show in the city in less than a week. Giving her company in her pursuit is her uncle and mentor, Jimmy Moses. “I spent three months working on the script. My uncle has been with me throughout. As they say, comedy is a serious business,” she begins.

Lever shares she consciously approaches even a dancing reel on Instagram with the same sincerity. “A lot of young girls are looking up to me. I get messages like, ‘Didi, I’m inspired by you. We want to be multifaceted like you.’ So, I want to ace every performance, whether I am with Salman Khan on Bigg Boss or I am making a small reel,” she explains.

Naturally, there are consequences, or compromises as Lever, one of the busiest comediennes in the country, puts it. “I compromise a lot in my personal life. I’ve reached an age where one should have kids. There are these thoughts like ‘I’ve come so far, but I don’t have a lot of things that my friends have.’ But I give priority to comedy,” she says. “The only way I have come this far is because I have the luxury of time and the freedom because I’m single.”

If today her goal is to inspire younger women, the 20-something Lever had a far more personal one. “When I began, my fight was just to prove myself, to prove that I deserve to be here. My dad also said, ‘Tu thodi na paise ke liye kaam kar rahi hai. But if you want to be in this field, you have to prove yourself.’”

She recalls how protective he had been as a father, and how it surprised her that when the time came, he took a step back and let her take the stage. “He was shocked when I shared my wish to be a comedienne. I remember I was in the UK, doing a Masters in Marketing. I had a job. So, he had no idea. I also used to think that I might not get the permission to do it, and that I didn’t have what it takes to be a comic.”

“Since childhood, he has been very protective. He had a lot of rules: no sleepovers or trips, no coming home late. From there, to letting me be in this field and lending me his support the way he did was a big shift. When I decided that I was going to work in this field, my mother was surprised by how my dad’s heart just changed. He let me go out of his protective arms. My mother says that he changed as a human. He told me, ‘I could see some talent in you and I don’t want to be the one to stop that.’” 

Today, of course, the father-daughter duo performs on stage, another anomaly in a society where despite several female star kids, the expectation remains that the male child will continue his father’s legacy. “Growing up I didn’t even have any examples of a comedian’s daughter making it in comedy,” she says. It was around 2012 that Lever began her career, performing at The Comedy Store, Mumbai. She made her television debut on the 2013 season of Comedy Circus, titled Comedy Circus Ke Mahabali.

While her father let her out from under his wings, his surname went with her, and Lever confesses it has brought immense privilege. “When I started my journey, I automatically had a fan following, which I did not have to work for. And that happens with star kids,” she says.

Being her father’s daughter also means easy acceptance from within the industry. Over the last few years, Lever has risen to popularity mimicking several Bollywood celebrities like Farah Khan, Kareena Kapoor Khan, Sonam Kapoor and the late Asha Bhosle. 

“I get a lot of support from the industry because everybody feels ‘Yeh toh apne Johnny bhai ki beti hai’. In fact, so many people tell me to mimic them. Once, Usha Uthup ji called me, saying, ‘You have mimicked Asha [Bhosle], do me too.’ Javed Akhtar called me to his house and asked me to perform for him and Shabana ji,” she shares. But the comedienne is mindful that impersonations don’t turn into insults. 

“I have always been clear that I can’t disrespect my father’s colleagues or his fans. Just imagine if I were to do below-the-belt comedy, it would be so disturbing for his fans,” she says, adding, “My dad always told me, ‘Don’t take advantage of this privilege’.”

Ravi Kishan is arguably in one of the strongest phases of his career. With Laapataa Ladies and Maamla Legal Hai, the actor is enjoying some of his most impactful roles. However, there was a time when, faced with a lack of meaningful opportunities in Bollywood, he chose to step away and build a formidable space for himself in Bhojpuri cinema, eventually rising to become one of its biggest stars.

Today, as regional cinema commands nationwide attention and respect, Ravi reflects on the journey of Bhojpuri cinema and his role in shaping its perception.

He says, “Mere Hindi cinema ke struggle ke baad, main intezaar kar raha tha aur chahta tha ki Bhojpuri cinema ko bhi sammaan mile. Mujhe usko izzat dilvaani thi, aur yahaan ke kalaakaron ko bhi izzat mile. We worked very hard on this, and today my juniors are benefiting from it.”

He adds, “The destination I had in mind was to gain appreciation and not be called downmarket, koi dekhega nahi, and aaj woh sab ho raha hai. Aaj main dekh raha hoon ki woh log aage badh rahe hain. Kyunki ek beej boya tha, aur main uss khet ka kisaan tha. I am not surprised because I saw this coming. Now my aim is to bring a script that can get us a National Award.”

Speaking about his decision to move away from Bollywood at a time when Bhojpuri cinema lacked acceptance, Ravi admits it was a risk many advised against.

He says, “Everybody told me that I would be finished, and no one would cast me in Hindi films. But I had faith in my God. Karo ya maro. I also had no choice. It’s not that I was getting many offers in Bollywood or earning well. So, I decided to take a chance, and things started falling into place.”

On whether the content and perception of Bhojpuri cinema have evolved over time, Ravi believes the change has been gradual but significant.

He shares, “Yes, after a lot of planning, the perception changed. Aaj bahut sammaan se dekha jaa raha hai, and I am very happy. However, there is still a lot of work to be done. Abhi bhi dilli door hai and the focus has to remain on making good films. There is a shortage of good writers and directors. People need to be trained, writers need to be paid better, and more attention has to be given to music again. The industry has gone through a low phase, and there is a need to revive it. I will soon make a Bhojpuri film, possibly a musical.”

Nearly two decades after Taare Zameen Par made him one of the most memorable child actors in Indian cinema, Darsheel Safary is still closely associated with the film that touched millions. But the actor says he is not trying to run away from that image — he is simply waiting for the next role that can leave a similar impact.

Speaking about growing up in the shadow of an iconic debut, the 29-year-old says the audience’s perception will only change with the kind of work he chooses.

“I don’t know what people think. It’s about the work that I bring to the table — that is what the reaction depends on, frankly,” he says. “Taare Zameen Par is that kind of film from which it will be difficult to break away naturally. Even today, people talk about it and there are discussions around it.”

Rather than distancing himself from the film, Darsheel says he sees it as the foundation of his journey. “Now that I’ve grown up, I’m looking at another such project for myself — something that makes me memorable for the next 20 years. It’s not about people not being able to break out of that image, it’s about what you are giving and what you’re getting back in return.”

The actor, who has been busy with theatre, says every former child artiste eventually waits for that one defining role that changes how audiences see them.

Referring to actors like Fatima Sana Shaikh and Sara Arjun, he says, “They gave their Dangals, they gave their Dhurandhars afterwards. Back then, they were familiar faces — you knew they existed. But when they came out with that one project, everything changed.”

Darsheel, who will soon be seen in an international project with Priya Mani Raj, also reveals that the past few years have been transformative. “It’s been an introspective journey. I’ve tried to understand why I want to be an actor. There was a phase where I did some really questionable work. But then I started working with filmmakers like Suparn Varma, Anand Mahadevan, Abhinay Deo and Subhash Kapoor. I was also busy with theatre. The closer I got to myself, the closer I got to acting.”

Nagpur: Veteran actor Nana Patekar made an emotional appeal to distressed farmers on Monday, urging those battling suicidal thoughts to reach out for help, instead of taking irreversible steps, as he reflected on the deep emotional scars left by Maharashtra's agrarian crisis. Addressing the Jal Kranti Parishad in Nagpur, Patekar, who started NAAM Foundation around a decade ago, said farmers' suffering profoundly altered his understanding of life and pushed him away from the glamour of cinema to rural communities struggling with debt, drought and uncertainty.

"Even a frog jumps to save itself when someone tries to step on it. Then imagine how deep the pain of a farmer must be when he decides to end his own life."

Patekar said he and his colleagues often tried to intervene by speaking directly to distressed farmers and encouraging them to reconsider their decisions. Reflecting on his journey into social work, he recalled how he once planned to buy a car with his savings, but changed his mind after watching a television report on farm suicides. The money, he said, was instead diverted to support affected families.

"Visits to places like Beed changed me," he said. "When you see several young widows of farmers with their children and shattered families, you realize immediate intervention is necessary."

Those experiences eventually led to expansion of Naam Foundation, which has since worked on farmer welfare, water conservation and rural development initiatives across Maharashtra and other states.

"The happiness Naam Foundation has given me is greater than all awards and money from cinema," Patekar said. The actor also spoke candidly about his personal life and career, admitting that late Marathi actor Vikram Gokhale, with whom he shared screen in the acclaimed film, Natsamrat, was "better than me in every aspect of acting".

Recalling the making of ‘Natsamrat', Patekar said the role carried enormous emotional weight and was originally conceived as a stage production before he pushed for its cinematic adaptation.

He referred to theatre veterans like Shreeram Lagoo, saying roles such as Natsamrat demanded immense psychological and physical intensity from performers.

Quoting the iconic Shakespearean line used in the film — "To be or not to be, that is the question" — Patekar said he would still love to perform a play at the Suresh Bhat Auditorium someday.

Moving away from cinema, he said he now felt disconnected from urban life. "City walls feel like coffins to me now," he said. "I feel more alive in villages."

Patekar said he wished to adopt a village in a hilly region and spend more time working directly with rural communities, particularly on water conservation and sustainable development. Coming from a modest background, he said emotional connections formed in villages carried deep personal meaning for him. "When someone in a village pats me on the back, it feels like a father's touch," he said. "We are not political parties. We do not want awards. What matters is the satisfaction on people's faces because of the work we do," he said.

Stepping into the shoes of Rajmata Jijabai came with immense responsibility for Bhagyashree, who essays the role in the recently released film Raja Shivaji starring Riteish Deshmukh in the titular role. The actress reveals that every aspect of the performance demanded precision and restraint.

She says, “Portraying a historical figure is not only difficult; it comes with a humongous responsibility. While cinematic liberty might be taken to narrate a story, the same does not apply while performing a role. The public scrutinizes every detail. Rajmata Jijabai is so highly revered that no mistake would be forgiven. I was extremely conscious of all these factors. There is a grace, gravitas, strength and serenity that I had to convey through my demeanour, look, voice and actions.”

Mastering the language and pronunciation was equally important, with dialect coach Ketki helping her achieve the required authenticity. She notes, “Yes, I am Maharashtrian, but we in Mumbai speak a very colloquial Marathi, and that would not have worked for the film. Ketki, the dialect coach, was a boon. She helped me achieve that perfection.”

Bhagyashree also reflects on the limited and often stereotypical roles written for actresses over 50, especially when compared to their male counterparts who continue to headline romantic and larger-than-life roles well into their later years.

She says, “The imbalance exists because cinema reflects society. We are gradually nudging towards equality, but things like this do not happen overnight in a patriarchal society like India. That change and its acceptance will happen with time. Meanwhile, we can only navigate those waters by choosing what we wish to do with competence.”

Meaningful, narrative-driven roles continue to interest her. She shares, “All the characters I play should be catalysts that move the story ahead. The absence of that role should derail the story. That means the character should be imperative to the narrative. In that way, I am assured that the character I play will be remembered.”

The actress will next be seen in The Great Grand Superhero - Aliens Ka Aagman alongside Jackie Shroff. She says, “I have collaborated with Jackie Dada for a children’s film. Though it is a special appearance, I wanted to be associated with it for two reasons: one, to connect with children, and second, to enjoy sharing screen space with Jackie.”

A couple of the regional film industries saw good box office returns this week with DEOOL BAND 2 in Marathi and DRISHYAM 3 in Malayalam putting up strong numbers. The DRISHYAM brand is also there in Hindi with an expected release in October. Both these regional films were released on Thursday and started very well.

DRISHYAM 3 (Malayalam) took a huge opening of around 14.50 crore nett which is probably the second biggest ever for the industry. The second day did see a drop with around 10 crore nett but with 24.50 crore nett in two days, it is an excellent collection. It now remains to be seen where it goes as some films from this industry have put up big numbers over the last few years. So, this film would come with expectations and on top, its a franchise film. Malayalam cinema has seen huge growth in Gulf and this film collected a huge $1.5 million apprx on day one

The Marathi film, DEOOL BAND 2, is superb as it collected 2.25 crore nett on a Thursday and then collections actually went higher on Friday to 2.50 crore nett which means not only good collections but a strong trend as well. No doubt the film will do well. Again both films are franchises which seem to be dominating everywhere. The Friday collections are not much less than the Hindi new release, CHAND MERA DIL.

Last week there was a Tamil film KARUPPU which put up around 61 crore nett over its weekend and has ended up with around 105 crore nett in the first week. The collections in Tamil Nadu stand at around 66.50 crore nett and it should cross 100 crore nett here. The film is a major grosser for the Tamil film industry after a long time.

CHAND MERA DIL opened to low collections of 2.75 crore nett. The film looked like posting a 3 crore nett plus figure but because of the lower rates, it seems that a lot of the evening collections were in the advances as the film did not add much in the evenings in the main cinemas. These collections have come with lower rates and without this, it would have been an even lower start.

The film has opened to lower collections than DHADAK 2 which had clashed with SON OF SARDAAR 2. The expectations were around this much but that was with a normal rates and with the lower rates, you would have expected the film to get over that 3 crore nett mark but it was not to be. The film is for a niche audience and in that is where the problem lies as the audience is so limited.

The fact that the first day collections have come on discounted rates and day two will revert back to normal makes it is hard for CHAND MERA DIL to get the type of growth it would have normally got. Not that it makes much difference as without the cheap rates, it would have been a lower first day. Eventually no matter what you do, it comes to the same thing and only content can make that difference.

The holdover, PATI PATNI AUR WOH DO, collected 1.25 crore nett on its second Friday which is around 65% down from last week and that's not much of a trend for a film which did not collect well in week one. The eight day collections of the film are 28 crore nett and its probably heading for a finish of around 40 crore nett which will be less than 50% of the PATI PATNI AUR WOH did released in 2019.

The figures for PATI PATNI AUR WOH DO are as follows.

Friday - 3,65,00,000 apprx

Saturday - 5,25,00,000 apprx

Sunday - 7,50,00,000 apprx 

Monday - 2,85,00,000 apprx

Tuesday - 3,25,00,000 apprx

Wednesday - 2,50,00,000 apprx

Thursday - 1,75,00,000 apprx

Friday - 1,25,00,000 apprx

At a time when AI is rapidly taking over various departments of filmmaking, an upcoming Indian sci-fi thriller appears to be taking a far more ambitious route: building a terrifying alien world with the help of two Hollywood veterans associated with franchises such as Mission: Impossible – The Final Reckoning (2025), Venom (2018), the Alien franchise and the Predator franchise. Headlining the film is one of India’s biggest action stars.

We have exclusively learnt that the project is titled SAMUK, with Akshay Kumar playing the lead role. The film is being directed by Kanishk Varma and produced by Akshay Kumar, Vipul Amrutlal Shah and Aashin Shah. It also marks Akshay and Vipul’s reunion after 12 years.

Among the biggest international names attached to SAMUK is Hollywood stunt coordinator Luke Tumber, a former Royal Marines Commando whose credits include Mission: Impossible – The Final Reckoning, Venom, No Time To Die (2021) and Star Wars: The Rise of Skywalker (2019).

Speaking about joining the project, Tumber says, “This project represents an exciting fusion of international stunt expertise, visionary filmmaking, and authentic action cinema, and I’m proud to be part of bringing that vision to life. Together, we aim to deliver a film that combines powerful storytelling with cutting-edge live-action sequences that will resonate with audiences internationally.”

Tumber is also all praise for Akshay, whom he describes as “widely recognized as the Action Hero of India”.

Apart from large-scale action, the makers are also investing heavily in creature design. The film’s alien creation is being spearheaded by Academy Award-nominated creature-effects legend Alec Gillis, known for his work on the Alien franchise (Alien: Romulus; 2024), the Predator franchise, Smile 2 (2024) and Tremors (1990). Gillis reveals that SAMUK will feature a practical-effects-driven monster designed specifically for the film.

“Together Kanishk and I designed the title character, which is truly a unique alien horror. In an era of CGI and AI, it is gratifying that directors and audiences still value handcrafted, human-made traditional monsters,” he says.

Talking about working with Akshay, Gillis adds, “He has the physicality of Jason Statham and the likeability of Tom Cruise! My goal is to create an alien nemesis in SAMUK whose energy and screen charisma equal Mr Kumar’s. Defeating this new classic movie monster will not be an easy task, even for him!”

When contacted, Akshay confirms being part of the film. “Yes, I’ve signed this film. I found the script and subject of SAMUK fascinating. Sci-fi alien thriller is a totally new genre for me and also for our films. I am very excited about it,” he says.

With two Hollywood veterans helping shape its action and creature world, SAMUK is positioning itself as a rare Indian attempt at mounting large-scale alien horror with international ambition.

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Akshay has the physicality of Jason Statham and the likeability of Tom Cruise! My goal is to create an alien nemesis in SAMUK whose energy and screen charisma equal Mr Kumar’s. Defeating this new classic movie monster will not be an easy task, even for him

- ALEC GILLIS, ACADEMY AWARDNOMINATED CREATURE-EFFECTS LEGEND

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Akshay is widely recognized as the Action Hero of India and this project represents an exciting fusion of international stunt expertise, visionary filmmaking, and authentic action cinema, and I’m proud to be part of bringing that vision to life.

- LUKE TUMBER, HOLLYWOOD STUNT COORDINATOR AND FORMER ROYAL MARINES COMMANDO

The uncertainty around ‘Maatrubhumi’ is beginning to frustrate exhibitors across Mumbai. According to trade insiders, the Salman Khan-starrer was expected to capitalize on the Eid holiday corridor before delays pushed its release further down the calendar.

“Everybody internally assumed Eid was the target,” says a source familiar with the discussions. “But once the film missed the window, people realized the timeline may not be straightforward anymore, given the lack of clearances.”

At Mumbai’s iconic Gaiety Galaxy, the absence has been particularly noticeable. Khan’s Eid releases have historically transformed the theatre into a carnival, with fans thronging early morning shows. “There’s a certain fanfare that only a Salman opening brings,” an insider adds.

Ironically, the immediate excitement for fans now comes from Khan’s cameo in ‘7 Dogs’. The film is set to release across Middle Eastern territories, including Saudi Arabia and the UAE, on May 27, while Indian distribution talks continue. mid-day had earlier reported on Khan joining the project during a shoot in Saudi Arabia’s AlUla. (Arabian tales for Salman- Feb 20).

“People are desperate to see Salman on the big screen again, so there is genuine interest, but it might not release on Eid,” says an insider. “Early reports suggest Salman has a 21-minute role and big action sequences.”

‘7 Dogs’, directed by Adil El Arbi and Bilall Fallah, stars Egyptian actors Karim Abdel Aziz and Ahmed Ezz alongside Monica Bellucci. Salman Khan and Sanjay Dutt appear in extended special appearances.