Originally, a documentary wasn’t a part of the plan. Director Tigmanshu Dhulia had hired Ranjeeta Kaur only to shoot the behind-the-scenes footage of Paan Singh Tomar (2012). She, in turn, suggested that they turn it into a documentary. The result — A Story That Refused To Die, which examines one of Hindi cinema’s most honest performances: Irrfan as Paan Singh Tomar.

The documentary is set to première at the Nita Mukesh Ambani Cultural Centre in Bandra on April 29, remembering the late actor on his sixth death anniversary. Proud as Kaur is to have helmed it, it also comes with regret. The actor never watched the creation. Kaur recalled, “I had sent him a DVD because he was travelling, but to my knowledge, he never saw it. Tigmanshu sir and his family saw it.”

A Story That Refused to Die comes 14 years after Paan Singh Tomar’s release, after facing hurdles of lost footage, crashed hard drives, and more. To her, one sequence in the docu remains special, in which the actor explains how he approached the scene where the lead meets his son. “When you watch that, it stirs something inside you. From an art point of view, you want to know how Irrfan sir did that,” she said.

What, according to her, made Irrfan such an extraordinary artiste? She reflected, “He was curious and valued existence. He wanted to know more — about himself, people, and their psychology. He’d bring his consciousness to his character.” What made him unforgettable was that it didn’t come wrapped in self-importance. “He loved laughing. It was never, ‘Look at me, I’m so serious about my art’.”

Some professional relationships are less about business, more about bonds. Like the one between producer Sajid Nadiadwala and actor Ahan Shetty, whom he launched in Bollywood with Tadap (2021). The actor, who is set to kick off his next with director Tinu Desai, was keen that his film be named Sanki. There was only one hurdle — the title was owned by Nadiadwala. mid-day has learnt that as soon as Shetty reached out to Nadiadwala and expressed his wish, the producer readily parted with the name.

In 2024, Nadiadwala had announced Sanki as an action romance drama with Shetty and Pooja Hegde. Unfortunately, the film was put on the backburner.

A source revealed, “Ahan’s film with Tinu Desai was being developed under a different working title, but he had his heart set on Sanki. Knowing that Sajid held the title, Ahan reached out to him. The producer had no hesitation in letting go — no negotiations, he simply gifted the title to him. The Nadiadwalas and Shettys have been close for decades, with Sajid having worked with Suniel Shetty. The producer is also fond of Ahan, who, in turn, holds immense gratitude and respect for the man who launched him.”

Priya Kansara (centre) with Ryan Gosling (top left) and the rest of the crew from ‘Project Hail Mary’

British actor of Indian descent Priya Kansara broke out with Nida Manzoor’s much-loved Polite Society (2023) before appearing in Bridgerton 2 (2022). Recently, she stepped into the big-ticket Hollywood film with Project Hail Mary, voicing Mary, the vessel’s onboard AI in the Ryan Gosling-starrer. For Kansara, the decision wasn’t driven by scale alone.

“I didn’t know about it when I got the call,” she admits. “My agent asked, ‘How do you feel about Ryan Gosling?’ I felt this is an interesting call.” The setup was unusual — she performed her voice live on set. “Directors Phil [Lord] and Christopher [Miller] wanted me to come to set and lend my voice live for Ryan so that he had somebody to play against. For me, it was a masterclass, an opportunity to learn from people I’ve long admired.”

Gosling didn’t know she was on set. They recorded scenes in multiple languages before introducing herself. “We did the scene in several languages for fun. After the shot, I said Hi and he was like, ‘You speak so many languages.’ And I told him that I just wrote them down. He said, ‘It’s so nice to have a cast member, it’s nice to not be alone.’ That was sweet.”

Moving from period drama, action-comedy to voice her work reflects a clear refusal to be boxed in. But Kansara believes “learning and growing” will only take her forward. “I want to expand the world in which I live in and what other people see. I want to do something interesting. I started with a period drama, then I became a witch hunter, then Polite Society happened, then I voiced a spaceship. These are things I never would have anticipated.”

Gosling didn’t know she was on set. They recorded scenes in multiple languages before introducing herself. “We did the scene in several languages for fun. After the shot, I said Hi and he was like, ‘You speak so many languages.’ And I told him that I just wrote them down. He said, ‘It’s so nice to have a cast member, it’s nice to not be alone.’ That was sweet.”

Moving from period drama, action-comedy to voice her work reflects a clear refusal to be boxed in. But Kansara believes “learning and growing” will only take her forward.

“I want to expand the world in which I live in and what other people see. I want to do something interesting. I started with a period drama, then I became a witch hunter, then Polite Society happened, then I voiced a spaceship. These are things I never would have anticipated.”

he boasts of her diverse upbringing, as reflected in her choices. Says she grew up “doing street dance and Bharatanatyam, attending a Gujarati school, watching Bollywood films and TV with my mum, and watching James Bond and action films with my dad. I feel lucky to have had a diverse upbringing.”

Having come up in an era shaped by inclusive casting, Kansara acknowledges the shift, but remains cautious. “There definitely are challenges. Sometimes representation, diversity, and inclusion still feels surface level, like a checkbox item. But the South Asian diaspora is growing within the industry. The breadth of work has increased and my career is an example of that.”

Priya Kansara says, “It would be cool. I am open to whatever comes my way.”

(L-R) Author Dr Prabhleen Singh, Mahesh Bhatt, and producer Vinay Bhardwaj. Pics/By Special Arrangement, Ashish Raje

When people across the world felt lost during the COVID-19-induced lockdown, producer Vinay Bhardwaj found inspiration in a book that, years later, led him to conceive Pehchaan — an unscripted inspirational talk show hosted by Mahesh Bhatt. The Sony LIV series, which dropped this April, features conversations with 13 voices from the Sikh community who have dedicated their lives to seva (service).

“During COVID, Bhatt saab would often call to motivate me because it was a time when we all felt lost. He asked me to take this phase in my stride. That kept me going. Then I came across this book, Prominent Sikhs of India, by Dr Prabhleen Singh. It had stories of a few prominent Sikhs who’ve done a great service for humanity, especially in 1984,” shares Bhardwaj.

He began to question what drives people, who have seen the darker side of humanity, to serve others selflessly. “What made them go against all odds and serve humanity? I thought this was a gesture that needed to be talked about.”

After four years of research, the show found its final push with Bhatt’s entry. Having known him for long, Bhardwaj was familiar with the auteur’s generosity. “He is someone who doesn’t want to hog the limelight but believes in giving space and light to somebody who seeks it.”

Vinay Bhardwaj says getting Mahesh Bhatt on board was accidental. “When I went to buy the book’s rights, I requested Bhatt saab to call the [author in advance] to convince them of their cause. The call opened those people up and they spoke their hearts out to them. We couldn’t have anyone better than him to host the show.”

Last year, after the Army’s press conference on Operation Sindoor, producers rushed to register film titles on the operation, prompting industry bodies to urge applicants to stop registering variations. The producers, however, did not stop.

Almost a year on, more than 150 titles related to Operation Sindoor are still pending.

Abhay Sinha, president of the Indian Motion Picture Producers’ Association (IMPPA), shares that no producer has yet been allotted the title. He explains, “We have over 150 applications for ‘Operation Sindoor’ and its variations, but none has been approved. As the volume of applications for a single title was so high, we decided to defer a decision. There are also five to seven film title applications for the Pahalgam attack.”

Studios that have announced projects on the operation have continued to follow up with the body, he said.

A decision is expected at a meeting next week, where titles will be allotted, which is on a first-come, first-served basis. Trade analysts and industry insiders say they are not aware of many films actually going into production.

Industry insiders say titles are snapped up after major incidents, but few projects move beyond the announcement stage. Despite the rush for registration of film titles, only two films on Operation Sindoor have been formally announced.

Industry insiders say that registering titles is like a gold rush after an important incident, but what actually gets made is only a small fraction of what is registered.

T P Agarwal, former IMPPA president, explains, “Our producers sometimes want to take advantage of publicity. They register titles only for publicity. If a big producer registers a title, it usually means they will make a film, but most of the time, after an incident, small producers from regional industries rush to register titles without intending to make a film. Sometimes they sell these to bigger –change for credit.”

Veteran trade analyst Raj Bansal adds, “Most producers just take advantage of a situation and, in a rush, register titles, but a film never actually gets made. They announce the film, and once the discussion dies down, it goes into cold storage. What gets made is a fraction of the titles registered.”

Recently, Salman Khan’s film Battle Of Galwan underwent a title change. After the Galwan attack, producers had rushed to register that title as well.

T P Agarwal shares, “Of course, if the Army says you have to change the title, then you have to. We should not have registered a title like ‘Galwan’ in the first place. Some time back, we were also discussing that for films based on operations or sensitive geopolitical issues, such titles should not be registered. I don’t know why it was registered.”

Abhay Sinha adds, “Yes, ‘Battle Of Galwan’ was given another title, Maatrubhumi: May War Rest In Peace. But as we do not have any orders not to give titles on operations, we will proceed with our system and allot titles accordingly.”

A year later, as per official announcements, only two films are being made. Last month, filmmaker Vivek Agnihotri announced that he would be making a film on Operation Sindoor with T-Series, based on Lt Gen KJS ‘Tiny’ Dhillon’s (retd.) book Operation Sindoor: The Untold Story of India’s Deep Strikes Inside Pakistan.

He wrote on X, “Rooted in the aftermath of the Pahalgam terror attack and backed by extensive, ground-level research in collaboration with multiple wings of the Indian Armed Forces, this is a story drawn from reality – not to create noise, but to confront it: with facts, with clarity, and the magic of cinema.”

A source shares, “There are rumours that Varun Dhawan has been contacted to play a role in this film.”

A source associated with The Terror Report shares, “The Terror Report , which was announced as a film on major terror attacks in India spanning from 1998 to 2025, was originally only on the Pahalgam attack. However, to avoid a clash with the film based on Lt. Gen. ‘Tiny’ Dhillon’s book the script is being modified. At present, the film is at the scripting stage.”

Trade analyst Girish Johar says, "From industry buzz, I am not aware of any films being released in next couple of months. We have only heard about a couple of films which are at script stage."

There’s a certain ease and an unmistakable warmth when Genelia and Riteish Deshmukh come together — and it’s exactly what played out on the latest episode of the Bombay Times Lounge. On the show, the actor couple brought their signature mix of humour, affection and high energy, keeping things light and real as they spoke about everything — from marriage and parenting to their evolving careers. While they also opened up about their most ambitious project yet, Raja Shivaji, the conversation was as much about their journey together as individuals as it was about them as a team. Here’s a glimpse from the chat — watch out for the promo today, with the full episode dropping soon.

“There is this whole misconception that couples can’t work together. For us, I don’t think there is anyone he trusts more than me & vice versa,” Genelia elaborated.

“She is a toughie! I’d rather have her as a tough producer than a tough wife. That’s a good thing!” Riteish joked.

Genelia and Riteish are gearing up for their next release, and the actress opened up about how they handle pre-release nerves. She said, “We both have our levels of nervousness, but I think Riteish deals with it better than me. The great thing about us is, if he is rock bottom nervous, I suddenly become this strong person, and vice versa. I have never seen him break down. Sometimes, when he’s very stressed, he just goes to sleep!”

“I would absolutely love to do a sequel to Jaane Tu... Ya Jaane Na. Honestly, I believe that we don’t make love stories around people in their 30s - 40s. Why? Love also happens at that age. There’s something magical about mature love stories too," Genelia said.

Genelia spoke about a special ritual she and Riteish share with their sons. She said, “Every week we pick one iconic Hindi film and watch it with our kids. That is our special time together. We recently watched Jo Jeeta Wohi Sikander. So, while Riteish started this custom and he says that we are doing it for the kids, once the movie is on, he’s the one who is most engrossed.”

The couple shared their simple yet heartfelt advice on choosing a partner. “When people ask us what kind of a partner they should look for, we tell them…be with a person who can make you laugh. That’s what we do with our kids, too. We laugh a lot and enjoy being with each other. Life is too stressful and we all need some lightness.”

Riteish reflected on how their reels have become a popular way to connect with audiences online. “A lot of people ask me, ‘Release kab hai?’ I say, ‘May mein picture release.’ They say, ‘Nahi reels ki.’ So now they don’t even look at me for movies (laughs). I just feel our reels are a great way to engage with people who are on social media. After a point, how many photoshoot pictures can you put? This love that we get from people who consume our reels is really heartwarming," he said.

When asked about his definition of success, Riteish said, “I always thought my first film would be my last film. But it’s been 23 years, and on this journey, I met the love of my life, I got to produce and direct films. It is all thanks to the people who have tolerated me for so long, and in my perspective, that in itself is nothing short of humongous success."

Location partner: Luuma House

For Shabana Azmi, the voice of late Asha Bhosle has always been more than music — it is a feeling, a memory and a lifelong companion. Her tribute reflects not just admiration for an extraordinary artiste, but deep affection for someone who became family over the years.

For Azmi, Asha Bhosle is far more than a celebrated playback singer - she is an irreplaceable artistic force. “Asha ji has been my most favourite singer of all times. Unki aawaz mein jo ras hai jo shararat hai — it’s unmatched,” she says, capturing the essence of a voice that brought emotion, playfulness, and depth to every song.

Over the years, the legendary singer lent her voice to several songs picturised on Azmi, elevating her performances on screen. Memorable collaborations include Phir Se Aaiyo Badra Bidesi from Namkeen and Ambar Ki Ek Paak Surahi from Kadambari, where Asha’s evocative singing perfectly complemented Azmi’s nuanced acting. In Sameera (1981), Bhosle sang multiple tracks, including Zindagi Hum Tere Haal Par and Jaane Na Doongi, further strengthening their artistic association.

While their professional collaborations were significant, it is the personal moments that Azmi cherishes most. “During Covid we became very close because we were stuck in Khandala and she with family were in Lonavala,” she recalls. “She would cook the most delicious meals for us and between Javed and her we would be regaled with hilarious anecdotes from the industry and cheeky humour,” she says.

These shared experiences reveal another side of the legendary singer — one marked by warmth, wit, and generosity. “Her memory is phenomenal and she could be very candid,” Azmi adds, evoking evenings filled with laughter, storytelling, and companionship.

What stands out most for Azmi is not just Bhosle’s voice, but her fearless approach to life and music. “What I admire most is her gumption, her fearlessness and her desire to take risks and push her own parameters,” she says.

This spirit of constant reinvention has defined Bhosle’s remarkable career, allowing her to experiment across genres and remain relevant across decades — qualities that Azmi deeply admires. “Her voice will remain immortal but what I will cherish are the memories she has left behind for us,” she says.

For Sudhanshu Pandey, grey and negative roles offer a creative high that straightforward characters often cannot. “There is always a lot more to do in a negative character because obviously it is not tailor-made. There is so much you can do. You can get into different mindsets… you can be eccentric, you can change your body language, change your speech… it offers a lot more scope to be able to perform and create something new.”

He adds, “I’m not saying that I only want to play negative characters. I’ve done so many positive roles too. Actually, today it’s not about the hero and the villain; it’s about playing characters, as long as that character has some substance.”

The Anupamaa actor went through a rough patch and, drawing inspiration from his own life, says he would like to explore darker roles. “I have been through a period in my life when I was in a dark space. I had a panic attack and was dealing with it for four years. I pulled myself out of it. I don’t mind playing a role inspired by a Hollywood film like Joker. On the contrary, I would love to do comedy. I don’t have any definitions for myself; I’m ready to experiment with anything as a character,” he shares.

Reflecting on his TV journey — currently seen in Do Duniya Ek Dil — Sudhanshu says, “My first-ever daily show was Anupamaa … four years I invested in it. It was worth its while because people loved my character. When a character becomes as immortalised as that, it is bound to leave an impact. It is very difficult to remove them from people’s hearts, and going ahead, I would like to be part of more such roles that stay with the audience.”

Rage-bait cinema—films which contain elements that spark polarizing debates on social media—is increasingly turning out to be an effective marketing tool in keeping a film alive in the public consciousness after it has resonated with audiences by providing incremental footfalls, said producers, veteran film marketing professionals, distributors and film trade analysts to ET.

Such films stay alive in public consciousness after release by fuelling online arguments, especially when makers tap into uncomfortable social truths that keep conversations active and extend box-office momentum, industry executives said.

“Today, 60% of cinema chains are concentrated in the NCR (National Capital Region) and Mumbai territories. This shows how important are these territories in terms of business. These territories have changed tremendously due to social media,” said Neeraj Joshi, a film marketing and strategy consultant. 

“Today, almost every action of people on social media is about performance and activism. So, makers consciously insert elements in their films which capitalize on uncomfortable truths and fault lines contained in the worldview or value system of audiences.”

Recently, the American romantic comedy film The Drama sparked heated debate on social media, with some viewers saying its gun activism theme felt completely out of place in a light-hearted film from the romance genre.

Such kind of insertions in plots works for both camps—the supporters and the protestors, said film marketing strategists.

“Online debates around films often serve as a marketing tool particularly for those films which aim to become a talking point. Virality generates both positive and negative perspectives, while also drawing fence-sitters to theatres, leading to incremental footfalls,” said Saurabh Varma, a veteran film marketing strategist.

“Additionally, through virality, makers aim to gain attention of streamers and film rights buyers who tend to favour films which achieve high visibility and engagement.”

Last year, the big-budget film Dhurandhar that released on December 5, collected Rs. 103 crore on its opening weekend, indicating that the film resonated with audiences. However, within a few days of its release, debates about its historical authenticity and whether it is a nationalistic or propagandist film emerged on social media. These debates piqued audience’s interest and provided incremental footfalls as in the second weekend—between December 12 and December 14—the film collected Rs 140.5 crore.

Film trade analysts believe that social media debates can potentially transcend and become a 360-degree buzz if a film deeply resonates with audiences first.

“When a film resonates deeply with audiences, social media debates can become a 360-degree buzz covering radio, television and even newspapers. This provides incremental footfalls,’ noted producer and film business expert Girish Johar.

Producers acknowledge the growing importance of the audience in shaping narratives.

“Social media has become a battleground of identity, politics and morality. Today, audiences have a larger role than critics in shaping big narratives given the democratization of social media platforms. However, a social media debate alone cannot provide incremental footfalls to films which have not resonated with audiences,” observed Suniel Wadhwa, cofounder and director of Karmic Films.

Social media’s algorithmic structure also fuels and reinforces views and debates which trigger audience’s curiosity.

“We live in an age of algorithms which keep people in echo chambers. When films have morally ambiguous elements and when there is boycotting sentiment, usually, audiences become curious and go and watch films in theatres,” said Shaaminder Malik, a film distributor and trade analyst.

It’s barely been five months since he became a dad, and now, actor RajKummar Rao is already on his way to becoming ‘Dada’ — on screen, that is, by portraying former cricketer Sourav Ganguly in his biopic. The 41-year-old’s life, both personally and professionally, seems to be in a happy space. Adding to this phase is his debut as a producer with the recently released Toaster. He spoke candidly on The Right Angle with Sonal Kalra. Excerpts:

It’s beautiful. Whenever somebody talks to me about Parvati, there’s a big smile on my face. A co-actor once asked me her name, and after I replied, he was like, “Have you noticed how our faces change when we talk about our kids?” So, I’d say everything has changed. Now, my motivation to do anything is how she’d feel about it, what kind of films she’d like to see. I just want to spend all my time with her. I took a five-month break after she was born, before going back to shoot for Dada. It was tough. I want to see her grow into this beautiful girl one day.

Yes. And softer in life. I’ve decided I’m going to cut down on work and try doing only two films a year. I am also being very careful about the kind of films I choose. I just want to push myself and make Parvati, along with my mother (Kamlesh Yadav) and my wife (actor-producer) Patralekhaa, proud.