As the comedy classic Malamaal Weekly completed 20 years since its release, actor Rajpal Yadav marked the milestone on March 10 by sharing a video compilation of his comic moments from the film on social media. Along with the clip, he wrote, “Yakeen nahi ho raha ki 20 saal ho gaye! Bajey ko aur film ko itna pyar dene ke liye aap sabka dil se shukriya.”

Looking back, the actor describes the film as one of the most memorable experiences of his career. He shares, “Malamaal Weekly hamare jeevan ki ek bahut yaadgaar film hai. We shot the film in Karaikudi, Tamil Nadu, and the whole experience there was wonderful. Wahaan jogging, shooting, shirting, sab hoti thi (laughs!). My character was offbeat and humorous, and the film carried elements of black comedy as well as a comedy of errors. Through this role, I could explore many dimensions of performance. Since I am also a common man and represent the common man, I feel a natural connection with such roles. I’m very happy that even after 20 years, MW continues to hold its place.”

He also recalls how his distinctive look in the film came about. He says, “During Malamaal Weekly my hair had grown quite long, but Priyan ji didn’t want that look. Toh Chennai ke jo makeup dada the, maine unka get-up dekha aur ussi se inspire hoke ek look bana kar Priyan ji ke paas gaya. He approved it, so my hair was saved from being cut. The look eventually turned out quite different. Mentally bhi woh character kaafi alag tha, isliye woh experience mere liye bohot yaadgaar raha.”

One particular scene still stands out for the laughter it created on set. He shares, “There is a scene where Riteish Deshmukh and I get into an argument, after which I go to my sister and say I want to get married. She asks, ‘Kisse?’ and I say, ‘Ladki se.’ Then she asks, ‘Pyaar kab hua?’ and I reply, ‘Abhi aadha ghanta pehle.’ ‘Aadha ghanta pehle’ wali line par sabko hassi aa gayi thi, and the whole set had a very lively atmosphere.”

Working with director Priyadarshan has always been a learning experience for him. He says, “Priyan ji khud bhi ek actor hain, isliye woh har actor ki capability ko bahut achhi tarah samajhte hain aur timing ko bhi bahut clearly explain karte hain. Chahe role chhota ho ya bada, he makes sure it is properly shaped on screen, because har moment ek learning moment ban jaata hai. Hamari association kaafi purani hai. It started with Hungama and continues even today. Woh alag-alag situations create karke actors ko surprise bhi karte hain, aur humein bhi honesty ke saath dhamaal karne ka mauka milta hai.”

On the film’s timeless appeal, he says, “Some films like Malamaal Weekly, Jaane Bhi Do Yaaro, or Angoor are special. Inse achhi ya alag filmein ban sakti hain, lekin waisi filmein dobara nahi ban sakti. They are as enjoyable to watch as they are to be a part of.”

“For me, women’s safety isn’t a debate—it’s the bare minimum,” says actor-producer Manasi Parekh recently on the occasion of International Women’s Day.

Speaking about her experiences on film sets, she points out that basic facilities for women technicians are still often overlooked during outdoor shoots. During the filming of Kutch Express , the team consciously hired women for key roles such as director of photography, production designer and costume designer. “But representation is only half the battle,” says Manasi.

“Infrastructure is equally important. Providing separate, private toilets and safe spaces for women, especially during their periods, is a fundamental necessity that should never be up for debate,” she adds.

Manasi believes the issue runs deeper than logistics. “We face a deepseated cultural challenge regarding authority. When a man gives instructions, they are accepted without hesitation. But when a woman is in charge, she is far more likely to be questioned,” she says, adding that many technicians and labourers are simply not used to female leadership.

To address this, Manasi ensures the tone is set early. “I hold briefing calls with the entire crew to establish clear boundaries and a zero-tolerance policy for disrespect,” she says.

At her office, there is also a firm rule about conduct. “You can be strict, but you cannot yell at a woman. When leadership sets the example, the rest of the unit follows,” she says.

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Beyond the workplace, Manasi says women today are navigating a new challenge — constant online scrutiny. “Women are judged for everything, from their walk to their age,” she says. Reflecting on women’s enduring role in society, Manasi says, “When women are given the power to express themselves, they make the world better.”

Khushi Kapoor made her debut with the OTT movie The Archies and followed it up with Nadaaniyaan. Talking about her beginning in showbiz, she admits that her debut days left her feeling “mid”. She shares, “There were moments when I didn’t feel ‘there’ yet, but not ‘nowhere’ either. It was scary, but I reminded myself that growth happens in the middle, not at the end. That’s what helped me keep going,” she says. In a business that thrives on comparison, she shares how she protects her inner world.

“My safe space is with my people, my close friends and family who don’t see me as ‘Khushi Kapoor the actor,’ but just Khushi. Also, I follow small routines or rituals, like journaling, reading, or just a quiet night in, which help me shut out the noise and be present.”

Sharing her thoughts on the mixed reactions to Nadaaniyaan, which featured her opposite Ibrahim Ali Khan, she says, “I take it as part of the process. Mixed reactions are still reactions. This means people are watching and engaging. I listen, I learn, but I don’t let it define me. My focus is on getting better with each role.”

The actress has kickstarted her next which is the sequel of her mother Sridevi's movie Mom.

Earlier while talking to us, Khushi spoke about navigating the uncertain “in-between” phases of life. When asked what being in the middle of her journey means, and she repliex, “I feel like I’m not at the finish line, I’m just learning, growing, and figuring it out. It’s comforting to know that being in the middle doesn’t mean being stuck—it means you’re moving.”

On a parting note, she added, “Reminding myself why I started out keeps me sane. I chose this career because I love storytelling. Staying close to my roots, spending time with family, and keeping my circle small help me stay grounded.”

Yuka Okuda, a Rabindrasangeet performer, delivers a talk on Ray’s ‘Charulata’.

All seats look taken in a mediumsized Tokyo theatre on an Aug evening in the Japanese summer. The audience listens rapt to a woman sitting on stage, framed by the movie screen behind her. Clearly, it’s not just another screening, but then, neither can the topic be called usual for this part of the world. For the woman on stage is discussing Rabindrasangeet, and the context is ‘Charulata’, maestro and auteur Satyajit Ray’s 1964 masterpiece, one of the seven films that were shown last year in Japan as part of a retrospective of his works.

The lineup — featuring ‘Jalsaghar’ (1958), ‘Mahanagar’ (1963), ‘Charulata’ (1964), ‘Kapurush’, ‘Mahapurush’ (both 1965), ‘Nayak’ (1966), and ‘Jai Baba Felunath (1979) — earning their first theatrical release in Japan, spans a two-decade arc of some of Ray’s most memorable films. The films were also made available on VOD and home video with Japanese subtitles. The demand has grown to the point that these films are set for a Blu-ray release in March.

To Sandip Ray, filmmaker and Ray’s son, however, none of this is surprising. After all, it was the Japanese film great Akira Kurosawa who’d said, “Not to have seen the cinema of Satyajit Ray means existing in the world without seeing the sun or the moon.”

Sitting in his Lake Temple Road residence in Kolkata, he recalled the role of a Japanese distributor, Toho-Towa Co. Ltd, founded in 1928 by film pioneer Nagamasa Kawakita, and said Kawakita’s wife, Kashiko Kawakita, was a Ray admirer.

“She was very close to our family and a die-hard Satyajit follower right from the start,” he said. When Ray first visited Japan, it was Kashiko who arranged a meeting between Ray and Kurosawa in 1966. “I think till the 80s, they distributed all of Baba’s films in Japan. The films must have done good business. Otherwise, why would she ask about new films every year?” said Sandip Ray.

The seven restored titles began their theatrical run on July 25 at Le Cinema Bunkamura in Tokyo. The retrospective was to run for three weeks, but a further week was added due to the demand. “The films were not only screened in Tokyo, but in cities like Hiroshima, Osaka, Kyoto, etc, covering 15-20 cinemas nationwide,” said Varsha Bansal, who helmed the restorations of the Ray classics produced by her grandfather, R D Bansal.

The screenings were paired with discussions and talks. If film researcher and producer Eri Morinaga spoke after ‘Mahanagar’, Asian cinema researcher Tamaki Matsuoka delivered a talk following a screening of ‘Jalsaghar’. Yuka Okuda, a Rabindrasangeet performer and Bengali language instructor, led a session after a ‘Charulata’ screening. “I offered some reflections on the impact of the Rabindrasangeet in the film... Some in the audience said they wanted to watch the film again. It made us realize all the more that Ray’s cinema is a deeply layered and magnificent creation,” Okuda told TOI.

A Tokyo theatre that took part in the retrospective

On International Women’s Day yesterday (March 08), conversations around empowerment often centre on rights, representation and opportunity. For Shruti Haasan, however, the starting point is more personal: recognising that your voice matters. The actress and musician speaks about discovering that confidence early in life, the evolving space for women in creative industries, and why feminism is often misunderstood.

She believes the ability to trust one’s voice often begins with overcoming self-doubt. She says, “We live in a time where there is so much overload of information that everyone doubts their abilities and true potential. But society does have a way of making women feel doubly unsure. At the same time, we are hearing more voices rising, with women becoming certain of who they are and how they look and finding the courage to stand against the system. I think I was around 17 or 18 when I realised that my voice matters, that I could use it and stand up for myself.”

Looking at how the space for women has shifted in cinema and music over the years, Shruti acknowledges that the industry has made visible strides, even as the larger goal of empowerment continues to evolve. She shares, “Representation has definitely been changing, and opportunities have been evolving. At the same time, I think the industry can work further towards empowering women.”

When asked what she would tell young women hoping to build careers in music or acting, she stresses that passion alone is rarely enough without persistence and direction. She says, “It’s challenging to build a career in fields like music and cinema for many reasons. But if you are passionate about something, in any field, it’s important to make a plan to pursue it. And it’s equally important to have the willpower to see it through.”

Shruti also feels that public conversations around feminism often lose nuance when the idea is presented selectively. “Feminism is misunderstood when it is wrongly represented or conveniently represented. It’s very important to understand the history of feminism, to be grateful for the rights we have today, and to remain conscious of what still needs to be done moving forward,” she concludes.

Escalating tensions involving Iran have significantly disrupted air travel across parts of the Middle East, leading to widespread flight cancellations and rerouted operations. Many travellers found themselves stranded amid the uncertainty, awaiting the gradual resumption of flight operations.

Amrita and Malaika Arora’s mother Joyce Arora, who is currently stranded in Dubai told us, “I came here to celebrate my elder sister’s birthday, and just a couple of days later, we celebrated mine as well. I was supposed to return to Mumbai on March 3, but we received a notification that our flights had been cancelled due to the war.”

She added, “I must say, I feel safe here. In fact, I could see the missiles being intercepted in the sky with my own eyes. It was frightening, but the Dubai military is doing a fantastic job. My daughters are in Mumbai, and they know I am in safe hands. They call me three to four times a day, and we are constantly in touch. Now that some operations have resumed, I’m hoping to return to Mumbai soon.”

DHURANDHAR: THE REVENGE has already set a record for the highest advance at the national chains over the last year or so. This is just five days of advance and its not even a full day and there six more days of advances to go. The collections at these national chains stand at a phenomenal 10.50 crore nett and for the record a historic blockbuster like PUSHPA 2 - THE RULE had managed 14.50 crore nett for its first day which should be covered sometime over the weekend. The best over the last year was CHHAAVA at 2.25 lakh tickets and that is the only film getting over 2 lakhs.

The last part of DHURANDHAR got to 1.77 lakhs but that has to be taken with a pinch of salt as there was plenty of feeding and the figures of BAAGHI 4 are also manipulated to an even higher degree than DHURANDHAR.

The pace of advances even in these chains is slowing but that is basically as they don't really have anywhere there to go as where there is less sensitivity to price, the tickets are practically gone. Now, its about the other places and here the public here is waiting for the plans to open in full and the lower pricing though it will still be higher than any film has seen in the past.

The advances for national chains over the last year are as follows.

2. Chhaava - 2,25,00,000

3. Saiyaara - 1,95,00,000

4. Dhurandhar - 1,77,00,000

5. Baaghi 4 - 1,56,00,000

6. War 2 - 1,53,00,000

7. Sikandar - 1,45,00,000

8. Border 2 - 1,42,00,000

9. Housefull 5 - 96,00,000

10. Raid 2 - 93,00,000

‘How much did you get your ticket for?’ That has been the question among Ranveer Singh fans as Dhurandhar: The Revenge opened its advance booking on March 7. Ticket prices for paid previews and weekend shows have hit a high — in Mumbai, the prices at multiplexes start from Rs 400, going up to a whopping Rs 2600!

Industry insiders say that the demand for the film’s paid preview has pushed multiplexes to aggressively price their premium formats, especially those offering recliner seats or IMAX format. “Such shows are priced between Rs 2200 and Rs 2500 in the Inox outlets of Borivali, Malad, and Nariman Point,” said a source from Inox. Meanwhile, the Luxe show of PVR Icon in Lower Parel has taken it a notch higher to Rs 2600.

However, the strategy has been different for single-screen theatres across the country. According to exhibitors, filmmaker Aditya Dhar’s studio has requested affordable pricing.

A source from Seble Cinemas in Delhi told mid-day, “Single screens have been asked to maintain accessible pricing so the core audience isn’t alienated. Morning shows are being sold at around Rs 220, while late-night shows are capped at roughly Rs 300 depending on the theatre.”

Several single-screen owners in Mumbai confirmed that Rs 220 is the standard fare. Manoj Desai, executive director, Gaiety Galaxy and Maratha Mandir, shared, “Multiplex audiences are willing to pay more, while single screens rely on volume. This approach allows the film to capitalize on demand in big cities without alienating its core audience in smaller centres.”

Inox sources suggest that from March 19, tickets for certain shows will be priced at Rs 3100 and Rs 3500 respectively for top Mumbai and Delhi theatres.

Trade Analyst Girish Wankhede told mid-day, “Such steep rates were expected. Given the film’s hype, the high-end tickets will be priced between Rs 3000 and Rs 3500. This will continue till the opening weekend.”

Among many Indians stranded in the UAE during the bombings in the midst of the ongoing US Israel Iran war was actor Lara Dutta Bhupathi. After posting an emotional video on social media about the situation she was facing in Dubai, the actor is now safely back in India. Excerpts from her conversation on The Right Angle with Sonal Kalra:

I normally don’t put out videos like that, as you don’t want to create panic. But I was undertaking a dangerous journey back with my daughter (Saira, 14), and we didn’t know what was awaiting us. I had this 1% thought that this could possibly be the last thing that ever goes out.

My daughter has been playing tennis since she was seven, and three years ago, we made a choice to move to Dubai to allow her to train with an elite coach who’s based there. Saira and I were on our own because (husband) Mahesh (Bhupathi, tennis player) was away in London for work when this war broke out. Until the time you actually have bombs being intercepted overhead, it doesn’t feel like it’s a close reality. However, the UAE government is doing an incredible job of keeping everybody safe.

So we chose to take a flight from Fujairah. We hadn’t left the house until then. The only instructions we were given were to stay indoors. We lived just about 10 kms away from the Jebel Ali Port, which was being bombed every day. So we decided to take a chance, as I wanted to be with my husband and my family. We drove two hours to Fujairah, and just a day earlier, Fujairah port and the oil refinery had been bombed. It was scary. I was joking with my co-star Akshay Kumar that I felt like I was part of Airlift 2.

Even at the airport, you could hear these booms, and you were just hoping that nothing was struck. Hats off to the airlines, as well. I am very sure my daughter is going to have some amount of trauma after this experience.