Since filmmaker Hansal Mehta premièred the first two episodes of Gandhi at the Toronto International Film Festival (TIFF) in 2025, audiences at home have been asking one question: when will the show drop in India? Naturally, when we caught up with Pratik Gandhi, we posed the same question.

“I know we are all waiting for it. I guess they should announce it soon once they have some news about it,” said the actor, and added, “What I know is that they are finishing the music and background score of the last episode.”

The series, based on author Ramachandra Guha’s Gandhi Before India and Gandhi: The Years That Changed the World, also featured Gandhi’s actor-wife Bhamini Oza as Kasturba Gandhi, Mahatma Gandhi’s partner.

While the actor eagerly awaits the release of Gandhi and enjoys the compliments coming his way for Tigmanshu Dhulia-directed Ghamasaan, he will soon begin shooting for the sequel to the comedy, Madgaon Express (2024). Gandhi’s diverse filmography stems from his consistent effort to choose projects that offer something different, which often means saying no more than yes.

He admitted that saying no is the “most difficult thing” to do. “Sometimes, when you tell people that you don’t have dates, they’ll tell you that [they will work around] the dates, provided I like the script. At that point, you have to be extremely real. But you also [have to be careful] that you don’t discourage them. So I give my energy and time to read a script of 100-120 pages. When you say no, you should have reasons as to why it’s not working because that is the second question they ask. It takes a lot of my time, but you get to read so many stories and different points of view,” smiled Gandhi.

For Ramesh Sippy, 2025 has been a significant year. The veteran filmmaker’s masterpiece Sholay completed 50 years of its release in August. Over decades, Sippy has carried the tag of the Sholay director. It’s something he wears with pride, but doesn’t let it weigh him down.

“I never felt any pressure to outdo Sholay. Every film must have its own identity. I don’t chase success; I chase inspiration,” he begins, when we, after over two months of chasing the filmmaker, sit down for a chat with him.

Inspiration has struck him again. The filmmaker, whose last directorial venture Shimla Mirchi released in 2020, is going back to the director’s chair.

“I’m developing a new project. It’s in its early stages. I’ve always believed in being completely sure of an idea before moving forward. Once I’m certain, you’ll hear an announcement,” he says, refusing to divulge any further details. While the buzz is that the project is an action film, he stays tight-lipped, only saying, “I am currently shaping it with writers.”

Sippy is understandably more forthcoming as we turn the lens on his 1975 classic starring Sanjeev Kumar, Amitabh Bachchan, Dharmendra, Jaya Bachchan, Hema Malini, and Amjad Khan. To mark the 50-year milestone, the movie’s restored version was screened at the Toronto International Film Festival. Many domestic film festivals too hosted special screenings. The response continues to move Sippy deeply.

“It’s overwhelming. When we made the film, we had no idea what it would become. I recently watched Sholay in Toronto with a full house, and the audience reacted exactly as Indian viewers did back in 1975. That was truly heart-warming.”

Very few Hindi films have managed to be as enduring as the classic. Ask Sippy the secret to the movie’s longevity and he points to its honesty.

“We kept it simple — drama where it was needed, humour and warmth where it belonged. Salim-Javed wrote a superb script, and the actors performed with sincerity. Add to that R D Burman’s unforgettable music, and everything just clicked.”

In today’s cinematic landscape, a film like Sholay would have spawned sequels and spin-offs. But Sippy never considered taking that route. “The culture of sequels didn’t exist back then, but more importantly, Sholay is fine as it is. After 50 years, the audiences react the same way. Why change something that continues to work perfectly? Some films should remain untouched.”

Bikas Mishra’s powerful thriller Bayaan, Testimony, is one of the record 17 films and series selected at the 50th Toronto International Film Festival, TIFF, from India, South Asia and Diaspora. The film had its world premiere in the Discovery section of the festival, that runs from September 4-14.

The Indian films and series in official selection at TIFF are Anurag Kashyap’s Monkey In A Cage (Bandar, with Bobby Deol, in the Special Presentations section), Neeraj Ghaywan’s Homebound (Ishaan Khatter, Vishal Jethwa, Janhvi Kapoor, Gala Presentations); Bikas Mishra’s Bayaan (Huma Qureshi, Discovery), and Jitank Singh Gurjar’s In Search Of The Sky (Vimukt, Centrepiece).

Also selected officially are Gandhi, the series co-created by Hansal Mehta and Sameer Nair (Primetime), Satyajit Ray’s Aranyer Din Ratri (Days And Nights In The Forest, 1970, TIFF Classics), Ramesh Sippy’s Sholay (1975, restored by the Film Heritage Foundation and Sippy Films, Gala Presentations); and Sohrab Hura’s Disappeared (India/Nepal), short, in the Wavelengths: Map of Traces section.

Bayaan is Mishra’s second feature after Chauranga, that won the Grand Jury Prize at the Indian Film Festival of Los Angeles in 2015. Set in small town Rajasthan, Bayaan is a police procedural about a rookie police officer detective Roohi Kartar (Huma Qureshi) investigating the case of a ‘Maharaj,’ the head of a cult, who has raped countless girls in the ashram he heads. He has also given shelter and an education to these destitute women and orphans, who might otherwise never get the opportunity. He changes all the girls’ names, and gets inconvenient girls married to men of his choice, to cover up his tracks. He is an all-powerful figure, with influence over the police, judicial and political system, and is not seen until the last quarter of the film. Indeed, the entire system—through silence, patriarchy and misogyny--empowers the Maharaj.

Roohi finds it near impossible to get a bayaan, a testimony from the survivors that would enable her to nail the criminal. The locals are terrorised – her first witness is shot dead – and police and judiciary block her at every turn. But she refuses to give up, not even when it sets her on a collision course with her own father, also a senior police investigating officer. The film is inspired by real life events.

First of all, kudos to Mishra and producer Shiladitya Bora (Platoon One Films, along with Summit Studios and Guidant Films) for making a film on bringing a criminal cult figure to justice, in today’s India. Second, kudos for redeeming much of mainstream Bollywood with a strong woman-led film, and a competent woman police officer--without a hero. Mishra’s direction makes for a compelling thriller, and a technically accomplished one.

Huma Qureshi is in command of her role: playing the tough guy in a suit, or an empathetic listener, when required. There is an unforgettable scene in which all the ashram devotees bang thalis with spoons (oho!) to protest a summons being served on their Maharaj, described as Holy Father.

The ensemble cast, including Sachin Khedekar, Chandrachur Singh, Vibhore Mayank, Swati Das and Sampa Mandal, is very good. Mishra’s screenplay is excellent and layered, and rich with contradictions and dramatic twists at every turn, investing issues with personal stakes. Udit Khurana’s cinematography is a stand-out, creating atmospheric, delicately lit, dark and melancholic spaces, while Sreekar Prasad’s superb editing keeps the film taut. Ajay Jayanthi’s music and Pragyan Gogoi’s sound are an asset. The women crew include producer Madhu Sharma and Costume Designer Shilpi Agarwal Bora. Bollywood is in good hands with this team.

Bravo for making this powerful film - a must-see.

Unexpected is how Ishaan Khatter describes Homebound’s selection as India’s official entry to the Academy Awards 2026. When the announcement was made on September 19, the actor was miles away, flying from the US to India.

“I got the news on the flight WiFi. Immediately, messages started popping up on my phone. It was the first time in two years that Neeraj [Ghaywan, director] gave me gaalis because I was not answering my phone,” he laughs, before adding, “When I landed, the first person I called was him and then my mom [Neelima Azim].”

Ghaywan’s directorial venture, also starring Vishal Jethwa and Janhvi Kapoor, tells the story of a deep friendship between two men from marginalized communities against the backdrop of the COVID-19 pandemic. As has become the norm almost every year, this year’s selection for the Oscar entry too has sparked debate. Shutting out the noise, Khatter stands strong behind his movie.

“The film talks of unity, empathy, compassion, and that message coming from India is beautiful because we find unity in diversity. That is the idea of India I subscribe to. We aren’t telling stories of the hinterland, which forms 90 per cent of our population. The idea of making this film was to humanize these people whom we often see as statistics or overlook. Also, I’ve seen its universal appeal in the way audiences reacted to it at Cannes Film Festival and TIFF [Toronto International Film Festival].”

It’s noteworthy how the actor went from playing a prince in The Royals earlier this year to a labourer from an Uttar Pradesh village in Homebound. Though Khatter comes from a privileged background, he says he could connect with his character because of his wide exposure.

“As a middle-class Indian, you’re exposed to different cultural and social elements; you are able to expand your worldview as you fraternise with all classes of society. So when I played Mohammed Shoaib Ali, it wasn’t a culture shock. We all saw the migrant crisis during the pandemic and we all did what we could to help, but there is an urban apathy.”

While Homebound has received an outpouring of love from the world over, Khatter reveals that his half-brother Shahid Kapoor hasn’t caught it yet. “Shahid is shooting in Sicily. He is feeling bad that everyone, except him, has seen the film. I told him not to discuss the film with anybody till he watches it. He is very proud [of the Oscar entry].”

A telling sign of the movie’s merit perhaps was when Martin Scorsese came on board as its executive producer. Ishaan Khatter is understandably overwhelmed to have the legend associated with ‘Homebound’.

“I didn’t have the fortune to meet Mr Martin Scorsese, Neeraj [Ghaywan] interacted with him. He is arguably the greatest living filmmaker. That he came on board speaks of his deep passion for cinema. He was an admirer of Neeraj’s ‘Masaan’ [2015] and ‘Geeli Pucchi’ [2021]. He wanted to present ‘Masaan’, so that circle is complete with ‘Homebound’,” says Khatter.

Actor Vibhore Mayank’s second feature film, Bayaan, has been making waves at the international film festival circuit. It premiered at the Toronto International Film Festival (TIFF) as well as the Busan Film Festival.

The actor portrays a local cop with a secret agenda, assisting actor Huma Qureshi’s character in a case: “Despite being a very rooted story, the film’s narrative has a global relevance. It explores how people follow a cult in a small place; on a larger scale, it’s about blind following.”

The actor, who moved to Mumbai from Lucknow in 2011, says that it wasn’t possible for a newcomer like him to “strategise” such a career move. “I have waited for 14 years for a film to travel to prestigious festivals and do houseful shows. The results are showing now,” shares the actor who made his lead debut in Himanshu Malik directorial Chitrakut (2022).

Mayank adds, “I debuted as a lead, but it was a small independent film that wasn’t seen widely. I realized it’s crucial to be part of a project that has established actors and an audience. After a two-year wait, I got this film, and it’s gaining acclaim even before its release... I am already working with Himanshu for his second film, and two more offers are at the discussion level. I finally have the confidence that I will get more work.”

This journey wasn’t easy and Mayank faced his fair share of challenges. “From small roles to working as a dubbing artiste, in casting, and assisting on projects, I kept moving forward until I got my break,” he recounts, adding, “Many times, I thought it was taking too long and wondered when my moment would come, but the thought of quitting never once crossed my mind. Practicing art is a luxury, and you have to earn it. So, I kept working, learning, and earning to sustain myself for the right chance. All of this is the culmination of everything, but it is just the start of a new journey.”

We’ve learnt to expect the unexpected from Anurag Kashyap. Even then, the filmmaker surprised us by casting Bobby Deol, a star as mainstream as they come, in Bandar (Monkey in a Cage). When Kashyap sits down with us days after the movie’s première at Toronto International Film Festival (TIFF), he says that Deol was the perfect choice to lead the story of an ageing television star, whose life changes overnight when he is accused of rape by his ex-girlfriend after he cuts off all ties with her.

“The story is of a has-been. The actor had to be my age as my generation has not transitioned well to the social media age. Bobby understands what failure means. He has seen his career fade away and then he found his way back,” says Kashyap.

Through Bandar, the director has explored the grey areas of #MeToo accusations, the fine line between right and wrong, and questioned the treatment of inmates in Indian prisons. When Kashyap narrated the film to Deol, he immediately wanted to play the complex role. What the actor told him about his struggle has remained with the filmmaker even today.

“Bobby said that if he’d pass by a house where a shoot was happening, he would cry or get angry wondering why nobody was asking him to act in that film. He told me, ‘At 40, somebody told me I needed to do an acting workshop. Then I played the most disgusting person I know in Aashram. That’s when I realized it’s liberating to play characters and not always the hero.’ Bobby was perfect for this role because he understood all that. I could identify with Bobby because I have been written off many times,” shares the director before praising his leading man for being “emotionally bare” in the film.

Owing to its theme, Bandar has created ripples at TIFF. Kashyap isn’t surprised, knowing well that his recent work is “polarizing and hard-hitting”.

He reasons, “It’s a conversation starter. That’s why it has been impactful. Bandar has been the most difficult movie to make emotionally because it’s a film about things in the past when there was no social media. We’re dealing with an emotional subject. We’re asking questions. I didn’t share the script with any actor because I was also in the process of finding my film.”

To Kashyap, Bandar is a film about making mistakes, and more importantly, “being called out for it”. The director elaborates, “We were given a second chance to redeem ourselves. Today, it is [the age of] cancel culture. The world doesn’t give anybody a chance to redeem themselves. Everything will go viral! We are in an age where we need to start having conversations.”

(From left) Shiladitya Bora with Huma Qureshi and Bikas Ranjan Mishra at the festival in Canada

Career milestones are not only a moment of validation, but also one of reflection. It struck us when we spoke with producer Shiladitya Bora, days before he headed out for Bayaan’s September 6 première at the 50th edition of Toronto International Film Festival (TIFF). The Huma Qureshi-led thriller is not the first time that Bora has worked with a mainstream Bollywood star. Previously, he served as the executive producer of Vicky Kaushal’s Masaan (2015) and Rajkummar Rao’s Newton (2017), albeit both weren’t the stars then that they are today. How does the producer view their rise to stardom and becoming the face of mainstream movies over the years?

“Here, actors, directors, or producers are independent only till they don’t make it. Once they get success, they only want to do [mainstream] projects. That’s not right. You should never leave your core. Once you grow, you should empower more people,” he reflected.

On that count, he praised Qureshi for fronting Bayaan, making sure Bikas Ranjan Mishra’s directorial venture finds a place on her résumé  that has mainstream offerings like Maharani and Jolly LLB 3. While actors’ lure of big-ticket films is understandable, Bora wondered why that amounts to them not backing small but meritorious stories.

He elaborated to mid-day, “I understand now that you’ve become a bigger star, you want to do bigger studio films. But since you reached here through a breakout small film, be fair. You took a chance at that time. Now things are much better for you. You can champion things. We lack that. Huma is a great sport in this, apart from being a great actor.”

The actors alone aren’t to be blamed, he assessed. The producer’s experience in the industry has shown him that actors are influenced by their managers.

“Many actors depend on what their management says. After a point of time, they all are surrounded by yes-men. It’s important that they make decisions on their own. I feel many people don’t even read scripts, or decide on the basis of them. They will only do a film when a big studio is attached.”

It hasn’t been 10 days into the month, yet Saba Azad knows that September has given her the year’s most cherished memory. On September 6, the actor took in every moment as Anurag Kashyap’s Bandar (Monkey In A Cage) — which features her alongside Bobby Deol and Sanya Malhotra — premièred at the ongoing Toronto International Film Festival (TIFF). “It’s a dream to be here, not only because our film is having its première, but also because everyone here is united by the love of cinema,” she said to mid-day, hours before the premiere.

A festival favourite, Kashyap, this time, tells the story of Deol’s television star who is accused of rape by his ex-girlfriend after he cuts off all ties with her. Through Bandar, the filmmaker not only looks at the grey areas of #MeToo accusations, but also examines India’s prison system.

When we asked Azad how it was to be directed by Kashyap, she answered in a heartbeat. “Working with Anurag feels like freedom,” she said, before adding, “It’s liberating to work with a director who has faith in his casting choices. So, he leaves his actors to their devices — he will set up the scene in a way such that [we] have the room to react and improvise, not just repeat dialogues and mirror spoon-fed emotions. Anurag treats the script like a map, not the ultimate truth.”

Bandar’s world première comes days after the Prime Video release of Songs Of Paradise, a biopic led by Azad. The two back-to-back talked-about projects have brought the actor a sense of validation that had eluded her 17-year career so far.

“It has taken me a while to get here. It feels like I’m starting afresh. To be able to do roles that employ your abilities as an actor has been the dream, and for your work to be noticed is a blessing. I hope to be able to keep doing cinema that stays with you long after you watch it.”

Huma Qureshi has made several trips to Toronto, but the upcoming visit will be special for her. The actor will take Bayaan to the Toronto International Film Festival (TIFF), where Bikas Ranjan Mishra’s directorial venture — the only Indian title to be selected in the Discovery section — will première on September 7. “This is my maiden visit to the festival,” Qureshi says gleefully.

In Bayaan, the actor plays an investigator who goes to Rajasthan to solve a case that shows her how our society is steeped in patriarchy. Saying yes to the thriller was an instinctive decision, she says.

“The script was fantastic. Bikas and Shiladitya [Bora, producer] were sure of the story they wanted to tell — it was India-specific, but told with a larger global audience [in mind]. The film is supported by International Film Festival Rotterdam’s Hubert Bals Fund. During the [Film Independent’s] LA Residency, the scripting was done under the mentorship of Craig Mazin of Chernobyl [2019] fame. It felt like something I wanted to bet on. I had wanted to do an indie project for a long time. It is getting so much appreciation and that reinstates my faith in the fact that passion drives work in the movies.”

In the past few years, Qureshi shone in digital entertainment with films like Monica O My Darling (2022) and Tarla (2023), and the series Maharani (2021-24). She has been vocal about the pay disparity in OTT entertainment, pointing out that despite the show’s success, her remuneration is nowhere close to that of male actors. Taking that thought forward, she says the pay gap is only the tip of the problem. 

“The industry loves to call OTT a level-playing field, but the gap is real. The disparity will get worse. Today’s content is so different from the quality content we were making a few years ago. We all thought OTT would change narrative styles. While we see shows like Breaking Bad and Squid Game, where are those shows from India that can break barriers? To have systemic changes, you need mindsets to shift, and we are nowhere close to that shift yet.”

Qureshi has been exploring another creative frontier — writing. In 2023, she released her debut novel, Zeba: An Accidental Superhero. While it was initially written as a concept note for a television series, she turned it into a book. Is the screen adaptation in the pipeline? “I’d love to do a screen adaptation. It would be wonderful to go back to that world from a fresh perspective,” she says.

More than happiness, director Bikas Ranjan Mishra feels a sense of relief as his next, Bayaan, is headed to the Toronto International Film Festival (TIFF). To him, the world première at the prestigious festival is the culmination of a seven-year journey that involved rejections from multiple production houses. “I took this script to everyone. Every production house in Mumbai has a copy of the Bayaan script,” he states.

The thriller, led by Huma Qureshi, took its first step towards realization only when Shiladitya Bora stepped in as the producer. Mishra says, “Huma is the film’s hero, but if there’s one more hero, it’s Shila. In this industry, no one has guts. People are sitting in big offices, but a producer is one who is ready to risk their business for a [good] story.”

Equally gutsy is Qureshi, whose investigator character goes to Rajasthan for a case that ends up mirroring the deep-rooted patriarchal society. “We approached other actors and everybody wanted to do it, but they were scared,”

Mishra recalls. In contrast, Qureshi was all courage, ready to front a story she believed in. “Apart from being a wonderful actor, she has guts. All the actors hide behind their managers and agents. Huma is the only actor I approached directly. After narrating the story, I told her that no studio or platform was attached. She said, ‘No problem. Send me the script.’ For the rest of the industry, commercial considerations come first. Huma responded to our integrity that we wanted to make the film our way.”

Qureshi’s belief in the material was refreshing for the director, after having met actors who had several criteria that superseded the story. Mishra says, “Many actors were kicked about the role. But they wondered, ‘Will the film get a platform? Will people go to theatres to watch a small film?’ There were actors who were cast, but they ran away because they got a three-day role in a big male star’s film.”

Huma Qureshi-starrer Bayaan, a taut police procedural-thriller, has been officially selected for the prestigious Discovery section of TIFF (Toronto International Film Festival), where its world premiere will take place this September.

Speaking to us about the film, helmed by writer-director Bikas Ranjan Mishra, Huma says, “Bayaan is a film that I took a bet on; it brings to the forefront a haunting story with a big soul. With no big backing and safety net, this film is purely a fruit of everyone's hard work, and I am elated that this is the only film selected in the Discovery Section at TIFF this year. It is indeed a proud moment for me, and I further strengthen my belief to support such storytelling and films.”

Talking about why she connects so strongly with this film, she says, “Bayaan gave me the opportunity to play the kind of character I’ve long been drawn to—someone within the justice system, yet up against forces much larger than herself. What makes this even more special is that I am part of this project not just as an actor but also as a producer.”

Helmed by writer-director Bikas Ranjan Mishra—best known for his acclaimed feature film 'Chauranga'—'Bayaan' was developed at Film Independent, Los Angeles and is produced by Shiladitya Bora of Platoon One Films, India’s leading independent film studio known for multiple Filmfare award winning Ghaath (Berlinale 2023), National Award winner Picasso (Amazon Prime’s first direct to digital Marathi film).

Filmmaker Bikas Ranjan Mishra described 'Bayaan' as a poignant reflection of contemporary India, where "power and gender intersect in volatile and often invisible ways."

The filmmaker added, "It is my attempt to bear witness to a society in transition — and to salute the quiet courage of those who choose to speak.' I'm deeply honoured to present my second feature, Bayaan, at the Toronto International Film Festival in the Discovery section — a platform that has launched the journeys of many filmmakers I admire and cherish."

“As a producer, I’m always looking for that one script that can be a breakout film for everyone involved—and with 'Bayaan', I knew we had something powerful. At Platoon One Films, our ethos is to champion newer voices and newer stories that provoke, connect, and challenge. This film truly embodies that spirit," said Shiladitya Bora.

Besides Huma, the film boasts of a stellar cast that includes Chandrachur Singh, Sachin Khedekar with powerhouse performers Paritosh Sand, Avijit Dutt, Vibhore Mayank, Sampa Mandal, Swati Das, Aditi Kanchan Singh and Perry Chhabra.