Sheetal Sharma’s Santacruz living room doubles as a home, archive and costume lab. Copper curios and family photographs share shelf space with hefty books on Chanel, Givenchy and Prada. His team gathers here to dissect scripts and build characters. At present, the room is occupied by a mythological drama set before the Ramayan.

“I don’t like working in production-house boardrooms. They feel very cubical,” says the 44-year-old, dressed in his own uniform of white linen shirt and olive-green trousers. “Here, there’s open space to think and bounce ideas around.”

There is a new object in the room too: the National Film Award he shares with Deepali Noor for the costumes of Pushpa 2 - The Rule. Sharma initially assumed the email announcing it was a scam. “With so many online scams around, I didn’t even open the link,” he laughs. A call from the Ministry of Information and Broadcasting eventually convinced him otherwise. On September 22, he received the honour from President Droupadi Murmu in Gujarat.

Cinema was never the plan. Raised in a military family between Jammu, Amritsar, Pathankot and Mumbai, Sharma first enrolled in hotel management, “because I wanted to be a chef.” Dyslexia made the mathematical side difficult, and he left after 18 months.

An aptitude test guided him towards creative work. Graphic design proved too geometric; fashion finally stuck. At the Wigan and Leigh college of fashion and management in Mahalaxmi, he learnt to sketch, cut, stitch and embroider, before studying period costume for theatre in Britain. Then came the 2009 recession and a return to India without a job.

His real education began on Ashim Ahluwalia’s Miss Lovely, where a tiny budget meant Sharma did almost everything himself. “I ironed garments, distressed fabrics and learnt to navigate Mumbai’s wholesale markets.”

He still does. Crawford Market, Mangaldas Market and Chor Bazaar are as useful to him as any fashion archive. For Pushpa 2, Rs 150 second-hand saris bought off the street were cut up and transformed into printed shirts for Allu Arjun and the supporting cast. Sixteen blue saris were used to a create look for Arjun in one dance sequence alone.

Sharma reads a script closely, and likes to pick apart every detail. He annotates it line by line, inventing histories that may never be spoken on screen: how long a character’s hair might be, whether they would have a tattoo, how much money they possess, what they would realistically buy.

Sometimes the clue comes from life. “Gangubai’s sunglasses in Gangubai Kathiawadi were inspired by women I spotted on Mumbai local trains, pairing saris with goggles. Her white wardrobe drew upon the scant historical description of Gangubai as a woman who wore white and plenty of gold. One sari I sourced was an 80-year-old piece from Jodhpur, woven with real silver thread.”

The clothes had to work with Sanjay Leela Bhansali’s sets and light too. Sharma recalls how, on Kesari Chapter 2, a miniature of the courtroom helped the departments decide whether charcoal coats would photograph better than black. In Imtiaz Ali’s Main Wapas Aunga, clothes became a direct narrative device for Ishar Singh Grewal, the elderly protagonist played by Naseeruddin Shah, who has Alzheimer’s disease. A traditional Chand Bali earring changed size between scenes, while one outfit shifted from white to red without changing its tailoring, signalling the character’s growing memory loss. His private costume archive in Govandi now holds pieces from several films, kept with the producers’ permission: Shah Rukh Khan’s black kurta-pyjama from Raees, jewellery made for Vicky Kaushal in Chhaava and other remnants of characters whose lives ended when the cameras stopped.

For Stree, a vintage shawl found in Chor Bazaar became Shraddha Kapoor’s maroon embroidered jacket. When costumes from the first film could not be traced, Sharma says, “My team recreated them for Stree 2, re-dyeing and reprinting fabrics and even recreating materials that were no longer available.”

That obsessive eye does not make Sharma particularly interested in fashion trends. He cheerfully admits that contemporary terminology can escape him and prefers the permanence of a trench coat or Patiala salwar to whatever happens to be fashionable that season.

It may explain why his work rarely feels like celebrity styling. On Animal, where he joined after four previous costume designers, Ranbir Kapoor ended up in the linen shirts Sharma himself favours. “On set I was told, ‘You made him like you,’” he recalls. Nor does he believe cinema must always dress people exactly as they dress in life.

“Films also need to sell aspirations,” he says. “We are city people, so we might say, ‘Who does stuff like that?’ But in small towns, people really adore those things. They aspire to go to college looking like that. In the end, films are selling dreams.”

His own taste remains considerably less grand. If he ever starts a clothing label, Sharma says, it will be “easy and breezy”, built around simplicity rather than trends. Which seems fitting.

After years of making clothes speak for everyone else, Sharma is happiest when his own clothes speak the least.

For years, the question of women in commercial cinema was simply whether they were there. Today, women headline action films, lead spy missions and carry franchises. The change is visible. But visibility can be deceptive. A woman can be at the centre of the frame without being at the centre of the story. Alpha, the first female-led film in YRF’s spy universe, puts Alia Bhatt and Sharvari in a world historically dominated by male agents. Yet questions remain about whether the sexualization's of its female stars belongs to an older visual grammar. Toxic, directed by Geetu Mohandas and featuring five prominent actresses alongside Yash, was positioned as a film with a female gaze, but questions have also been raised about whether its female characters have stories independent of its male protagonist.

The female gaze is ultimately about point of view: whether a character has an interior life, and whether her choices carry narrative weight.

Data journalist Surbhi Bhatia’s analysis of Bollywood from 2000-2022 found that female-led films received less than a fifth of the capital and resources invested in the top films in any year. Yet these films can be highly profitable, often delivering returns comparable to, or better than, those of male-led films. Bhatia illustrates the disparity through the returns on investment of women-led films. Lipstick Under My Burkha, made for around Rs 6 crore, generated approximately Rs 25 crore, a return of more than four times its investment. Raazi, starring Alia Bhatt as a spy, was made for around Rs 40 crore and generated Rs 195 crore worldwide, returning 4.8 times its investment. By comparison, a male-led film made for Rs 250 crore and earning Rs 500 crore delivers a 2x return.

The issue, she argues, is “not that women-led films perform badly, but that producers are less willing to assume the risk of producing, distributing and promoting them at scale.”

Bhatia will discuss these findings during her talk Kuch Kuch Data Hai: Bollywood, Visualized today at Woodside Inn, Bandra, as part of a Pint of View Lecture. Her research also shows that roughly one-third of working characters in paid occupations in films are women. They are more likely to be doctors, teachers, journalists, dancers, actors and models, while police officers, military personnel, politicians and criminals remain more likely to be male. Characters associated with power, danger or institutional authority are still more often written as men.

Aditi Govitrikar, actor, sees a similar gap between discussions and opportunities. “The conversation is happening, but whether it will translate into work or not remains to be seen,” she says, pointing to Delhi Crime, The Great Indian Murder and Made In Heaven as rare examples of women-centred storytelling.

That gap becomes more complicated once a film moves from the idea on the page to the finished product. Sidharth Jain, founder and producer at The Story Ink, explains, “Commercial filmmaking is inherently a collaborative process. Writers, filmmakers, producers, actors, studios and marketing teams all enter the equation, along with the pressure of the box office.”

With larger budgets and more stakeholders, an original idea is not necessarily discarded, Jain explains, but can gradually become something different from what the filmmaker first set out to make. Creative control can therefore be as consequential as casting.

A female lead, or even a woman directing the film, does not automatically determine the perspective through which her character is understood. That point of view has to survive from script to screen.

Arati Kadav, director of Mrs., takes the argument back to the writing itself. “We don’t depict women as whole people,” she says. Creators need to “step in the shoes of their characters” and “live those stories with the fullness they deserve”. Even smaller female characters, she argues, should have “a strong point of view, a proper backstory and some duality, rather than becoming too one-tone”.

Jain adds, “My biggest problem is that we don’t have a large pool of good screenwriting.” A filmmaker may have the right intent, but without the craft to communicate it, the idea, he says, can get lost in execution.

Revati Mahurkar, who has worked across Indian and international music videos including Qatal, Mascara and Tevar, believes that sensuality and self-expression can coexist beautifully when women have a say in how they are presented—from performance and costumes to the images that make the final cut. “I think women having agency in how they are presented changes the entire perception of their presence on the screen,” she says.

“It’s what moves us away from objectification towards having an active role in picturizing and presenting the content, whether a song or a film.” Mahurkar also feels that respect for women in the industry may be growing, but “entertainment only reflects what is happening in the real world around us.”

Jain, too, sees the industry moving beyond its traditionally male-star-driven model, in which “the heroine is just there for three songs”, towards a greater emphasis on story and content.

He sees it most clearly among younger writers, who are “more self-aware, more responsible” about how women are written. But he is wary of treating this as a complete transformation.

“It’s a generational shift,” he says, one that will happen slowly, as filmmakers and audiences continue to shape and respond to each other.

Films such as Kabir Singh and Animal are reminders that stories built around male desire and violence still have considerable commercial currency. But their success does not cancel the growth of female-led cinema; it only exposes the marketplace in which those films must compete. Counting more heroines, too, tells us little about how much narrative power women have acquired.

Representation cannot, after all, be measured by counting women on screen. A heroine may have substantial dialogue, fight scenes and even a plot of her own while the film continues to view her chiefly through male desire. The real measure is whether she has an inner life, consequential choices and ambitions that do not exist merely to advance a man’s story. Bollywood may be changing the stories it is willing to tell, but the more difficult shift lies in who gets to shape them, and whose perspective is allowed to endure from the first draft to the final frame.

Kareena Kapoor Khan has questioned Bollywood’s rush to cash in on violence after the success of cousin Ranbir Kapoor’s Animal (2023), saying the industry tends to follow whatever formula is working at the box office.

Speaking during a recent town hall interaction with youth platform Yuvaa, the 45-year-old actor said, “Our audience is smarter than we think. They know exactly when it’s a good film, and they want to watch it. So today it is not just about a young love story. All these things are very dated, ki abhi violence chal rahi hai… ki abhi Animal chal gayi toh chalo sab violence kar lete hain. We are herd mentality; what to say?”

She also said younger viewers were increasingly questioning formula-driven filmmaking. “Now filmmakers cannot go and make a film saying it’s a comedy so people will definitely watch it! Not every film is going to make Rs. 200 crore or Rs. 500 crore. I feel like we are changing it and the audience is helping us.”

Directed by Sandeep Reddy Vanga, Animal starred Ranbir as Ranvijay Singh, whose obsessive relationship with his emotionally distant father, played by Anil Kapoor, drives the violent action drama. The film grossed over Rs. 900 crore worldwide, and a sequel, Animal Park, is in development. Kareena, meanwhile, will next be seen in Daayra.

A blockbuster is often expected to change the fortunes of everyone associated with it. After playing Ranbir Kapoor’s brother-in-law in Animal (2023), Siddhant Karnick believed the film would finally mark the breakthrough he had spent two decades working towards. Instead, what followed was eight months of complete silence.

Looking back at the period after Animal, he says, “I’d had a strong year with appreciation for my performances in Adipurush, Made In Heaven and then Animal to close the year. After Animal, I expected the floodgates to open. I thought, ‘Two decades of grinding, it’s finally paying off.’ I waited eight months. Let alone offers, there weren’t even any enquiries. My phone didn’t ring at all. That’s when I realized nobody was coming to give me opportunities. That slap to my fantasy was the best thing that could have happened because it forced me to shift my approach. I stopped thinking like an actor and started thinking like a producer. The difference now is that I’m not waiting for the phone to ring. I’m the one making the calls.”

The setback also prompted Siddhant to take charge of his own career. Since then, he has acted in two French films, an English film as the lead, and has a commercial release slated for December. One of those projects, the French short film The Diggers, earned him two Best Actor awards.

He says, “After two decades in this industry, I realized the best way to have control over your career is to create your own opportunities. Jean Louis Carrasco was the first filmmaker I reached out to. We’ve been creative collaborators for 18 years, ever since a passion project short film that won at the Bodega Film Festival and was selected for the Cannes Short Film Corner. Together we developed The Diggers, a 24-minute suspense thriller about an Indian immigrant in Paris who gets pulled into the Parisian underworld. What we’ve shot is essentially Act Two of a feature film, with Acts One and Three currently in development.”

While the recognition has been gratifying, Siddhant believes its true value lies in what it signals to the industry.

“The awards are gratifying, but more importantly, they’re validation. They tell financiers and distributors that this team, this story and this execution have both commercial and critical viability. That’s what matters to me at this stage of my career,” he concludes.

DHURANDHAR THE REVENGE has smashed the record for Hindi films across India by a huge margin of 30% but it has turned out to be no competition for PUSHPA 2 - THE RULE in CP Berar as the latter is around 27-28% better. DHURANDHAR THE REVENGE has done extraordinarily well in the circuit but the collections of PUSHPA 2 - THE RULE were something else due to the appreciation of PUSHPA: THE RISE - PART 01 in the centers of CP Berar.

There are other circuits where DHURANDHAR THE REVENGE is second best to PUSHPA 2 - THE RULE like Rajasthan, CI, Bihar and Odisha and also sub circuit Gujarat but the gaps are nothing like CP Berar. Even an Odisha, where the gap was most likely to be the highest, is only 15% less but it can be due to a Telugu version of PUSHPA 2 - THE RULE in play in the circuit. Both CP Berar and Odisha have a history of out performing for South films. Even that 80's phase where they were not South films but Hindi films made by South producers/directors tended to do better in these circuits.

DHURANDHAR THE REVENGE may not be the top grossing film in the circuits mentioned above but to be close to a PUSHPA 2 - THE RULE in the likes of Rajasthan, CI, Bihar and Gujarat is actually a huge achievement in itself as the former is not a mass film like the latter and that can be seen by the collections in the smaller centres of these circuits. It is the bigger centres of these circuits be it a Jaipur, Patna or Indore which have taken it close to the PUSHPA 2 - THE RULE collections. The biggest film in the circuit ever is SHOLAY (1975) like in most circuits while second place you would give to HUM AAPKE HAI KOUN (1994). This century, it would be GADAR (2001) followed by PUSHPA 2 - THE RULE.

The all time top ten grossers in CP Berar are as follows.

1. Pushpa 2 - The Rule - 56,07,00,000

3. Baahubali 2: The Conclusion - 34,84,00,000

4. Chhaava - 34,40,00,000

5. Dhurandhar - 33,79,00,000

6. Gadar 2 - 32,32,00,000

7. Stree 2 - 30,70,00,000

8. KGF - Chapter 2 - 28,03,50,000

9. Animal - 23,86,50,000

10. Jawan -22,14,00,000

-------------------------------------

DHURANDHAR THE REVENGE has emerged the highest grossing film ever in West Bengal which did not look like happening on release. It was pretty much certain on day one that it would be the top film in North India, South India and probably Mumbai as well though Central and Eastern side would be tougher. It has not got to the top in any circuit in the Central circuits of Rajasthan, CP Berar and CI but has managed to be number one in West Bengal and Assam in the East.

The record in West Bengal was a big one as JAWAN had a big total which was 9 crore nett higher than anything else and West Bengal had been one of the weaker circuits for DHURANDHAR. Compared to JAWAN, it has underperformed in West Bengal but that is more to do with the Shah Rukh Khan factor who is by far the biggest star in the circuit. It can be seen below that it is JAWAN and PATHAAN that have out performed in this circuit. So, despite the star factor not being what it used to be, it still pays a part but its area by area an is not across the board.

There is also WAR but had advantage of Puja week and its possible that Hrithik Roshan is next most popular star here after Shah Rukh Khan. DHURANDHAR also has that Punjabi base which historically has never worked that well in West Bengal but the series overcame that too as well due to the content. DHURANDHAR THE REVENGE is practically at the end of its run and will finish at around 44.25 crore nett as its hardly playing in the circuit now.

The top ten grossers in West Bengal are as follows.

2. Jawan - 43,68,50,000

3. Pushpa 2 - The Rule - 35,32,00,000

4. Pathaan - 34,95,00,000

5. Dhurandhar - 32,56,00,000

6. Stree 2 - 28,18,00,000

7. Baahubali 2: The Conclusion - 27,47,00,000

8. KGF - Chapter 2 - 24,77,50,000

9. War - 22,89,50,000

10. Animal - 19,69,00,000

DHURANDHAR THE REVENGE has emerged the second highest grossing Hindi film ever after PATHAAN as it collects $47 million plus and this includes Nepal as the general figures from the overseas distributors will not include this. The collections without Nepal are $46.375 million till date. The film has finished a little short of PATHAAN but with a Gulf release, it would have been way ahead. In terms of INR, it is the highest ever due to the ever weakening Rupee. It has a gross of 438 crore compared to the 396 crore of PATHAAN.

It would have become the first film to cross $50 million and maybe even $60 million. Its hard to judge how much Gulf would have done. JAWAN is best with $17.70 million and if we take that figure, it would be $65 million for DHURANDHAR THE REVENGE but its an unknown how much it would have done in Gulf. You can probably say $10 million was certain and $20 million was potential as the Muslim crowd may have been compensated by the South Indian crowd like its happened in UK but this is an unknown and will remain that way.

JAWAN would be in second place if we count the collections from the regional versions but that's going away from the Hindi film and in that way there are many films which got a Far East release which are ahead with Dangal on top at $233.80 million. The Far East countries may well be showing a Hindi subtitled or dubbed version but generally its not the same as the original Hindi film. In this way DHURANDHAR THE REVENGE is the eighth highest grossing film overseas. 

The business of DHURANDHAR THE REVENGE easily puts that $50 million target up for grabs for the original film and there are a couple of big films later on this year which can target that figure.

The top ten grossers Overseas for original Hindi films are as follows.

1. Pathaan -$48,500,000

3. Jawan - $46,800,000

4. Dhrandhar - $32,00,0000

5. Dangal -$30,700,000

6. Padmaavat - $29,140,000

7. Bajrangi Bhaijaan - $28,640,000

8. Dhoom 3 - $28,330,000

9. Animal - $27,210,000

10. Dilwale - $26,580,000

DHURANDHAR THE REVENGE smashed all records in Canada as it has collected almost $10.8 million till date which is a record by a distance and the first $10 million Indian film in the country. The film beat the record of DHURANDHAR by over $3 million and ANIMAL, by $3.7 million which are second and third best.

The market has grown by leaps and bound post the pandemic and is the fastest growing market for Hindi films in Overseas. There was a time 8-10 years back when $2 million was a big mark in Canada and here you have a film crossing $10 million. The share of Canada from the US/Canada market is 31% for DHURANDHAR THE REVENGE. This is roughly the average today though if the film has less of a gentry audience, then Canada can go up as USA has a bigger market for gentry films.

DHURANDHAR THE REVENGE has not beaten the BAAHUBALI 2: THE CONCLUSION record in USA alone as that was $19.9 million and DHURANDHAR THE REVENGE will be $17.5 million. But BAAHUBALI 2: THE CONCLUSION was only $275k in Canada while DHURANDHAR's sequel will be $7.9 million (USD) giving it $25.4 million total as compared to $20.175 million of BAAHUBALI 2.

Below are the all time top grossers in Canada. All figures are in CAD $.

2. Dhurandhar - $7,700,000

3. Animal - $7,103,000

4. Pathaan - $6,054,000

5. Jawan - $5,278,000

6. Pushpa 2 - The Rule - $4,218,000

7. Stree 2 - $4,213,000

8. Jatt & Juliet 3 - $3,860,000

9. Kalki 2898 AD - $3,623,000

10. Rocky Aur Rani Kii Prem Kahaani - $3,281,000

Rakesh Bedi has built a career on consistency and craft, quietly shaping performances that linger long after the scene ends. With Dhurandhar, his portrayal of Jameel Jamali has once again drawn attention to a range that has always existed, even if not always fully tapped. Over the years, he has been part of films like Coolie No. 1, Gadar 2 and Teri Baaton Mein Aisa Uljha Jiya, as well as popular television shows including Yeh Jo Hai Zindagi, Zabaan Sambhalke, Shrimaan Shrimati, Yes Boss, Bhabi Ji Ghar Par Hai and Taarak Mehta Ka Ooltah Chashmah.

He shares, “When the first installment was released, I had said this film will not just raise the bar but break the bar because people will see it baar baar (laughs!). That was my gut feeling after seeing kis shiddat aur mehnat se yeh film banaayi jaa rahi thi. After watching my work in it, the feeling was like having a good feast. I felt full and satisfied.”

For Bedi, the size of a role has never defined its value. He says, “It’s not important whether you are playing a big role or a small one. Bobby Deol scored in a role that may not have been the lead in Animal. It’s about leaving an impact. Aapne kuchh kiya ki aadmi bole ki ek scene mein kamaal kar diya. I had the opportunity to do one scene in Uri, and Dhurandhar has been a result of that.”

He also points to the importance of filmmakers who are willing to see beyond familiar labels. He says, “Rarely does a filmmaker say he wants only one actor and is willing to wait. When a director shows that kind of confidence and says, ‘I only want Rakesh Bedi,’ then the actor feels, ‘Ab toh main bhi jaan laga doonga’. You have to repay that faith.”

Expectedly, ‘Dhurandhar The Revenge’ has taken the box office by storm. By the evening of March 22, the Ranveer Singh-starrer collected about Rs 440 crore, including its paid previews, in the domestic market. The film’s run is far from done. According to trade analyst Taran Adarsh, director Aditya Dhar’s action drama could cross the Rs. 1000 crore mark in domestic collections.

“Like the first part, ‘Dhurandhar 2’ has come like a tsunami. I am confident it will cross Rs 1000 crore in the domestic market. Many theatres are facing capacity issues where there are more people to watch the film [than shows]. The demand will spill over to Monday,” Adarsh told mid-day.

Given its unstoppable run, trade is buzzing with speculation that the movie could beat the worldwide collection of Aamir Khan’s ‘Dangal’ (2016) to become the biggest grosser of Indian cinema. “It cannot be ruled out right now,” said Adarsh.

However, sections of the audience have criticized the movie’s propagandist nature. Some also felt that it ran too long at three-hour-55-minutes.

About the polarizing reactions, exhibitor and trade analyst Akshaye Rathi said, “Whether it’s ‘Dhurandhar’, ‘Animal’ [2023], or ‘The Kashmir Files’ [2022], they wouldn’t have done that kind of business had those polarizing opinions not come into play. The more [the opinions are] polarized, the more it creates a debate and generates curiosity among people to see what the hype is all about.”

DHURANDHAR has smashed records in Mysore by crazy margins as the film stands at around 69 crore nett which is 20 crore nett more than JAWAN, the previous record holder. JAWAN itself set a record by a considerable margin. Not only that, the film will be beating all the the local Kannada films released in 2025 apart from two of them and here its Mysore for us and Karnataka for them which includes all of the state while for us, some of the state goes into Mumbai circuit.

The circuit has shown immense growth post pandemic and this is reflected by the fact that a film like FIGHTER gets 20 crore nett in the circuit and stands just outside the top ten which is more than films like SANJU and SULTAN from before the pandemic. Actors like Aamir Khan, Shah Rukh Khan and Hrithik Roshan are stronger in this circuit and this could be another reason why FIGHTER did well here also but no doubt the circuit has grown.

If we count all films including the South ones, then this Mysore collection will be just outside the top ten but if we add the numbers of North Karnataka, which is in Mumbai circuit, then the film will be among the top ten grossing films in the state. Now with the second part this figure could go even higher and if the does three times DANGAL, its pretty much unthinkable as that film was considered insane in the circuit pre pandemic and now here is a film which may do three times the business.

The top ten grossers in Mysore are as follows.

2. Jawan - 48,24,00,000 

3. Animal - 36,69,00,000

4. Pathaan - 35,77,00,000

5. Stree 2 - 33,08,00,000

6. Chhaava - 31,00,00,000

7. Dangal - 27,81,00,000

8. Uri - 25,00,00,000

9. Padmaavat - 23,87,00,000

10. PK - 23,85,50,000

Such is the popularity of Animal (2023) among Ranbir Kapoor’s fans that they’ve kept their eyes peeled for Animal Park. As the superstar recently united with director Sandeep Reddy Vanga for a virtual press meet, ahead of the blockbuster’s release in Japan on February 13, the duo talked about the way ahead for the franchise.

Expressing his excitement to play two characters — Rannvijay and his cousin Aziz — in the sequel, Kapoor said, “I can’t wait to get back on set with Sandeep and play these characters. Sandeep and I keep chatting through the week or month and keep discussing different ideas.” Vanga, who is currently helming Spirit, shared that Animal Park will go on floors by mid-2027.

Besides Rockstar (2011) and Barfi (2012), Animal has become a career-defining movie for Kapoor. The actor admitted that Vanga’s faith in him convinced him to say yes to a “scary character”. “Before this, I was always playing the lover boy and coming-of-age characters. When Sandeep narrated Animal to me, I found the character extremely scary to approach for an actor like me. But [thanks to] his confidence, I believed I could do it,” he said.

Ranbir Kapoor said he felt a deep bond with Japan, thanks to his late grandfather Raj Kapoor. “I have such a deep connection with Japan. One of my grandfather’s most popular songs around the world is ‘Mera Joota Hai Japani’,” he reasoned, adding that he now wants to take his daughter Raha to the country. “I cannot wait to show Japan to her.”

Filmmaker Tigmanshu Dhulia has major problems with the violence, bloodshed, hyper-musculinity and rough anti-hero looks of actors in most action-packed films today. Calling out heroes wearing demon-like looks in superhit films, he is surprised that they are doing well at the box office.

“The problem with today’s films, which are being made in abundance and are being loved by the audience, is with the angry characters! These KGFs, Kantaras and all show too much violence and bloodshed. This maar-kaat started with Baahubali (2015) and is just growing,” says Tigmanshu. He adds, “Bematlab ki maar-kaat rahe hain, khoon baha rahe hain! And, in a series, such films are coming and are being liked by the audience.”

Trying to decode their appeal, he says, “Probably, there is an anger in society and people are not able to vent it out, so they are maybe connecting with these films and liking them. I don’t understand the DNA of such films, but personally, I don’t like it at all.”

The filmmaker adds, “Anti-heroes are fine, but heroes ab rakshas ki tarah lagtey hain and youngsters like it and follow the trend. With such long hair and beards, they just look like rakshas we have seen in Ramayana and Mahabharata. Pata nahi kya ho raha hai!”

On the sidelines, when asked about skipping films like Animal (2023) —which has been singled out for its violence and other factors—he says, “Yes, that is also true and I don’t agree with certain things, but overall I liked the film!”

The filmmaker clarifies that his films, too, are alpha male films but exist within a framework of morality. “Yes, my films are typically alpha male films, and I admit that I can’t make (Sanjay Leela) Bhansali-type films! But, they draw a moral line – they won’t tease a girl, and if they do wrong, it will be for a bigger cause.”

He explains, “My characters are in search of freedom, and they question the authorities. Probably, that has come from the fact that Allahabadis (people from Prayagraj, Uttar Pradesh) don’t fear anybody, and that is a unique character of the people of the city. Since I was a kid, I have liked action, cowboy-type films, and that reflects in my characters, be it Haasil (2003), Paan Singh Tomar (2012) and others.”

Bobby Deol is as raw, honest and real as it gets. His reinvention as Lord Bobby is what stories are made of, but he carries his renewed stardom with quiet grace. The actor who marks 30 years in the industry this year, has reignited the audience’s interest with bold, dark roles – totally redefining the heartthrob Bobby of Barsaat and Bichhoo days. In the latest episode of Philips LatteGo presents Bombay Times Lounge powered by instax FUJIFILM, Bobby bares his heart and talks about stardom, family bonds, lasting friendships and his remarkable resurgence. Watch the full episode that just dropped on the Bombay Times YouTube channel.

The problem in the world is that people who are bad don’t think they’re bad, because if they knew that, they wouldn’t be bad. So, whenever I play negative characters, I don’t think I’m bad, because if you think that way, then your performance becomes unreal. You have to be the character. You have your own backstory about why you are reacting or feeling this way. If you really look at Animal, my past is sadder than Ranbir’s character. So, I thought about myself as a guy who wanted to protect his family, and for that, he would give his life or take others’ lives.

As an actor, OTT platforms gave me the opportunity to play characters I was seeking, which were outside my comfort zone and away from my image. I am very proud of Class Of '83, which many might not have seen because it released a week after Aashram. For me, the only thing that mattered was to be accepted as an actor, not a star.

I don’t think of myself as a star. I never do. I’m just a normal person who’s trying to do his job, and luckily, it’s a creative job. To be an actor, to be on a set and create different characters - that is what I really enjoy doing.

I got a phone call from their team saying, ‘We’re producing this web series and Aryan Khan is directing it, would you be interested?’ I just said, ‘I’m doing it’. Because I’m a father myself, I have kids (Aryaman and Dharam) who want to be actors, and I know how difficult it is and how much pressure there is. Whatever people say about the industry, we are very close-knit in many ways. We have a great bond, and we care about each other. I sat with Aryan for seven hours for the narration, and the conviction with which he narrated the whole story to me – I was just taken in by it. He was like this child. I call him a child because he’s like a child to me.

The funniest thing is, I never thought about all these things when I was starting out. I really didn’t. In fact, not for a very long time in my career. Later on, when people would say, ‘You were always under the shadow of your dad and your brother,’ and I would think, was I? I never felt it. I never looked at my career like that.

Yes, I have, and it has really helped me. Everyone is genetically different, and no one realizes how any kind of intoxication can affect you. And some people have those genes where you get addicted to things. I just decided that God has given me a second chance, and I really, really want to do my best. You don’t get these kinds of chances in life. The voice has to come from within. I think I’m a better person after I stopped drinking, and I think my relationship has become a hundred times better with everyone I know.

Talking about being directed by Aryan Khan for The Ba**ads Of Bollywood, he says, “Aryan is so mature in his thinking. He’s a real taskmaster and a perfectionist. It was like my own son telling me, ‘I want this, I want you to do it this way.’ If The Ba**ads Of Bollywood is what it is, it’s because of Aryan. He’s proved it to the world. With the pressure he was under… being a superstar like Shah Rukh Khan’s son, to have the guts to step out and have his own voice as a director – hats off to him. I feel so proud of him!”

"Life can never be easy, no matter how talented you are. There are so many cases of people being talented, but not getting work. And there have been cases of so many people who are not talented, but are getting work. But that shouldn’t make you want to make excuses or give up on yourself."

Title sponsor: Philips LatteGo

Powered by: instax FUJIFILM

Animal (2023) may not be the only franchise that filmmaker Sandeep Reddy Vanga is building. Even before his next, Spirit, with Prabhas has gone on floors, the buzz is that the filmmaker is developing the cop action film as a franchise.

According to industry sources, filming of the Prabhas and Triptii Dimri-starrer is slated to begin in February 2026. Insiders say that discussions are underway about embedding a cliffhanger at the end of Spirit, thus setting the stage for the second chapter.

A source tells mid-day, “The makers are planning to build a world centred on Prabhas’s cop. They are exploring whether the first part can end at a cliffhanger and leave the audience eager for what comes next.”

After The Raja Saab hits the screens in January, the actor will face the camera for Vanga’s directorial venture. The first schedule will be conducted in Mumbai, after which the team will head to international locations, including Mexico, Thailand, and Indonesia. The source adds, “A look test was done some time ago, and the makers have zeroed in on two distinct avatars for Prabhas. There is a flashback scene, which will be shot in the Mumbai leg.”

Ranbir Kapoor rang in his birthday with more than just cake and candles — he gave fans a front-row seat to his life and line-up of movies. During an Instagram live session, the actor dropped big updates: from Animal Park rolling in 2027, to Ramayana, and his much-awaited reunion with Alia Bhatt in Sanjay Leela Bhansali’s Love & War. The session flowed easily – with the actor talking about his big-screen ambitions to the everyday happiness of being with family.

Ranbir gave an update about Sandeep Reddy Vanga’s much-talked-about sequel to Animal. The actor revealed that Animal Park is expected to go on floors in 2027. “Sandeep has been interacting with me on the idea, the music and the characters. It’s just crazy and I can’t wait to be on set,” shared the actor who turned 43.

The actor also gave everyone a glimpse into his personal life, sharing how he spent the day with wife Alia Bhatt and daughter Raha. “Raha made me a promise that she would give me 43 kisses, and I got that. She made me a beautiful card, which really moved me. It’s been a perfect birthday,” Ranbir said with a smile.

On his birthday, Ranbir took a quick vacation with Alia, Raha and mom Neetu Kapoor, and daughter Raha.

“Had a wonderful birthday last night. The last two days have been great because I was with mother, Alia and Raha. I couldn’t have asked for a better birthday,” he shared.

The live chat wasn’t just about films — it was also about what truly inspires him. Ranbir revealed his current mu-sic playlist and said that Barbaad from Saiyaara is a song that “resonates deeply” with him. He also praised the soundtrack of Kalyani Priyadarshan’s superhero film Lokah , describing it as “just excellent.”

When quizzed about his long-discussed directorial ambitions, Ranbir admitted he’s closer than ever to making it happen. “I am dying to direct a movie. I’ve actually started a writer’s room recently and I’m working on two ideas. It’s definitely on my to-do list in the next couple of years,” he shared.

On Brahmastra 2, he assured fans that Ayan Mukerji is busy writing the script and updates will follow soon.

SAIYAARA is coming to the end of its run and surprisingly BIHAR has emerged the best circuit for the film as it does business of over 16 crore nett which is more than ANIMAL. The film is the seventh highest grossing film ever in the circuit with only two non action films in the list being STREE 2 and SAIYAARA.

Bihar is a circuit still dominated by single screens and that is why generally action films score here big time. Also, historically action films have fared best though musicals can also score in the circuit and this was seen in the 90's with a lot of films with the music of Nadeem Sharvan out performing here even though other circuits may not have done well. PUSHPA 2 - THE RULE is on top by a distance with 30 crore nett plus business while GADAR 2 and STREE 2 are the only other films to cross 20 crore nett. SHOLAY (1975) and KRANTI (1981) are probably the biggest films of all time in the circuit.

The performance of SAIYAARA will have a lot to do with the music as well but when a film like this becomes a huge blockbuster, you could not even dream that Bihar would be the best performing circuit. The circuit has done around 5% of the all India business but the potential is much more as it used to be a 10% circuit when all was equal. The major downfall started as tickets pricing moved higher in the late 90's and higher pricing was not viable in most of the centres in Bihar. Still, this is better than the 2-3% that the circuit went to in the 2005-2010 period though there is much more potential as most of the centres do not have multiplexes.

The top ten films in Bihar is as follows.

1. Pushpa 2 - The Rule - 32,60,50,000

2. Gadar 2 - 23,23,00,000

3. Stree 2 -  22,37,00,000

4. Jawan - 18,56,00,000

5. KGF - Chapter 2 - 18,35,00,000

6. Pathaan - 18,09,50,000

8. Baahubali 2: The Conclusion - 15,00,50,000

9. Animal - 14,94,50,000

10. Tiger Zinda Hai - 12,27,25,000

Ammy Virk, who recently completed a decade as an actor, says, “Ab senior si feeling aa rahi hai”. Grateful for the love, the 33-year-old, who began his career as a singer, shares singer-actor Kishore Kumar inspired him to try acting.

Reflecting on his 10 years in the industry, Ammy takes pride in his box office success. “You need your first few films to do well to mark your footing, and thankfully, mine did. Other than back-to-back hits, even today, my success ratio is 80-85%, which is rare. I have grown steadily and even ventured into films not typically linked with Punjabi cinema,” he shares.

Alongside stars like Diljit Dosanjh and Ammy, Punjabi artistes have found a pan-India presence and are thriving in Bollywood. Ask Ammy about this shift and he says: “Now we are being approached to play heroes and not just a Sardar in Bollywood. Till a decade or so ago, Sardars were used in Hindi films just for comedy or gags. We questioned why that was the only image shown. Over time, makers realised the potential of Punjabi stars and started casting real Sardars, which brings authenticity.”

He points to Animal (2023) as an example: “Vanga (director Sandeep Reddy Vanga) sahab cast actors from Punjab as (actor) Ranbir Kapoor’s cousins. Today’s writers and directors don’t think the way typical Bollywood used to. They are vying to get as close to reality. They also want ki aise characters se us region ki khushboo aaye.”

Unlike Punjabi, Ammy’s Hindi films haven’t been hits. Bhuj: The Pride Of India (2020) and ’83 (2021), underperformed, and his latest releases, Bad Newz and Khel Khel Mein (both 2024), were average. Yet, he remains confident: “The Mumbai industry knows my calibre and potential. The timing of my releases was dicey, but if given a chance, I will prove myself. Film success fluctuates, but an artiste’s talent doesn’t. Bas rate upar neeche ho jata hai.”

PUSHPA 2 - THE RULE in Hindi will finish its run with roughly 4 crore footfalls which has only been seen twice this century with GADAR 2 and BAAHUBALI 2: THE CONLCUSION and these two went over 5 crore. No other film has crossed the 4 crore mark with DANGAL being the best at 3.7 crore while before GADAR, it was RAJA HINDUSTANI in 1996 to hit 4 crore.

There are many films to hit 4, 5 and even 6 crore in the older days when cinema had less competition from other entertainment and also was the only option to watch films though population was also only half of what it is now which more than compensates. Basically the films held wide appeal in those days. PUSHPA 2 - THE RULE joins an elite group of around 15-20 films in history to get 4 crore footfalls.

This is a huge target that PUSHPA 2 - THE RULE has set as post pandemic, 4 crore seemed like an impossible target due to the dwindling audience coming to the theatres. There are four South films dubbed into Hindi in the list and are probably more to come in the next few years especially if sequels of liked films are released. A realistic target for most of the big Hindi films will be 3 crore as GADAR 2 also looks a one off as that sort of single screen business can be written off for most films.

The box office number of GADAR 2 could have been higher with better multiplex pricing and footfalls could have been a little higher as well if it was not released in a crowded period. But as mentioned before, this is probably a one off and its 3 crore which is the biggest original Hindi films but that is also more than good enough as its around 600 crore nett business this year for the film released as a blockbuster film.

The top ten footfalls post pandemic are as follows. The original Hindi films are in bold.

1. Pushpa 2 - The Rule - 4 crore

7. KGF - Chapter 2 - 2.55 crore

8. RRR - 1.70 crore

10. Kalki 2898 AD - 1.50 crore

The future of entertainment lies in the hands of audiences, who will decide how and where they want to consume content. Imagine a scenario where a QR code allows viewers to choose whether to watch a film in a theatre, on the phone, or on TV. This flexibility will define new-age entertainment.

However, content must reach a wider audience, especially in a country with India's massive population. For example, while Stree 2 was a blockbuster, it was watched by only 45 million people. This highlights the huge scope for broader content distribution.

In the coming years, technology-particularly AI and innovative distribution models-will empower filmmakers and create platforms for new content. The key, however, is to craft stories that resonate with a large, diverse audience. We need to focus on creating content that is about India, for India, and of India.

I don't believe there's a "takeover" by southern cinema. Since the pandemic, the Hindi film industry has seen remarkable successes, with films such as Animal, Gadar 2, Pathaan, Jawan, and Stree 2 achieving box office collections of Rs. 500-600 crore in India. This clearly shows that the Hindi film industry is performing as well as its southern counterpart. What truly matters is giving audiences something fresh and unique-exactly what these films have delivered. Instead of viewing southern and Hindi films as separate entities, we should embrace them as part of one Indian film industry. My hope is that films from across the country resonate with audiences nationwide.

Both southern and Hindi industries produce hits, but there are also films from both that fail to connect with audiences. As someone who stays in touch with creators from both industries, I am optimistic that next two years will bring unique stories from across India.

Streaming platforms are not a threat to cinema-they will coexist with theatres. While streaming services are still expanding their reach, they complement rather than compete with the theatrical experience.