Five days after a tragic accident claimed the life of a crew member on the set of Love & War, filmmaker Sanjay Leela Bhansali resumed the period drama’s shoot at Royal Palms in Goregaon on June 22. We’re told the latest schedule, which already faced months of delays, commenced under heightened safety measures.

In the wake of the accident that happened around 3 am on June 17, Bhansali Productions has apparently put an immediate stop to all night shoots of the Ranbir Kapoor, Alia Bhatt, and Vicky Kaushal-starrer until further notice.

The demise of carpenter Chandradhari Yadav, 42, who was working on the film’s set when he allegedly suffered an electric shock, has naturally affected the crew.

A source from the set told mid-day, “The electric wire was loose and he got a shock. After the accident, the makers have decided that no night shoots will be conducted going forward. They have also ordered additional electrical inspections, mandatory safety audits before every shift, and stricter monitoring of on-set work conditions to prevent such an incident in the future.” 

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Following an accident that led to the death of a carpenter on the sets of filmmaker Sanjay Leela Bhansali’s upcoming film Love & War on June 17, Bhansali Productions has offered compensation of Rs. 40 lakh to the victim’s family.

The incident took place in the early hours of June 17 at Royal Pump Studio in Mumbai’s Film City, where 42-year-old carpenter Chandradhari Singh Yadav died after suffering a severe electric shock. Preliminary findings suggest a short circuit may have caused the electrocution.

FWICE general secretary Ashok Dubey says, “Humne Rs. 50 lakh kaha tha aur humne apni taraf se prayatna kiya hai for Yadav’s family to get maximum compensation. Unhone (production team) hume bataya hai that insurance se bhi Rs. 10-15 lakh direct victim ki family ko mil sakta hai.”

The film body’s chief advisor Ashoke Pandit adds that members are urging the administration to “form a joint committee to get an audit for old structures and check on safety measures”.

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We’ve been in talks with the production team since the day of the accident. Humne apni taraf se prayatna kiya hai for Yadav’s family to get maximum compensation.

- ASHOK DUBEY, FWICE GENERAL SECRETARY

An accident on the set of Love & War at Royal Pump Studio in Goregaon (East) claimed the life of 42-year-old Chandradhari Yadav, a carpenter and member of the Film Studio Setting and Allied Mazdoor Union (FSSAMU), at around 3 am on June 17. According to union representatives, the incident prima facie appears to have resulted from a short circuit, although the exact cause of death will be determined only after the post-mortem report is released. Chandradhari is survived by his wife and two daughters.

FWICE (Federation of Western India Cine Employees) and FSSAMU jointly approached the producers of the film seeking financial assistance and support for the bereaved family, following which Bhansali’s production house offered Rs. 40 lakh to Chandradhari’s family.

However, FWICE president Birendra Nath Tiwari believes the tragedy raises larger concerns about working conditions on film sets.

He says, “Apart from monetary compensation, we have requested the producer to take responsibility for the children’s education. Workers are often made to work far beyond the prescribed eight to ten hours, and there is a limit to how much a person can physically stretch themselves at work. Once the post-mortem report comes, we will decide our next course of action. No matter how big the producer is or how big a film is being made, workers’ lives cannot be put at risk.”

Ashok Dubey, honorary general secretary of FWICE, says, “Chandradhari had been working continuously on the set for the past three days and had been on duty from 7 am until 3 am on the day of the incident. According to those present, he suffered an electric shock and was rushed to hospital, where he passed away. We have also written to Mr Bhansali requesting employment for his wife in his production house.”

The incident has prompted industry bodies to once again call for mandatory safety protocols, defined working hours and government oversight on film sets.

Ashoke Pandit, president of IFTDA and chief advisor to FWICE, says, “We have repeatedly urged producer bodies, studios and government authorities to conduct regular audits of sets, electrical wiring and cabling, considering that 150 to 200 workers are often present on a set. There are lives at stake and significant investments involved in building these sets. Mandatory compliance with fire, electrical and structural safety norms and comprehensive SOPs is the need of the hour. Unfortunately, our appeals have not received any response from the authorities.”

Ranveer Singh’s Don 3 controversy is far from abating. After the Federation of Western India Cine Employees (FWICE) announced at the June 3 press conference that it is withdrawing its non-cooperation directive against the actor with immediate effect, mid-day has learnt that the Producers Guild of India is stepping in again to resolve the dispute between the superstar and producers Farhan Akhtar and Ritesh Sidhwani.

The Guild is expected to hold another round of discussions in the coming weeks. When mid-day reached out to Manish Goswami, vice-president, Guild, he refrained from putting a timeline to it, but agreed that the body will reconvene to resolve the issue that sparked when Singh apparently exited Don 3, to be directed by Akhtar, weeks before it was to roll.

“The Guild is yet to formally table the deal. From here, it can go two ways. We encourage an amicable resolution and hope the parties can resolve the matter through dialogue. But there is always the court route, if that falls through,” said Goswami.

The Guild’s meetings are expected to focus not only on resolving the current conflict, but also on establishing clearer industry protocols around actor commitments and safeguarding producers’ interests.

Meanwhile, sources, who worked on Don 3, revealed that Excel Entertainment — which alleged a loss of Rs. 45 crore due to Singh’s exit — made payments to all associated with the project. “All payments were cleared last month. To ensure there’s not another instance of loss of livelihood for technicians, we hope this incident changes things for good,” said a source.

On June 3, in a press conference, FWICE announced the withdrawal of its non-cooperation directive against Ranveer Singh. Earlier in the week, the actor reportedly served a legal notice to the cine body against its non-cooperation directive. FWICE President Birendra Nath Tiwari said at the presser, “On behalf of the Federation, we would like to request Ranveer Singh to come and sit with us… No one has won or lost in this matter. Our legal department will respond to his legal notice.”

FWICE Chief Advisor Ashoke Pandit said the decision was taken following requests from other cine bodies.

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We all adore Ranveer Singh; we might not all be fans, but in an industry full of leading men who took themselves too seriously, he was a breath of fresh air. His knowledge of obscure movies and songs, his kitschy fashion sense made him relatable and interesting. Other stars were a little too “polished” and reserved. Enter Singh, who broke out into songs mid interviews, wore eye-watering pink suits, and said and did whatever he wanted.

But his wilfulness has earned the ire of the Federation of Western India Cine Employees (FWICE), which recently put out a non-cooperation directive against the actor after he pulled out of Don 3’s production. The May 25 notice requested around 38 different artist associations and unions to boycott any projects linked to Singh, and all hell broke loose.

In media reports, many have alleged that this is a tactic to get Singh to pay out the Rs 45 crore already invested in Don 3’s pre-production by Excel Entertainment and its owners, Ritesh Sidhwani and Farhan Akhtar. Industry stakeholders, though, insist that the real motive is to send a message: it’s high time that stars understand they cannot exit a project willy-nilly.

Either way, though, it’s the last rung of Bollywood that will suffer the most. Hundreds of technicians who committed their time and expertise to Don 3 have now lost weeks of work because of this mess. And even if FWICE’s boycott is carried out, once again, it’s technicians who will lose out on paying work.

“Throughout the recent developments surrounding Don 3, he [Ranveer Singh] has consciously chosen to maintain silence, believing that professional discussions and personal equations are best handled with dignity, maturity and mutual respect.

While several narratives and speculations have surfaced over time, Ranveer has never considered it necessary to respond publicly or contribute to conjecture. His focus remains firmly on his work and the commitments ahead. Choosing restraint and grace in moments like these has always been a conscious decision on his part, and he will continue to maintain the same stance.”

The Cine Costume Make-up Artiste and Hair Association was established in 1951 and has grown to a 7000-strong membership, including almost every kind of artiste who works in Bollywood. The union head, Sharad Shelar, aka Sharad dada, is a senior spot dada who has worked with every actor one can imagine. He explains why Singh backing out of a mega project like Don 3 hits all the technicians attached to the film.

“Usually when actors as big as Ranveer [Singh] back out of projects, the film is shelved in its entirety. So let’s say a technician would have worked on that film for three months — he now has to look for a job to compensate for the lost income. And jobs in the industry have become scarce anyway because such big-budget movies are not made often anymore.”

Shelar is angry about the non-cooperation directive issued by FWICE, and alleges that none of the unions under the federation were consulted before the call was taken. “There are 38 registered unions under FWICE, my union alone has 7000 people. None of these producers or guild members spoke to us even once before banning Ranveer. There are no big movies being made that employ technicians by the dozens, and now they are asking us not to pick up some work we might get here and there also? We do not have that luxury,” he says. 

“The situation now is so bad that workers are beating each other up to get work for the day. If I say I will take Rs 100, another worker says he will work for Rs 50,” he rues, “Paristhiti itki vait aahe ki technician ekamekana panas rupe saathi martaath (Things are so bad, we’re beating each other up over Rs 50 work).” Then there are veterans who are masters of their craft, who refuse to squabble over pennies and end up jobless, he adds.  

Shelar, who turned 71 this year, tells us that associations like theirs have helped artistes with funds in medical emergencies, post retirement and even during weddings. But producers are nowhere to be found during their time of need.

Shelar says that he recently visited a movie set in Goa and realized that hardly any of the technicians were members of federations. “So they will not fight for us when big production houses employ, say, just five out of 25 technicians from unions. Then they’ll turn around and say don’t work with so-and-so artiste?” he asks.

The problem with such non-cooperation directives is that the daily worker really suffers. Ranveer and the directors/production house will not have much of a dent in their income, or they might make up for the loss somewhere else. But the technician can’t do that.

At a time when the film industry is in such dire financial conditions, we must keep our egos aside and work together. I hope the producers and Ranveer come to an understanding soon and the already struggling industry doesn’t take this unnecessary hit. Also, Don sabh ko dekhni thi (We all were looking forward to watching the movie)!”  

The top rungs of the industry don’t really get how bad things are for the last rungs of the industry right now. They are struggling to eat, pay rent, buy essentials, and now this non-cooperation directive will hit them too. The movie producers and star will move on from this, but they’re completely detached from the reality of how it will impact everyone else.

- Aditya Kriplani, Actor, director-producer

Ashoke Pandit, the head of FWICE, says that the trend of artistes pulling out from projects has been going on for too long. He hopes that practice will end once they draft an SOP on the time frame within which an artiste can back out of a project in good faith.

“It’s not about going against Ranveer Singh; we have seen this trend happening too often. Last month, I had a case where an assistant director and four people in their team told the producer at the last minute — just before they were to board a flight to the shoot location — that they were dropping out of the production,” he says. 

“We are currently in talks with all four  producer bodies, The Indian Motion Picture Producers Association (IMPPA), Producers Guild of India and Western India Film Producers’ Association (WIFPA) Indian Film and TV Producers Council (IFTPC), and we are trying to bring in some guidelines that will ensure accountability of not just actors, but anyone including a producer commits to an actor but drops them at the very last minute,” says Pandit.

As of now, the industry does not have any official guidelines on this issue. The lack of regulation is hurting the industry at a time when it is barely hanging on by a thread. “In the case of Don 3, the shoot was to begin, workers were flying in, hotel rooms had been booked. When an actor commits to a project in good faith, the production house takes their word for it and covers these pre-production costs. Excel [Entertainment] spent Rs 45 crore on this,” he adds.

Hirani & Associates is a full-service law firm in Bandra, specializing in IP, Media & Entertainment, and litigation advisory. The firm serves top-tier clients, including leading production houses, A-list talent, and international music labels. Founder Lavin Hirani has over 15 years of experience in India’s media and entertainment sector and has had clients such as Shah Rukh Khan, Sunny Deol, and Rana Daggubati, as well as major studios and streaming platforms.

On the Ranveer Singh–Don 3 dispute, Hirani says cases of this kind are not new to the industry, but that the sequence of events matters. “From what I understand, the film was announced in 2023 and stayed largely dormant for a long stretch. After Dhurandhar released and performed strongly, Ranveer exited the project,” he says.

“We don’t know precisely what happened. There are reports of creative differences, and the timing is worth noting, coming soon after a commercially successful release,” he adds. 

On the FWICE directive itself, Hirani is careful to separate what it is from what it can do. “A non-cooperation directive is not legally binding, and it is not a ban,” he says. “In practice it can create pressure toward a settlement and complicate an actor’s future productions, but it carries no force of law,” he adds. 

He also clarifies how the matter reached FWICE. “Going by FWICE’s own account, the directive did not originate from a complaint by Excel Entertainment directly. The grievance was filed by Farhan Akhtar, the director of Don 3, before the Indian Film and Television Directors Association, which then forwarded it to FWICE. The producers cited pre-production losses.”

Hirani notes the dynamic can run the other way too. “There are also cases where producers drop actors once a bigger star becomes available, and little is said about the effect on the actor who is let go,” he says. “As a general industry pattern, you also see actors keep more than one producer waiting before committing. These tensions are not one-sided.” 

He draws a structural contrast with Hollywood. “There, producers cannot hire outside the guild, and the guild disciplines producers who refuse to sign union contracts. Here, a federation is disciplining the actor for leaving a film. That inversion is structurally unusual rather than standard practice,” he observes.

On what follows if an actor is said to have breached, Hirani is precise about the remedies. “People loosely call it ‘specific performance,’ but a court will generally not order specific performance of a personal-service contract — you cannot compel an actor to perform,” he says.

“Occasionally a court may grant a narrow negative injunction restraining the actor from taking up competing work for the term of the contract, but that is rarely granted and tightly limited. In most cases the producer’s realistic remedy is a claim for damages.” He expects one of two outcomes. “Either a settlement that closes the matter, or litigation that does not.”

What will be the fate of Ranveer Singh’s movies in the pipeline? That was the big question in the Hindi film industry after the Federation of Western India Cine Employees (FWICE), on May 25, announced a non-cooperation directive against the actor in relation to producers Farhan Akhtar and Ritesh Sidhwani’s complaint that he had abruptly exited Don 3 and allegedly caused significant financial losses to the project. The directive is likely to affect Singh’s slate, which has the ambitious zombie thriller Pralay and Aditya Dhar’s next on Chandragupta Maurya.

Pralay, directed by Jai Mehta, is slated to roll in August. Trade insiders say that the film — produced by Singh’s Maa Kasam Films, Hansal Mehta’s True Story Films, and Birla Studios — will involve nearly 500 technicians and workers across departments including action, lighting, costumes, make-up, art direction, and spot staff. Considering 34 vendor associations fall under the FWICE, the non-cooperation directive threatens to disrupt the film’s schedules. mid-day contacted Hansal and Jai for a comment on the film’s probable delay, but they didn’t respond till press time.

A source from the production, however, told mid-day that the directive would do more harm than good. “In the Hindi film industry, where over 70 per cent of the daily wage earners are already out of work because not many films are being made, shouldn’t the FWICE allow them to work instead of taking opportunities away with this directive? As for Pralay, in the worst-case scenario, Ranveer can take the cast and crew, and shoot the movie anywhere in India. While the FWICE’s stand applies to all of its members, it cannot legally stop non-members from working. If Pralay is shot outside Mumbai, the makers may bypass the FWICE-affiliated workers by hiring local crew members belonging to other unions,” said the source.

Ashoke Pandit, chief advisor, FWICE, is confident that the directive issued is the right approach in light of the situation. That said, the cine body is open to a resolution between Singh and Don 3 makers. When mid-day reached out to him, Pandit said, “The FWICE directive is effective because our federation has 34 vendor associations under it. If they don’t have vendors, workers, and technicians, who will they shoot with? People underestimate the strength of the federation. The situation can only be resolved if everybody sits together and sorts it out amicably.”

Sources indicate that producers of Singh’s upcoming projects may approach the Competition Commission of India (CCI) against the FWICE’s directive. In a 2017 case filed by filmmaker Vipul A Shah, the CCI held that practices such as issuing non-cooperation directives, preventing producers from hiring non-members, stalling shoots, and restricting the supply of services amounted to anti-competitive conduct under the Competition Act. A producer associated with one of Singh’s upcoming films said, on condition of anonymity, “If this situation escalates further, producers may collectively approach the commission for intervention.”

Chandragupta Maurya project, to be directed by Aditya Dhar and backed by Jio Studios. He is said to be in talks with YRF head honcho Aditya Chopra for a film

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The Federation of Western India Cine Employees (FWICE) has issued a Non-Cooperation Directive (NCD) against actor Ranveer Singh following his alleged last-minute exit from Don 3. The move comes after filmmaker Farhan Akhtar (director and producer of Don 3, alongside producer Ritesh Sidhwani) approached the Indian Film & Television Directors’ Association (IFTDA) on April 2, after which the matter was referred to FWICE for intervention. The federation said it had taken serious cognizance of the matter while remaining open to an amicable resolution.

Addressing the media at a press conference on Monday, attended by President Birendra Nath Tiwari, Chief Advisor Ashoke Pandit, Honorary General Secretary Ashok Dubey and Treasurer Gangeshwarlal Shrivastav, the federation announced that none of its members or allied unions would work with the actor until the matter is resolved.

Detailing the sequence of events, Ashoke Pandit said, “As the head of IFTDA, I referred the matter to FWICE because it is a serious issue and involves significant financial stakes. We wanted all technician bodies/allied unions and associations to be involved because when a project stops, everyone is affected. The reason for Ranveer Singh’s exit was not disclosed, and we did not inquire into it because our primary concern was the timing of the withdrawal.”

Ashoke further revealed that the producers had already incurred substantial costs towards pre-production. “The production house has spent around Rs. 45 crore on pre-production. Ranveer signed a three-film deal with the producers and the entire recce of Don 3 was conducted in his presence. He was actively involved in script discussions, creative decisions, costume planning and other aspects of the project. He even shot the promo and remained part of discussions regarding the film after the release of Dhurandhar Part 1. Leaving a film three weeks before the shoot cannot be justified, irrespective of the reason.”

He continued, “Kal ko koi bada director film chhod de toh? That is the issue we want to address. It is not a question of a signing amount because paisa isne ek bhi nahi liya hai.”

According to Ashoke, the federation made multiple attempts to reach out to Ranveer before taking a decision.

He said, “As per protocol, we invited Ranveer three times to present his side, but did not receive any response. After we announced the press conference, we received a mail stating that the federation does not fall within the jurisdiction of this issue. Later, we received another email from his team expressing willingness to discuss the matter. We are open to discussions, but we want to meet him directly just as we met Farhan and Ritesh.”

On the producers’ demand, he added, “The aggrieved party is seeking compensation for the approximately Rs. 45 crore spent on pre-production. Their position is that it is okay if Ranveer is not doing the film, but the expenditure incurred on the project should be returned.”

Explaining the federation’s stand, Birendra Nath Tiwari said, “We have issued a non-cooperation directive against Ranveer. Ek message jaana chahiye industry ko ki agar koi superstar bhi hai woh kisi niyam se bada nahi hai. No member or federation associated with us will work with him until the matter is resolved. We are not saying he cannot work; we are only saying our members will not work with him for now. His team wrote to us stating that the federation does not have jurisdiction in the matter. Unko pata nahi federation bhi koi cheez hai. We are open to meeting Ranveer directly and not through any representative. Aap bhi hamaari industry ka hissa hain, aasmaan se nahi aaye hain. No superstar is above the rules of the industry.”

The directive extends to future projects as well. “We have discussed the matter with allied unions and taken a united stand. Spot boy se lekar bouncers tak kaam nahi karenge unke saath. Aaj jo Farhan ke saath hua hai woh kisi aur ke saath bhi ho sakta hai. We would react in a similar manner if a producer were to remove an actor or technician at the last minute. Once locations and production logistics are locked, one cannot step away from a project at the last minute. Responsibility is expected at every level,” he added.

Ashoke added, “The federation has no personal enmity against anyone. However, in the interest of the industry, we will not accept or overlook such disruptions. We stand committed to protecting those who keep the industry running and ensuring sustained job opportunities for technicians, workers and all crafts associated with filmmaking. The industry can only function collectively; it cannot be sustained individually. We must sit together and find solutions. We have celebrated Ranveer’s stardom, but accountability is equally important.”

Filmmaker Sanjay Gupta, however, criticized the move on X, writing, “When an A-list hero shoots, there are more than 300 workers working on sets. Ban him, and you are not stopping him, but depriving the workers of their livelihood. What sense does it even make (sic)???”

After signing for Don 3, Ranveer abruptly walked out in December 2025, only three weeks before the scheduled shooting of the film, leading to audited losses of approximately Rs. 45 crore for Excel Entertainment. The producers demanded reimbursement for these pre-production expenses. Following a failed mediation attempt, the dispute was elevated to the FWICE. Ranveer reportedly didn’t respond to three formal notices from the federation, with his team arguing that FWICE lacked jurisdiction over his contractual matters. Later, Ranveer’s team agreed to discuss the matter with the film body.

Soon after the Federation of Western India Cine Employees (FWICE) issued a Non-Cooperation Directive (NCD) against Ranveer Singh, the actor’s team issued a statement

“Ranveer Singh holds the highest regard for the film fraternity and for everyone associated with the Don franchise. Throughout the recent developments surrounding Don 3, he has consciously chosen to maintain silence, believing that professional discussions and personal equations are best handled with dignity, maturity and mutual respect. While several narratives and speculations have surfaced over time, Ranveer has never considered it necessary to respond publicly or contribute to conjecture. His focus remains firmly on his work and the commitments ahead.”

The statement further added, “He continues to hold deep respect and goodwill for all those involved and sincerely wishes the franchise continued success. Choosing restraint and grace in moments like these has always been a conscious decision on his part, and he will continue to maintain the same stance.”

With the unresolved feud between Ranveer Singh and Farhan Akhtar and Ritesh Sidhwani (Excel Entertainment), over Don 3 continuing to escalate, the Federation of Western India Cine Employees (FWICE) is now set to take a call on the matter. A crucial internal meeting involving FWICE President, Birendra Nath Tiwari, Chief Advisor Ashoke Pandit, along with Hon General Secretary, Ashok Dubey and Treasurer, Gangeshwarlal Shrivastav, is expected to take place today which could determine the future course of the film.

Before reaching FWICE, a few months ago, the dispute was also discussed at the Producers Guild of India, where several senior producers reportedly attempted to mediate and resolve the matter amicably.

Post the internal meeting today, a press conference will be held announcing the federation’s decision. When Bombay Times reached out to Ashoke Pandit, he told us, “It’s a very serious matter, and this trend is very wrong. We are having an internal meeting first, and then we will be taking a call.”

He added, “We will not allow the industry to be doomed. Whatever we will do, it will be in the interest of the industry.”

The Don 3 controversy erupted after reports claimed Ranveer Singh had stepped away from the film shortly before the shoot was set to begin, leading to a dispute between him and the makers.

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Almost five months after Ranveer Singh exited ‘Don 3’ leading to a row with producers Farhan Akhtar and Ritesh Sidhwani, the matter is expected to reach its resolution on May 25. The Federation of Western India Cine Employees (FWICE), whom filmmaker Akhtar had approached when the dispute reached a head, will announce its decision at 4 pm on Monday after its final meeting at 2:30 pm. Industry insiders have told mid-day that the body conducted two meetings with Singh and the makers over the past week.

An insider present at the discussions revealed that the conversations focused on the larger issue of stars walking out of projects at the last minute. “Everybody agreed that this cannot become a pattern. Not every film will become a blockbuster like ‘Dhurandhar’ [2025]. If actors begin exiting projects days before schedules begin, smaller producers will collapse under the pressure,” shared the insider.

Singh, who was attached to ‘Don 3’ since its announcement in 2024, walked out the film in January. Akhtar reportedly filed a legal suit against the actor and approached the Indian Film & Television Directors’ Association (IFTDA) in April, alleging that nearly R46 crore had been spent on ‘Don 3’ prep. A source revealed, “After three reminders, Ranveer’s team eventually responded over e-mail saying the matter was not within the association’s purview.”

According to sources, FWICE’s decision on May 25 could also see the body announcing the introduction of a formal framework to discourage abrupt exits by talent.

Film and theatre actor Bharat Kapoor, best remembered as the manipulative antagonist in the surprise superhit ‘Noorie' (1979) and as the amoral lover in the poignant tragedy ‘Bazaar' (1982), died in Mumbai on Monday. He was 80.

"I got a call from Bharat ji's son, Rahul, saying he passed away around 3 pm due to cardiac arrest at his home. He was unwell for three days," close friend and actor Avatar Gill told news agency PTI.

‘Love Story', ‘Nakhuda', ‘Ghulami', ‘Aakhri Raasta' and ‘Khuda Gawah' are some of the other films Kapoor worked in.

A first-rate theatre actor, Kapoor's rough, distinctive voice and clear diction were perfect for supporting roles. He was impressive in the cameo of a Pakistani officer in Chetan Anand's ‘Hindustan Ki Kasam' in one of his early films.

The low-budget ‘Noorie', a tender love story with memorable compositions by Khayyam, had the fresh faces of Farooq Shaikh and Poonam Dhillon in lead roles. As the principal antagonist Basheer Khan, Kapoor imbued the part with a sly menace. Viewers remembered that role for a long time. The film's astounding box office success ensured a steady flow of roles for him. But most of them were different versions of the stereotypical bad guy.

Sagar Sarhadi's ‘Bazaar' (1982) also gave him an opportunity to display his acting chops. Kapoor held his own in the film crowded with stars of alternative cinema.

Kapoor found roles with more heft and length once satellite TV arrived in the early 1990s. ‘Tara', ‘Campus', ‘Paramapara', ‘Saans' and ‘Amanat' were some of the TV shows where he kept appearing for weeks, even months. Unfortunately, Bollywood failed to fully utilise his talent. His death was mourned on social media.

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Border 2, starring Sunny Deol, may be flying high at the Indian box office, but the war drama will not release across key Gulf markets including Bahrain, Kuwait, Oman, Qatar, Saudi Arabia and the UAE. While no official reason has been issued, industry insiders point to the film’s India-Pakistan war backdrop and strong military narrative as the likely factor behind the decision, a pattern seen with several recent titles in the region.

The Gulf Cooperation Council (GCC) region remains a crucial overseas market for Hindi cinema, often contributing 3-5% of a big film’s global business. Trade figures suggest a well-performing Hindi film can earn between Rs. 30 crore and Rs. 50 crore from the region.

Film exhibitor Akshaye Rathi explains: “For a film like Border 2, expectations are massive, so the loss is felt. At the same time, exhibitors in the Gulf also lose out by not being able to screen big titles. For Indian films, 3-5% of business going away is still a large number.”

Border 2 isn’t the first high-profile Hindi film to face resistance in the Gulf. Last year, Ranveer Singh-starrer Dhurandhar did not release in the region despite a strong global run. Earlier, The Diplomat, starring John Abraham, and Fighter, led by Hrithik Roshan, faced similar roadblocks, though Fighter was later cleared for release in the UAE.

Trade analyst Taran Adarsh believes the impact varies by film: “A Shah Rukh Khan film would mean something very different in the Gulf compared to others. In Dhurandhar’s case, which has already done well without a Gulf release, the loss could be Rs. 20-40 crore. For Border 2, it’s early to judge, but business in other territories could compensate.”

Filmmaker Ashoke Pandit, president of the Indian Film and TV Directors’ Association, has called for diplomatic clarity. “We are told India shares strong relations with the UAE. If a film talks about fighting terrorism, why should it be blocked?” he asks.

At ‘We The Women’ event in Mumbai earlier this week, Jaya Bachchan expressed her displeasure with the paparazzi as she said, “Yeh gande gande pant pehen ke, mobile leke [aa jaate hai]… They think that because they have a mobile, they can take your picture, say what they want. The kind of comments they pass!” While the senior actor’s sharp comments were deemed as “elitist” by several industry voices, the issue has now escalated further. Some of Bollywood’s paparazzi agencies are preparing to file a formal complaint with the Cine & TV Artistes’ Association (CINTAA) against the veteran actor’s remarks. They are said to be in discussions before submitting their official complaint.

Bachchan’s statements, where she questioned the background and attire of paparazzi, have left many in the community feeling demeaned, with some photo syndicates considering boycotting her.

Speaking to mid-day, Manav Manglani, who runs an entertainment photo syndicate of about 20 stringers, said, “She doesn’t want to be clicked; we won’t click her. Jaya ji is not someone who gets eyeballs anyway. If she is with her family and wishes to pose happily, then we may [photograph her].”

Leading photographer Varinder Chawla, who runs an agency employing 15 stringers, told mid-day that the remarks were uncalled for. “We should have some self-respect and not cover her. Every time we have clicked her pictures, we have referred to her as Jaya ji. She hasn’t been disrespected. It’s not okay for the privileged to insult those who are doing an honest day’s work. Jaya ji’s comments need to be responded to and sternly so. Why couldn’t Jaya ji have a conversation with us? We always listen. Ranbir [Kapoor] and Alia [Bhatt] asked us not to click Raha [their daughter], we don’t.”

Besides the complaint, the agencies, in association with CINTAA, are hoping to establish a code of conduct that addresses actors’ concerns about intrusion and safety, and paps’ concerns about mistreatment. Chawla admitted that zealous fans sometimes blend in with photographers, leading to incidents of verbal run-ins or crowding at events. The sentiment is that there is an urgent need for formal guidelines governing interactions between celebrities and photographers.

“There is no unity among paps today; anyone with a camera gets clubbed with us and we get a bad name. There are fans posing as us, trying to get inappropriate with actors. Between Yogen Shah and me, we want to ensure that a meeting takes place with actors where we can discuss the issues. Earlier, we had requested Suniel Shetty sir to facilitate this,” added Chawla.

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I like Jaya Bachchan more than I do Amitabh Bachchan because I’m like her — I’m straight-forward, I say whatever is in my heart and that sometimes gets me in trouble. Jaya ji has been very sweet to me, and at times, she has snapped at me as well. You have to understand her mood. Every time I would ask her politely for a picture, she wouldn’t deny. 

What she said is partially true, especially when she mentions that paps pass [disrespectful] comments. If you look at the history of paparazzi [in India], there were very few in the beginning. We had ethics and responsibility towards our work, and respected everyone. We maintained decorum. [We were mindful] about our language. Also, we weren’t loud. Patience is important in our profession. But today’s kids don’t have patience. They start screaming and get anxious when an artiste doesn’t come on time.

What has happened now is that the pap [culture] is not regulated. There are a lot of kids who just take phones and pretend to be paparazzi. In case they make a comment at a celebrity, we wouldn’t know. I’ve seen this happen outside some restaurants in Bandra. It’s awful.

Some of them click women if they are wearing short clothes. That has created a bad image of us. Paparazzi is not supposed to be running after semi-naked women. We are interested in good content and good celebrities.

We try to educate our [employees] about how to cover funerals as well. We tell them to cover it in a dignified manner. We should have a moral code, a shared sense of responsibility within the community on how to cover celebrities and events. For instance, I have a rule that nobody in my team will click selfies with celebrities. If you’re seen posing with your arm around a female celebrity, you’re out of my office.

But what I didn’t like is Jaya ji speaking about someone’s poverty. Anyone can be poor. Everyone works hard. Don’t underestimate anybody. I have also risen from a poor background. We change things with our hard work and determination. You can also not comment on someone’s attire. It’s not right to make such statements on clothes or someone’s appearance. Jaya ji works well on social media, but she does not like being filmed. That is her choice, and we can respect that. If at any point she feels [comfortable] with it, we’ll happily film her. There is no ban on her or her family.

As told to Priyanka Sharma

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In 1984, India could not have enough of the riotous TV comedy ‘Yeh Jo Hai Zindagi’. The most-talked about element of that rib-tickling show on DD, then the country’s only TV channel, was Satish Shah’s impeccable comic timing and astonishing range — over 40 different characters, ranging from an unwanted guest to a thief, each funnier than the last.

Those roles propelled Shah, who passed away on Saturday following kidney failure at a private hospital in Mumbai at age 74, to the cover of the reputable Hindi film magazine Madhuri, a space then reserved for major film stars. The June 7, 1985, issue, which also featured fellow ‘Yeh Jo Hai Zindagi’ actor Swaroop Sampat, carried the headline, ‘Aap ke chahete sitare’ (Your favourite stars). The characters were not specifically written for him, Shah recalled in a TV interview two years ago. He said they were people he might have seen in school, college and other places and subconsciously absorbed. “I give full credit to Mumbai city, a melting pot, which gave me the opportunity to see them,” he said.

Fellow actor, friend and FTII (Film and Television Institute of India), Pune, batchmate Rakesh Bedi said, “With his talent, he converted an outsider into the most interesting and eagerly-awaited performer of ‘Yeh Jo Hai Zindagi’.”

Shah brought laughter, grace and depth to Indian cinema and television with iconic performances, said FTII.

Shah’s journey began at FTII, captured in student films like ‘Bonga’, ‘Corpses’, ‘End Of The Game’, ‘Khukari’, ‘Lokayat’, ‘Masks’, ‘Shikast’, ‘Duniya Chalti Hai’, ‘Out of Focus’, ‘Sab Maya Hai’, ‘Sadama’ and ‘Tenth Floor’.

The actor, who featured in nearly 200 films and TV serials, marked his presence even in cameos. Few would have played the corpse of corrupt municipal commissioner D’Mello better than him in Kundan Shah’s political sidesplitter ‘Jaane Bhi Do Yaaro’ (1983).

“I changed my expressions as per scenes,” he once said. And who can forget his spit-showering ‘How dare you’ face-off with Shah Rukh Khan in ‘Main Hoon Na’ (2004). He featured in a clutch of Shah Rukh films, including ‘Dilwale Dulhaniya Le Jayenge’ (1995), ‘Kal Ho Naa Ho’ (2003) and ‘Om Shanti Om’ (2007).

His talent for mimicry shone in Ramsay Brothers movies such as ‘Purani Haveli’ (1989), where his parodies of old hit Hindi film songs drew guffaws. He also played two minor negative characters in ‘Albert Pinto Ko Gussa Kyon Aata Hai’ (1980) and ‘Umrao Jaan’ (1981). But TV gave him roles of length and heft. In ‘Sarabhai vs Sarabhai’ (2004), Shah made the part of Indravadan Sarabhai, the irreverent patriarch of a well-heeled Gujarati family in swank south Mumbai, his own.

Shah faced a curious problem when starting out. At a time when actors were neatly slotted as hero, villain and comedian, he could not find himself fitting into any. “I was too tall and well-built for comedies, too soft a face to become a villain and not conventionally good-looking for a hero,” he once said on TV. But the versatile actor, who grew up in south Mumbai playing cricket with neighbourhood kids such as Sunil Gavaskar and Sudhir Naik, did well nonetheless.

Bedi recalled that Shah was as funny off screen as on it. And that his sense of humour never left him. “Some of us went to see him when he had open-heart surgery a few months ago. We were with him for two hours. He laughed and joked, making sure that he was the centre of attention,” he said.

CM Devendra Fadnavis paid tributes to Shah, describing him as a versatile artist who left an indelible mark on Indian cinema and theatre. The CM said Shah, who passed away at 74, will be remembered for the effortless charm and authenticity he brought to every role he portrayed. “Through his natural and graceful performances, he carved a permanent place in the hearts of audiences,” Fadnavis said.

He said Shah, who had also acted in films by the late Dada Kondke, contributed to enriching Marathi cinema. “His demise has caused a great loss to the world of art. A guiding link that connected generations of artists has been severed,” the CM said.

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Actor Pankaj Dheer, whose impressive turn as the wronged prince Karna in the television epic, ‘Mahabharat’ (1988), embedded him in a generation’s memory, passed away in Mumbai on Wednesday. He was 68. Dheer was suffering from cancer. “He had been in and out of hospital in the past months,” producer and friend Ashoke Pandit told PTI.

In an interview to the video magazine, ‘Lehren Retro’, the actor once revealed that he had refused the part of Arjun in the BR Chopra production because he was asked to shave off his moustache. “It was foolishness,” he admitted. Six months later he was offered Karna which didn’t require him to shave off facial hair.

Dheer’s family roots went back to Kasur, a town south of Lahore, in pre-independence India. But the son of producer-director C L Dheer (‘Bahu Beti’, ‘Alingan’) had grown up in Bandra, Mumbai.

The TV show’s Sanskritised dialogues triggered performance anxiety. The actor sought tips from Rahi Masoom Raza, who had co-written the show. Among other things, Raza suggested that he should read aloud the Hindi daily, ‘Navbharat Times’, a sister publication of The Times of India, everyday.

With his imposing presence and empathetic voice, Dheer executed an unforgettable Karna drawing the audience's sympathy. The role gave him what every actor yearns for: fame, adulation and a steady career.

When the character died in the serial, many shaved off their hair in Bastar, then part of Madhya Pradesh. “At the behest of (then) chief minister Arjun Singh, I flew there and consoled the mourners, assuring them that I was alive. It was something you believe only when you see it,” he recalled in the interview.

Pankaj Dheer also said, “Many people do not know my name, but they recognize me as Karna. Even today, my face is published as Karna’s face in textbooks.”

The role opened doors in television and films leading to nearly 100 TV shows and films. One of his most remembered roles was of King Shivdutt in the mega fantasy, ‘Chandrakanta’ (1994). Two notable films were Bobby Deol’s ‘Soldier’ (1998) and Shah Rukh Khan’s ‘Baadshah’ (1999), where he played a scheming security chief.

Dheer’s passing was mourned on social media. Among those who attended the funeral were fellow actors from Mahabharat, and Salman Khan, with whom he had worked in films such as ‘Sanam Bewafa’ (1991).

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Veteran actor Pankaj Dheer, best known for his iconic portrayal of Karna in BR Chopra’s Mahabharat, passed away yesterday after a prolonged battle with cancer. He was 68. Dheer was seen in films like Sadak, Soldier, and Badshah, as well as several TV shows, including Chandrakanta, The Great Maratha, Yug, and Badho Bahu. He is survived by his wife, Anita Dheer, and son, Nikitin Dheer, who is also an actor.

His Mahabharat co-actor and close friend Gajendra Chauhan, who played Yudhisthir in the show, said, “I am deeply saddened and will miss him a lot. Pankaj was not the serious guy he looked like on screen. He was very jovial, always smiling and a wonderful host. We used to meet every fortnight at someone’s home, and Pankaj would keep everyone laughing. Shooting with him was smooth and joyful because he was light-hearted and pleasant.”

Arjun Feroz Khan, who played Arjun in Mahabharat, posted a picture on Instagram and wrote, “Gentleman! Bids goodbye. Will miss you, PD. Stay blessed (sic).”

Puneet Issar, who played Duryodhan, said, "Karna and Duryodhan were brothers, and I could play that part with him so naturally because I had known him even before we did Mahabharat. I am heartbroken, and I will always miss him."

The Indian Film & Television Directors’ Association President Ashoke Pandit penned on social media, “Shocked to know about the sad demise of our dear friend and a brilliant actor, Pankaj Dheer. A great human being. Huge loss to the industry.Heartfelt condolences to the family (sic).”

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Veteran actor Pankaj Dheer died on October 15 after a prolonged battle with cancer at the age of 68. His cremation was held yesterday in Mumbai. A statement from CINTAA (Cine & TV Artistes’ Association) confirmed the news, expressing “profound grief and deep sorrow” at the passing of their former chairman and general secretary.

His performance as Karna in BR Chopra’s Mahabharat made him a household name, and he appeared in shows Chandrakanta, Yug, The Great Maratha, and Badho Bahu. He also starred in films like Sadak (1991), Soldier (1998), and Baadshah (1999).

Pankaj is survived by his wife Anita Dheer, son Nikitin Dheer, and daughter-in-law Kratika Sengar.

It’s very shocking news and quite sad. I got the honour of working with him in my first film Taarzan: The Wonder Car (2004). He was fantastic and he always made sure that we were all comfortable.

- Vatsal Sheth

It was a privilege to work with him in Rishton Ka Saudagar – Baazigar. He used to get sandwiches from home just for me. Anyone who worked with him knows what an amazing person he was.

- Ishita Dutta Sheth

Pankaj ji was the first senior actor I ever worked with in Rang Badalti Odhani. He treated me like a son with so much kindness. He’ll always be remembered with immense love and respect.

- Karan Tacker

He was one of the finest gentlemen I ever worked with (in Mahabharat). He also crossed the epitome of every humanity angle. He’ll be missed.

- Arjun Feroz Khan

A day after Diljit Dosanjh shut down rumours of his exit from Border 2 by posting a BTS video from the film’s set, the Federation of Western India Cine Employees (FWICE) officially lifted its ban on him, clearing the way for him to resume work on the project. The ban was imposed following backlash over the release of Sardaar Ji 3 that features Pakistani artiste Hania Aamir. However, the truce appears temporary.

The decision was taken after Border 2 producer Bhushan Kumar told the federation that 80% of the scenes with Diljit had already been shot, and that he would not work with Dosanjh in the future. In a written statement submitted to FWICE, Bhushan Kumar reportedly said he would “never cast Diljit Dosanjh in future films.”

FWICE president Birendra Nath Tiwari was quoted as saying that the decision to lift the ban came after two meetings with Kumar, who explained that the film was already 80-85% complete. “They’ve already shot Diljit’s portions, and only a song remains,” Tiwari said.

“At this stage, he can’t replace him, but Bhushan Kumar assured us he won’t work with anyone who is in the middle of a dispute again.” The federation, however, made clear that the exemption applies only to the current project.

After a two-month ban following the Pahalgam terror attack, many Pakistani artistes’ social media accounts are now accessible in India.

Instagram accounts of actors like Marwa Hocane, Saba Qamar, Ahad Raza Mir, Yumna Zaidi and Danish Taimoor are visible. However, Fawad Khan, Hania Aamir, Atif Aslam and Mahira Khan’s accounts remain blocked.

This development has not gone down well with Indian film bodies. Ashoke Pandit, president of the Indian Film and Television Directors’ Association (IFTDA), says that they plan to write to the Ministry of Electronics and Information Technology and Ministry of Information and Broadcasting demanding action.

“We want them to take quick action against this. There should be a separate wing to handle this; some legal action should be taken by the authorities. If they don’t take any action now, things will come back to zero,” he tells us.

In a statement on Instagram, singer Mika Singh criticised Diljit and wrote, “Desh Pehle (Nation First): Guys, as we all know, the relationship between India and Pakistan isn’t going well right now. Yet some people continue to act irresponsibly. Before releasing any content that involves artists from across the border, they should think twice – especially when our nation’s dignity is involved.”

He added, “There was a film featuring Fawad Khan and Vaani Kapoor that many of us opposed, and yet, some still don’t seem to get the message. What’s more shocking is that a fake singer, after doing ten shows in India with thousands of fans buying tickets, has now disappeared – leaving fans betrayed and helpless.”

In a lengthy post on Instagram, CEO of Ripple Effect Studios Sonali Singh, who has been managing the artiste, wrote how “Diljit has chosen to respect the sentiments of the Indian public and authorities and is not releasing the film in India, standing in alignment with the nation’s current mood.”

Excerpts from her post: This recent wave of criticism surrounding his upcoming Punjabi film Sardaar Ji, due to the presence of a Pakistani co-star, is both disheartening and unfair especially considering the timing and the nature of the project. The film was shot long before the current political climate intensified.

What hurts the most is this: On one hand, the global media celebrates him as the first Indian to perform at Coachella, to appear on Jimmy Fallon carrying his traditional identity, to walk the Met Gala carrying his culture & roots. And every single time, he proudly carries India with him.

But on the other hand, in his own country how quickly we forget. How conveniently we celebrate him when he puts India on the map, and how easily we trash him when the narrative turns. Does anyone think this doesn’t break his heart? Does anyone imagine how demoralizing it is to fight for visibility as a brown Indian artiste on the world stage and still have to fight for belonging in India? Diljit is the same man who: Was addressed by the honorable Prime Minister as “Bharat ke gaon ka beta”, a recognition of what he truly represents. Cancelled a major US show overnight when FWICE requested knowing it would cost him crores and invite a two-year legal battle in a foreign country. He handled it all silently and respectfully, without retaliation. The damage was personal and he bore it alone. Chose to stand by his producers not to protect himself, but to protect the families behind the film.

(Diljit) carries the Indian flag on his shoulders, proudly, as he leads the wave that’s transforming India’s live entertainment economy with authenticity, humility, and unmatched pride. Helped lift regional cinema especially Punjabi onto the global map. And now, that same man is being dragged down by a manufactured storm.

Sardaar Ji 3’s team also issued a clarification in a post on Instagram, stating that the film was shot before the terrorist attack in Pahalgam. “Sardaar ji 3 was shot well before the prevailing situation that our country is facing now and it was never ever the case that any Pakistani artiste was signed or was engaged after the terrorist attack in Pahalgam. We stand united with our country and our fellow countrymen during this sensitive time. Considering the same, we had decided not to release the film or any of its promotional content in India until the situation becomes opportune,” they wrote.

Addressing the film, which is set for an overseas-only release, Diljit said in a BBC Asian Network interview, “Jab yeh film bani thi tab toh situation sab theek tha. Humnein shoot kiya tha February mein. Toh producers ne decide kiya ki film obviously ab India toh nahi lagegi, toh isko overseas release karte hain . Unka (producers) bahut paisa laga hua hai aur jab yeh film bann rahi thi tab aisa kuch tha nahi. Unke dimag mein hai ki loss toh hoga hi kyuki ek territory aap minus kar rahe ho. Maine bhi jab film sign ki thi tab sab theek tha. Ab situation hamare haath mein hai nahi. Toh bahar release karna chahte hai toh main saath hoon.”

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Actor-singer Diljit Dosanjh is facing heat for casting Pakistani actor Hania Aamir in his upcoming film Sardaar Ji 3. With tensions high after the Pahalgam terror attack and Operation Sindoor, and a renewed ban on Pakistani artistes, calls to boycott the film and Diljit are intensifying.

The makers have clarified that the film will not release in India, and Diljit, who also co-produced it, has now broken his silence. Speaking to BBC Asian Network, he said many decisions were out of his control and backed the producers’ call for an overseas release: “Jab yeh film bani thi tab situation sab theek tha. We shot this in February... Uske baad, bahut saari badi cheezein humare haath mein nahi hai. Producers ne decide kiya ki film obviously ab India mein toh nahin lagegi, toh overseas release karte hain. Producers ka bahut paisa laga hua hai aur jab yeh film bann rahi thi tab aisa kuch tha nahin. They know there will be a loss because you’re removing an entire territory. Even when I signed the film, everything was fine. Now the situation is not in our hands. So, if the producers want to release it abroad, I support them.”

The makers of Sardaar Ji 3 have released a statement that echoes Diljit’s remarks: “This is to bring to everyone’s kind notice that the film named Sardaar Ji 3 was shot well before the prevailing situation that our country is facing now, and it was never ever the case that any Pakistani artist was signed or was engaged after the terrorist attack in Pahalgam.”

The note further read, “We stand united with our country and our fellow countrymen during this sensitive time. Considering the same, we had decided not to release the film or any of its promotional content in India until the situation becomes opportune”.

“When an entire country is against that nation, you cherry-pick a Pakistani actor. You are trying to be arrogant, trying to be careless about the emotions of this country. That is why FWICE has taken note of it. Diljit has not responded and condemned what this actress [Hania] has spoken about Operation Sindoor and our country,” says Ashoke Pandit, chief advisor of Federation of Western India Cine Employees (FWICE).

Birendra Nath Tiwari, president of FWICE, disputes Diljit and the makers’ claim that the film will face major financial losses if it is not released. He emphasizes that the federation holds no personal grudge against Diljit but insists that the call for action is in the country’s best interest. He says, “Film ka foreign mein shoot hua hai, Pakistan ke 4-5 artiste hain, aur Diljit itne bade star hain, to paise to lagenge. Agar paise itne hai, to hum chanda ikatha kara sakte hai aur India se de denge. India mein bohot patriotic.”

Singer Mika has called Diljit irresponsible for working with a Pakistani actor. On Insta Stories, the singer asserted that India’s interests should come first, given the strained Indo-Pak relations. He wrote, “Before releasing any content involving artists from across the border, they should think twice — especially when our nation’s dignity is at stake.”

He also referenced Abir Gulaal — starring actor Fawad Khan, which was denied a theatrical release in India amid controversy — saying it should have served as a lesson for Diljit before choosing to work with Hania.

Sonali Singh has defended him. Part of her Insta post read, “In a career spanning over two decades, Diljit Dosanjh has become a cultural icon not only for India but for the global stage. Yet, time and again, he has been placed under the scanner, especially as a proud Sikh, a Punjabi, and an artist who has chosen to represent India with quiet pride rather than loud declarations. Despite being repeatedly targeted, Diljit has never resorted to outrage. His consistent message in interviews, music, films, and public appearances has always been rooted in love, unity, and kindness.”

Inputs by Yashika Mathur

Diljit Dosanjh’s Punjabi film Sardaar Ji 3, featuring Pakistani actress Hania Aamir, is going for an overseas-only release. Post the Pahalgam attack and India’s Operation Sindoor, this is the first Indian film with a Pakistani actor which is set to be released, because of which it has faced a lot of backlash online. While some fans felt “betrayed”, others were disappointed by the decision to release the film.

Amid the ongoing hostilities between India and Pakistan, Abir Guaal starring Pakistani actor Fawad Khan and Vani Kapoor was not released keeping the national sentiment in mind. Post Operation Sindoor, the social media handles of many Pakistani artistes, including Hania’s, were also blocked in India.

​Reacting to the news of an overseas release, Federation of Western India Cine Employees (FWICE) President Birendra Nath Tiwari says, “They have time till June 27 to apologize to the film industry and the country and say that they will not release the film. If they don’t, we will not let them release their other films too, be it Diljit or the producers. We will not let them have a concert here. The entire film industry and federation will take the strictest action against them. We will give the producers of Border 2 a letter that there’s a risk if they continue to work with Diljit.”

​While Diljit has not directly commented on the issue, he shared a link to his interview with Panos Panay, President of the Recording Academy (which presents the Grammys), in which he says, “Countries are at war, and we don’t have control over these things. But I believe music is something that unites nations. I feel blessed to be part of something that spreads love across nations... I think we need to look beyond nations and focus on Mother Earth.”

​Diljit posted about the film’s overseas release, along with a link to the trailer. However, the YouTube trailer link leads to a message that says, “The uploader has not made this video available in your country.”

​Reacting to the trolling that Diljit is facing after he posted about the film’s release, director Onir wrote, “Fools just need a reason to troll artists especially if they are not from the majority community. They don’t know anything about film making to realise that @diljitdosanjh film was not shot, edited and ready for release in two months. Was shot much before the horrific attack and an artist once the film is shot has no right to when and where its released. The film is NOT getting released in India and he is NOT the producer to be able to stop it. So stop the ignorant narrative (sic).”

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After weeks of speculation, Pakistani actor Hania Amir’s involvement in Diljit Dosanjh’s Sardaarji 3 has officially been confirmed.

On Monday, the actor-singer dropped the film’s trailer on social media, and it seems Hania has a meaty role in the film. The move has prompted strong reactions from film bodies in particular following the terror attack in Pahalgam.

After Operation Sindoor, there has been a ban on Pakistani artistes and a crackdown on their social media profiles in India. The trailer is currently unavailable in India and the film will not release in the country, but the move to cast Hania is being seen by many as “anti-national”.

Anger is mounting among major film federations. Ashoke Pandit, president of the Indian Film and Television Directors’ Association (IFTDA), tells us, “We had written a letter to the Central Board of Film Certification (CBFC) earlier, and they refused to give it a certificate.”

He adds, “I had seen Hania’s tweets as well during Operation Sindoor. We are going to take action and tell the producers to not work with [Diljit]. He should be boycotted by music labels and Punjabi film industry. Diljit is a compulsive Pakistani lover.”

Birendra Nath Tiwari, president of the Federation of Western India Cine Employees (FWICE) echoes a similar sentiment: “Federation ne soch liya hai 100%. Jo nation ke saath nahin, woh humare saath nahin. Hum deshdrohiyon ke saath kaam nahin kar sakte. It doesn’t matter if the film is not releasing in India — they (actors) shouldn’t come to India only.”

When we reached out to the film’s director Amar Hundal, he said, “Main ispe kuchh nahin bolna chahta hoon.”

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Diljit se lekar film ke producers ko, sab ko ban kar denge India mein, dobara film nahin bana payenge. Jo nation ke saath nahin, woh humare saath nahin.

- B N Tiwari, President, FWICE

We are going to take action and tell producers to not work with Diljit. He should be fully boycotted in the country by music labels and Punjabi film industry.

- Ashoke Pandit, President, IFTDA