Debutante Aneet Padda basked in the mammoth success of her musical romance, Saiyaara, all of last year. Now, she is ready to move on to her next project. The climax of the Ayushmann Khurrana-led supernatural romance, Thamma (2025), teased with a glimpse of Shakti Shalini, the next story in the Maddock Horror Comedy Universe (MHCU). Sources tell mid-day that the first schedule of the horror comedy has been chalked out, with the pre-production about to wrap up.

“Aneet will begin shooting for the film in March. It’s going to be a marathon schedule. The film was earlier set to start rolling in January, but pre-production needed more time,” informs a source.

Rumours are rife that Homebound (2025) actor Vishal Jethwa is paired opposite Padda in the film. While the makers are mum about the director, mid-day has learnt that Aditya Sarpotdar — who helmed Thamma — has been signed on to captain this ship.

“Aditya’s relationship with Maddock Films began with Munjya (2024). He has a flair for combining mythology, horror, and humour. Shakti Shalini is fleshed out slightly different from the other MHCU films. [It will have] far more drama,” says an insider of the Christmas release.

When Ikkis opens on January 1, it will, among other things, remind us of what Hindi cinema lost in 2025. Sriram Raghavan’s directorial venture, led by Agastya Nanda, will mark the final on-screen appearance of Dharmendra, who passed away on November 24. In the swansong, we’ll also see the superstar’s last dance, in a qawwali track.

Featuring Dharmendra and Jaideep Ahlawat, the song was shot in Pune in May 2024. It apparently sees the veteran actor’s character going to his college reunion.

A source from the unit said, “Initially, it plays in the background as Dharmendra’s character catches up with his friends. Then it moves to the foreground as his friends get him to the dance floor and he shakes a leg. It’s a fantastic moment! While the college is shown to be in Lahore in the narrative, producer Dinesh Vijan and Sriram filmed it in a Pune college.”

In Ikkis, Dharmendra portrayed the father of Nanda’s character, Param Vir Chakra awardee Arun Khetarpal. Working with him on the number was a moment of pride for choreographer Vijay Ganguly. Remembering the 89-year-old actor as being “full of life”,

Ganguly told mid-day, “Shooting with Dharmendra was amazing as he was vibrant and full of life. He was awake till we completed the song at 4 am.”

What made the collaboration sweeter was the fact that their association went way back. The choreographer, who has designed two songs in the biopic, added, “It was a moment of nostalgia for both of us. Dharam ji had done a film earlier with my father [filmmaker Anil Ganguly] called Dushman Devta [1991]. During the shoot, he remembered my father fondly. He told me he was a kind man and that he enjoyed working with him.”

Shraddha Kapoor in ‘Stree 2’; Aneet Padda will lead ‘Shakti Shalini’; Varun Dhawan in ‘Bhediya’; A still from ‘Thamma’

First came ‘Stree’ (2018). Then ‘Bhediya’ (2022), ‘Munjya’ (2024), and ‘Thamma’ followed, each film giving us a unique character and its world. Now, it looks like there’s another new entrant in the Maddock Horror Comedy Universe (MHCU) — Artificial Intelligence (AI). mid-day has learnt that producer Dinesh Vijan is exploring the possibility of creating a full-fledged AI-driven big-screen spectacle that will be a part of the MHCU.

Sources tell us that the idea is currently in the development stage. “There are exciting titles ‘Bhediya 2’, ‘Stree 3’, ‘Shakti Shalini’ with Aneet Padda, and ‘Chamunda’ with Alia Bhatt. The makers want to integrate an AI film into the slate as well. They have high ambitions with the MHCU, and an AI film feels like a natural fit that will widen the possibilities of what can happen in that universe. Things are, however, in the nascent stage,” reveals a source.

‘Shakti Shalini’ is the immediate film the banner is focusing on. Led by ‘Saiyaara’ star Padda, the horror comedy was officially announced with a teaser attached to MHCU’s latest offering, ‘Thamma’. The project is likely to roll early next year. Another source shares, “Work on the AI film will go on simultaneously. If it lands, it may prove to be path-breaking for Hindi cinema.”

mid-day reached out to Maddock Films, which didn’t respond till press time.

Few composer duos in Hindi cinema today straddle madness and melody as deftly as Sachin–Jigar. Over the past decade, they’ve swung between quirky tracks like Kamariya, romantic numbers like Mileya Mileya, and chartbusters like Aaj Ki Raat. Ahead of their latest outing, Param Sundari, the duo talks about their mindset, music, and their tribute to the master. Excerpts from the interview.

Sachin: It is destiny. We never sat in business meetings to plan this partnership — it just happened. I first met Jigar to share some workload, and there’s no way two people living so far apart could’ve just decided to become a jodi. It feels like something beyond us put us together. Let me give you a recent anecdote: I needed Jigar not just as my business partner but as family, and he came through for me. That’s when I realised I admire him beyond music. He’s five years younger but has this politeness, manners, and ability to communicate that I really look up to. He’s also the rebel in our duo, the one who pushes.

Jigar: The common thread between all of us is that we’re mad but sane enough to know that we’re mad! Otherwise, who decides to make a song “Baba Ji Ki Booti”? And when we did that track, everyone sang — Raj, DK, Anand, Kunal, me. Whoever was in the room. None of us was in it for stability. I think it’s that madness that connects us and keeps us together.

Sachin: Jigar doesn’t sleep — and he doesn’t let anyone else sleep either! (laughs) For him, the moment a song works, that gate is closed. He won’t allow us to repeat ourselves in the same way. That forces us to think differently, and that’s why we’ve managed to stay versatile. For me, that success gave me a certain ease. I’ve lived through the struggle of not finding popularity, so to be on the other side feels nice. But we were never in the game for just hits or flops. We came here to make good music, and even after success, that hasn’t changed.

Our mantra is never to define a “Sachin–Jigar sound.” We don’t want people to say, this is exactly what they always do. We move on, leave that sound behind, and try something new. If others want to pick it up, great. If not, no problem. That’s why after Stree 2, we thought, okay, we’ve done the madness in Stree, we’ve done dance numbers, now how do we break out again? That’s how Param Sundari happened. It’s become an unplanned pattern with us — one big dance number, then one big love song, then something unexpected.

Jigar : We’re also conscious of not getting typecast as “the commercial dance anthem guys.” So if we’ve just done a massive dance track, next time we’ll want to balance it with a love song or something soulful.

Sachin: A day before Jigar and I flew to Dubai for the Param Sundari music session, Dinesh Vijan called us to his office and told us this is a once-in-a-lifetime opportunity. Instantly, [A R] Rahman sir started playing in my head. Roja [1992] changed my life forever — if I’m a composer today, it’s because of those five years of listening to him. So working on Param Sundari felt like living a dream.

Jigar: South Indian music has also inspired us a lot because it stays rooted in its culture. Even in the most commercial films, you’ll hear classical influences. I trained in classical singing for 10–12 years, and often had to “unlearn” some of it to compose for cinema. But “Param Sundari” brought everything we wanted together, it felt like a dream we didn't want to wake up from. As for Sonu Nigam: growing up, albums like Yaad, Deewana, Jaan were my everyday listening. First it was a dream to see him live, then to hear him sing songs we produced. The first track we ever programmed was sung by Sonu Nigam. That was already a big moment.

But as composers, we never got to record him again. We always kept it inside us. One day, we have to make a tune worthy of his voice. I was such a huge fan, I would literally pray to him before going to school! (laughs) So when we composed Param Sundari, we both knew deep down: this is it. We didn’t even say it out loud to each other, but we knew this was the song for Sonu Nigam.

We called him, he heard it, came to the studio, and recorded it in half an hour. It was magical. For us, it’s the greatest tribute — to have the man who inspired us be part of our music. Recently, he called and told us how much love he’s receiving for the song. To hear that from your idol — that’s the biggest moment of the year.

Jigar: Definitely the latter. That’s not our job. Once we put our music out, it belongs to the audience. As fellow creators, we may form opinions, but as listeners, people have the right to completely own or dismiss what we make.

We learned early in our careers to detach ourselves from the fate of a song. It hurts when a track you love doesn’t do well, but once you release it, it’s no longer yours. You’ve shot the arrow, and it’s out in the world. What feels “good” to me might not land with someone else, and that’s okay. So yes, we’ve made peace with it. Especially today, when there’s such great indie music and such strong new artists coming through, we’re not greedy. We just try to give our best and then leave it to the universe.

Jigar: Many times! One example is Happy Ending [2014]. The album actually caught on months later. At release, it didn’t get the traction we hoped for, though we felt it was a true coming-of-age album in terms of sound and concept. The first song, Jee Phaad Ke, generated noise, but the other tracks didn’t bloom immediately. And because once a producer sees one song breaking through, he’ll naturally invest all his energy and money into pushing that one, the rest often get sidelined. We always believed the album would find its way — and it did, but very late. There are other examples too. A beautiful song like Pinjra Tod Ke in Simran, or Hoor in Hindi Medium with Atif Aslam. We thought they’d immediately catch on. They didn’t at first, but later people came back to them, and now they even request us to perform them on shows.

Sachin: It’s a part of the game. That’s why having the first song of an album break through is actually a huge victory. Because imagine if you’re waiting until the fourth track for something to click — by then the producer may lose hope, and the entire album can collapse.

Jigar: For us, every film’s music carries big stakes. Actors want to be seen in a good light, producers are investing heavily, directors have worked hard. If the first song doesn’t land, there’s panic. And in those moments, you have to put art aside and think practically: we have to make this work. When the first track works, it also gives us the liberty to experiment with the rest of the album. For example, because Stree worked, we could make Stree 2 completely different — even put a ghazal on a beat. That was a risk, and it only happened because the first one clicked. So yes, we’ve learned that “first song tracking” is the safer and better place to be in, even if the others don’t explode in the same way.

Sachin: Dinesh is extremely critical of his own work, and Amitabh Bhai is the same. He’ll come back after six days to change just one word in the last line of an antara, or fight with us about a line even before a shoot mix is delivered. That level of self-criticism keeps the bar high.

The truth is, at the end of the day, no matter how many aspirations or ideas we all come in with, there’s only one song to be made. That perspective keeps us grounded. We keep checking each other.

Dinesh loves to experiment — he’ll come to us with a reference, or say, “Here’s this Afro-inspired song, can we make it a love track?” He’s always hustling, always infusing new ideas. Jigar, as I’ve said, is the rebel — he refuses to repeat himself, and he shares a bond with Dinesh that goes beyond work, which makes them almost like brothers.

Jigar: For me, I try to stay objective, to keep perspective when things get too passionate. And Amitabh Bhai has this magical ability to bring in a word or phrase that sparks a whole song. Among the four of us, someone always has the starting point.

Because this unit has delivered before, we have the courage to keep pushing further — to take one more risk, one more step. The balance of being able to check each other and push each other is what keeps us both grounded and moving forward.

Also, we’ve been through failures together — films that didn’t work, songs that vanished without a trace. That’s why now, even if something doesn’t work, it doesn’t shake the association. Our bond isn’t dependent on hits. It’s dependent on whether we’ve fulfilled each other’s creative soul. If between the four of us, we’ve inspired and satisfied each other creatively, then that’s success,  no matter how far the song travels.

Sachin: Never. From the beginning, this song came from a place of pure art, dedication, and a tribute to the master. For us, it’s a matter of pride if one of our songs even gets compared to his work. I look up to Rahman sir not just for his work, but for the person he is. On the inlay card of his first independent album [Vande Mataram], he wrote: ‘Hope to become the song of an independent India.’ That’s the man we’re paying homage to.

Jigar: When people say Param Sundari feels familiar, for us, familiarity isn’t bad. Familiarity can make you feel at home, and once you’re there, you can surprise the listener with new things hidden inside.

(From left) Ranveer Singh; Manushi Chhillar. Pics/Yogen Shah, Instagram

It’s definitely more the merrier when it comes to the horror comedy universe. After Rajkummar Rao led the on-screen world’s inception with Stree (2018), he has been joined by Bhediya’s (2022) Varun Dhawan, Munjya’s (2024) Abhay Verma, and Thama’s Ayushmann Khurrana. Who’s next? Ranveer Singh, we’ve heard.

Sources have told us that the superstar is in advanced talks with producer Dinesh Vijan to front a new instalment. A source close to the development revealed, “Ranveer has been in conversations with Dinesh for a while. He was at the Maddock office last week. The makers wanted a fresh energy to drive the next chapter, and Ranveer is keen to explore the genre. The paperwork is likely to be completed soon.”

It’s apparently being developed as a crossover that merges characters and storylines from Stree, Bhediya, and Thama. “The idea is to create an Avengers-style culmination down the road. They are talking dates as Ranveer will wrap up Aditya Dhar’s Dhurandhar soon. He has allotted some dates to Don 3 as well. This project is expected to roll in early 2026,” the source added.

The buzz is that Manushi Chhillar is the top choice for the female lead.

Bringing their hilarious one-liners, killer moves, and warm camaraderie, actors Rajkummar Rao and Wamiqa Gabbi, along with director Karan Sharma, recently visited the HT City office in Delhi to promote their upcoming film Bhool Chuk Maaf. In a conversation with Sonal Kalra, Chief Managing Editor, Lifestyle & Entertainment, Hindustan Times, during the Stars in the City session, the trio entertained fans with witty responses, dancing to Chor Bazari, and weighing in on the ongoing OTT vs theatre debate.

Rajkummar Rao: There is no problem with the theatres, the problem is that we need to raise the bar. Give the audience something unique and fresh. We should make good films and work on promoting it well because people should be aware that this film is there on the screens.

Karan Sharma: Aap ghar par film dekh bhi rahe hain toh usme maza nahin aata. Main uss generation se aaya hun jahan DDLJ (Dilwale Dulhania Le Jayenge, 1995) dekhne ke liye black mein ticket khareedne ke liye dande khaye hain. Aur andar jaa ke jo mahaul milta hai, jo collective laughter aata hai, wo kahin aur nahin milta.

Wamiqa Gabbi: Sirf ek cheez toh nahi thi, bahut saari cheezein thi. Like working with (producer) Dinesh Vijan, Rajkummar, and Karan sir. Aur itni funny script hai ki narration mein main bas hass rahi thi. Aur end mein aate aate, (ye film) itni khubsoorat baatein keh jaati hai... I was very happy that this (film) came to me.

Rajkummar: Certainly my wedding day, because it was the most beautiful experience I’ve ever had. Another one would be the very nice moments with my mother that I really cherish, especially now that she is not around anymore. I’d love to relive those moments.

Rajkummar: Since I was little, (acting) is the only thing I’ve wanted to do and I’ve worked hard only towards this. I’ve never thought of a Plan B. Plan A was there, and Plan B was to make Plan A work. But hypothetically, I think I’d be in the Armed Forces. I get very fascinated seeing soldiers.”

Compiled by Yashika Mathur

Dinesh Vijan’s films have had a good run in theatres since last year — if Munjya and Stree 2 were among the few successes that Bollywood enjoyed in 2024, the producer delivered a blockbuster in Chhaava this year. Now, Maddock Films is gearing up for the release of Bhool Chuk Maaf, while Cocktail 2 will go on floors soon, and the scripting of Vicky Kaushal’s Mahavatar is underway. That’s quite a populous slate. But there’s more. Three of the banner’s films — Pooja Meri Jaan, Rumi Ki Sharafat, and Sarvagunn Sampanna — have been shot and ready, but staring at an uncertain future.

What’s been the hold-up? Sources say Vijan’s attempts to strike a deal for their OTT première haven’t worked out to his liking yet. He is confident of their content — after all, Huma Qureshi and Mrunal Thakur’s Pooja Meri Jaan highlights the issue of stalking, while Radhikka Madan’s Rumi Ki Sharafat is a social comedy

 “All these mid-sized films have varied subjects with strong performances, falling in line with the banner’s vision of bringing diverse content. But after being ready for over a year, they are facing delays as Dinesh hasn’t been able to crack a deal with streamers that befits these projects. He believes the films deserve a certain figure, but the platforms feel they are too expensive,” says a source.

Last year, mid-day had reported that Pooja Meri Jaan’s release was pushed from November 2024 as Vijan wanted it to premiere after Chhaava (Raja trumps Pooja, Oct 14). Rumi Ki Sharafat was shot in 2023, as was Sarvagunn Sampanna.

Another insider notes, “If one looks at it from Dinesh’s point of view, he is right. Maddock Films is in a position to wait it out. After the pandemic, the acquisition budgets have reduced. But Dinesh doesn’t want to sell them at a price that doesn’t do justice to their potential.”

mid-day reached out to Vijan’s team, who didn’t respond till press time.

Calling off a film’s theatrical outing a day before its release is almost unheard of. But then, unusual circumstances demand unusual decisions. Producer Dinesh Vijan understands this perfectly. That’s why in light of the escalating tension between India and Pakistan, the producer, on Thursday, May 8, announced that the Rajkummar Rao and Wamiqa Gabbi-starrer, Bhool Chuk Maaf, was bypassing its theatrical release and would instead directly arrive on Amazon Prime Video a week later.

The statement issued by the makers read, “In light of recent events and the heightened security drills across the nation, we, at Maddock Films and Amazon MGM Studios, have decided to bring our family entertainer, Bhool Chuk Maaf, directly to your homes on May 16 only on Prime Video, worldwide.”

Such a decision not only involves last-minute changes, but also poses the risk of adversely affecting the film. When mid-day reached out to Vijan to understand how they took the call, he said that they were led purely by the need of the hour.

He said, “In light of recent events, we felt a strong responsibility to prioritize the collective sentiment of the nation. Today, what matters more is standing together as a nation when it counts. Of course, there were last-minute changes, and it’s natural to wonder how this will impact the film.”

He added that despite the challenging turn of events, he was confident that the Karan Sharma-directed comedy would find its way into the audience’s hearts. “If there is one thing we’ve learned, it’s that a good story always finds its audience. We hope Bhool Chuk Maaf brings warmth and laughter when we all need it most.” 

The comedy about a couple stuck in a time loop marks Maddock Films’ second release of the year after its blockbuster Chhaava.

With only a day to go for its release, the feel-good movie’s advance booking had naturally begun. We learnt that ticket holders across the country will be issued refunds.

A trade source said, “In such cases, exhibitors refund the money. So whatever tickets have been bought in the pre-sales of Bhool Chuk Maaf, the exhibitors will return the money.”

Dinesh Vijan’s much-anticipated biopic on renowned public prosecutor Ujjwal Nikam has once again grabbed headlines after a major casting shift. After months of speculation, Aamir Khan—who was earlier attached to the project—has reportedly opted out. Now, all eyes are on Rajkummar Rao, who has emerged as the frontrunner to lead the film.

While Rao shares a strong rapport with Vijan and Maddock Films—he is currently promoting Bhul Chuk Maaf under the same banner—he has yet to officially sign on.

A source close to the development reveals, “Dinesh is keen on having Rajkummar play Nikam. He brings the right intensity and range to the role. Preliminary talks have been positive, but Raj is immersed in prep for Vikramaditya Motwane’s next, which is a physically and emotionally demanding script since he plays a sportsman. The dates will need to be worked out.”

Vijan is now recalibrating timelines and considering a tonal shift for the film.

“It was always going to be a compelling courtroom drama with a political undercurrent, but now the team is exploring a grittier and more grounded treatment that fits Raj’s style more, if he comes on board,” the source adds.

Nikam is known for handling several high-profile cases, including the 1993 Bombay blasts and the 26/11 Mumbai attacks.

While the success of Vicky Kaushal’s Chhaava has brought cheer to the Hindi film industry, it has left Munjya (2024) director Aditya Sarpotdar nostalgic. Not many know that he has a special connection with the story of Chhatrapati Sambhaji’s life. Exactly a century ago, his great-grandfather, N D Sarpotdar, a pioneer in Indian cinema, had directed the silent film, Chhatrapati Sambhaji (1925). The historical drama, starring Parshwanath Yeshwant Altekar as Chhatrapati Sambhaji, was the first depiction of the Maratha ruler on screen.

“The United Pictures Syndicate produced the silent movie,” reveals Aditya, who is currently helming the horror comedy, Thama, for producer Dinesh Vijan’s banner that also backed Chhaava.

“I was telling Laxman [Utekar, Chhaava director] that this is such a great coincidence. I am directing for Maddock, where all of us have the same team—my DOP, art director and costume designer for Thama also worked on Chhaava. [Chhatrapati Sambhaji] was among the first few films made in the silent era of Indian cinema; it had actors from different states of the country because there were only a few filmmakers at that time. [What’s fascinating is that] even 100 years ago, filmmakers were choosing the same stories, and today, a film on the same narrative is also doing great business. These are timeless stories that one can keep making in different ways. The same subject still stands true 100 years later!”

The silent film had released on November 28, 1925 at Majestic Cinema in Girgaon, Bombay. How did Aditya discover this movie?

“We had a list of my great-grandfather’s movies as we are four generations into the film industry. My dad is a producer-distributor. So, we always knew about the film, but when Chhaava released, one of my cousins pointed out that we had also made this film. That’s how I was reminded of it,” he smiles. 

Unfortunately, he says the original movie reels and negatives, which were stored at the National Film Archive of India [in Pune], were lost to the 2003 fire.

So far, Aditya has directed horror comedies. Does he plan to follow in his great-grandfather’s footsteps and make a historical drama? “I am looking forward to doing it now. I did a partly historical series, The Secret Of The Shiledars, but I want to do a full-fledged historical war film.”

Often referred to as the king of recreations, Tanishk Bagchi is certain that the album of Akshay Kumar’s Sky Force will compel filmmakers to see him in a new light. While fans have celebrated his original hits, including Raataan Lambiyan and Bolna, the songs have often been dissociated with his name given the spate of rehashed numbers he has served music aficionados.

But Dinesh Vijan’s Sky Force, he says, is set to put his best work on display. “Imagine an album that has Raataan Lambiyan, Ve Mahi, Bolna, and Badri Ki Dulhania, all in one album,” he says of the film that has five songs crafted by him. In this interview, he reveals how he charted his career to facilitate this transition. Edited excerpts of the interview.

I used to create a lot of songs for Dinesh sir, but it would be one song in the entire soundtrack. I’ve also done a lot of recreations. Dino [Vijan] had praised my skills as a composer. Nobody understood that I have the potential [to helm] a solo film. Dinesh sir told me about this film that he was working on, and told me to make the entire soundtrack. That is where we began. He spoke to me about the situations the songs were to be placed in, but left the work to me. He didn’t share any references and allowed me to decide the genres.

Because this is a patriotic film, we’ve tried to retain honesty in the emotions. I can’t take references from other tracks. I’m proud of this album because these are the songs that I’ve always wanted to make. I knew that if I ever got an entire film to work on, I could design the soundscape as I desired. When I’d see [composers like] Sachin-Jigar, Vishal Dadlani, or Pritam, I’d always wonder why I couldn’t get an entire soundtrack [like they do], and was only entrusted with promotional numbers. That was, in a sense, a struggle for me. So, this film marks a new journey. I have been known as the person who did recreations, so this breaks the barrier for me. All the songs are original, and have been composed by me. The credit goes to Dinesh sir.

It began with saying no to a lot of [offers]. I turned down offers to back recreations. The last remix I did was for Bhool Bhulaiyaa 3, and I did that only because I had worked on the second part as well. Even then, I tried to treat that number like an original song and added a new sound. I no longer wish to do any recreations. As much as I can, I will decline those offers. I’ve done what I had to do; I’ve established a trend. Now, I want to focus on my original music. 

When I compose, my music reflects a lot of the emotions that I encounter. Because I belong to Bengal, I’ve been inspired by folk melodies. I always wanted them to be reflected in my music. For Sky Force, I put all my skills to use, including using all the genres I know. Everything was scattered, but I created this package that brought it all together. This album includes one of the best tracks I believe I have ever composed. There’s another romantic song that, I am certain, will be liked by people. There’s also a number that adds emotional depth to the situation is was made for. Imagine having an album that has songs like Raataan Lambiyan, Ve Mahi, Bolna, and Badri Ki Dulhania and Aankh Marey, all in one album. I think, this is that.

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.

In his 12-year career so far, Sidharth Malhotra has done a handful of rom-coms, including Hasee Toh Phasee (2014) and Baar Baar Dekho (2016). It’s time for the actor to give romance another shot with his next, tentatively titled Param Sundari. Last week, mid-day reported that Malhotra and leading lady Janhvi Kapoor were to originally front a thriller, but had a change of heart and decided to team up for a rom-com instead (Thriller aborted, rom-com on, Oct 18). Now, a bit of digging has revealed that Tushar Jalota’s directorial venture is a classic story of opposites attract, with Malhotra’s character hailing from north India and Kapoor’s from Kerala.

Sources tell us that the leading man essays a suave and rich business tycoon from Delhi. “Janhvi plays a modern artist with strong views and value system. Her character is a south Indian woman from Kerala. The film chronicles how the two fall in love despite having such contrasting personalities,” says a source. 

Pre-production on the love story, which marks the lead pair’s first collaboration, has begun. Jalota, who previously helmed the Abhishek Bachchan-led  Dasvi (2022), is apparently planning to take Param Sundari on floors in December.

“The first schedule will kick off with Sidharth in Delhi. The team will then head for a stint in Kerala, following which the rest will be shot at specially constructed sets at a Mumbai studio. The production design team has been instructed to erect two elaborate sets in Mumbai, one reflecting a sprawling house as seen in Delhi and another reflecting the earthy interiors of traditional Kerala homes. If things go as planned, filming will wrap up by February 2025. Sheetal Sharma, who recently worked on Munjya and Stree 2, is serving as the costume designer on this project. The look tests of both actors were conducted recently.”

With the movie’s title having its roots in Kriti Sanon’s dance number from Mimi (2021), rumours are rife that she will have a cameo in the Dinesh Vijan production. The makers, however, are tight-lipped about it.

One tackles the subject of stalking and the other is a historical drama about a celebrated king. With both bringing important stories to the screen, releasing one on the back of another makes little sense. That seems to be the belief of producer Dinesh Vijan too, who has Pooja Meri Jaan and Chhaava in the pipeline. Which is why he has apparently had a change of plans. Sources tell us that Pooja Meri Jaan, starring Huma Qureshi and Mrunal Thakur, was initially being considered for a November release, but has now been pushed to early 2025.

“It is a special film for Dinesh because it belongs to a genre that his production house hasn’t explored so far. He was looking for the right time to bring the film to cinemas, and has finally slotted it for early 2025,” says a source.

Vicky Kaushal’s Chhaava, which is a biopic of Chhatrapati Sambhaji Maharaj, isn’t the only reason why Navjot Gulati’s directorial venture was pushed. The insider says that the makers felt the last quarter of 2024 was packed.

“November has two big Diwali releases, Singham Again and Bhool Bhulaiyaa 3. On the first Friday of December, Vicky will bring Chhaava to the big screen. The team wants to do justice to the ambitious biopic, in terms of promotions and buzz. With Varun Dhawan’s Baby John coming on Christmas, Pooja Meri Jaan’s team felt it deserved breathing space. They didn’t want such an important message to be lost in the flurry of big-ticket, mainstream releases. Pushing it to next year felt right.”

Sidharth Malhotra is looking for love on screen. After headlining a slew of actioners—from Mission Majnu (2023) to Yodha and Indian Police Force—he was keen to return to the romance genre, and seems to have found just the project. It has been learnt that the actor will front a love story produced by Dinesh Vijan.

A source says, “Sidharth has been in talks with Dinesh’s production house for some time. He loved the script and is excited to team up with a banner that is known for bringing modern romances to the screen.” 

The yet-untitled project will be helmed by Tushar Jalota, who previously directed Dasvi (2022).

With this, Malhotra will revisit the genre that he favoured in the initial years of his career. While his debut film Student of the Year (2012) was a campus romance, he starred in several other rom-coms, including Hasee Toh Phasee (2014) and Baar Baar Dekho (2016).

The source adds, “Sidharth believes his fans like seeing him in the genre. At the same time, he was certain that he didn’t want to do a run-of-the-mill love story. That’s where this film fit perfectly with its novel tone.” If things go as planned, the project will roll later this year.

There appears to have been a change in the filming plans of Ibrahim Ali Khan’s Diler. Director Kunal Deshmukh’s sports drama was slated to have a long schedule in the UK. However, in light of the recent UK riots, producer Dinesh Vijan cancelled the film’s London leg. Now, the production team, led by Deshmukh, is undertaking a last-minute location scout in Mumbai to find suitable alternatives.

The decision is a precautionary measure to ensure the cast and crew’s safety amid the UK unrest that is driven by anti-immigration protests.

A source says, “In July-end, the team did recce and look tests in London. Kunal had lined up a straight schedule during which significant portions of the film would have been canned. But after the situation worsened, the makers felt it would be very expensive to hire exhaustive security. For Dinesh, his unit’s safety is paramount. So, he scrapped the London leg and instructed his team to consider domestic locations.”

The recce is underway in Mumbai. “The director intends to kick off the latest leg in first week of September,” adds the source. Diler, reportedly centred on a marathoner, is Khan’s second project. He is gearing up for his Bollywood debut with Sarzameen, which also stars Kajol and Prithviraj Sukumaran.

What’s the best way to gauge a movie’s success? Box-office figures, of course. But the number of calls you get over the release weekend can be another indicator perhaps—something that Abhay Verma experienced over the past four days. His phone hasn’t stopped ringing since his maiden big-screen release, Munjya, became a sleeper hit.

“When Karan Johar texts you, saying, ‘You are a phenomenal performer,’ you don’t need more because he is such a visionary. It’s like getting that rare praise from your parents,” he laughs.

Director Aditya Sarpotdar’s horror comedy has earned over Rs. 24 crore in the first four days—an impressive figure when both big and mid-size films are struggling to register respectable numbers at the box office. For Verma, who featured in the Sara Ali Khan-led Ae Watan Mere Watan and the second season of The Family Man, the film is a reminder of how destiny works in mysterious ways.

“My character was supposed to be a girl earlier. It was to be played by Shraddha Kapoor, and before her, by Alia Bhatt. The character went through changes over four-five years. I am the only hero to have replaced heroines!”

It was also a stroke of luck that the actor, who was a fan of Dinesh Vijan’s films since Cocktail (2012), found himself in the producer’s horror comedy universe. He reveals that Vijan and Sarpotdar chose him after they conducted auditions spanning eight to 10 months.

“My director wanted to gauge how I portrayed fear. Horror comedy is a tricky genre—when you are scared, it should evoke laughter in the audience. Dinesh sir told me, ‘We don’t believe in taking only stars. We believe in making stars, and you will become [one] after Munjya.’”

To the Panipat-born boy who came to Mumbai six-and-a-half years ago to try his luck in the movies, his journey is influenced by Sanjay Leela Bhansali.

“I had failed a few exams. I was quite down and went to watch Goliyon Ki Raasleela Ram-leela,  [2013]. I entered the theatre as a loser, but came out as a winner, who had the dream of entertaining people. I came to Mumbai solely for Sanjay Leela Bhansali’s art.”

After a positive response to the trailer of Munjya, Maddock Films released the first song from the film. Titled Taras, it’s a groovy dance track featuring actor Sharvari, someone the industry believes is the next big star of Bollywood. Ever since Taras dropped, there’s been a lot of buzz around Sharvari’s look in the dance track.

Talking about the track Sharvari says, “I am thrilled to see the positive response that people have showered on my first solo dance number Taras from Munjya. I’m just one film old in the industry. To have such a massively mounted dance song featuring me is a dream come true. I wanted to give it my all and to see that people are loving Taras gives me a lot of validation.”

She adds, “When I went for the shoot of Taras, I put a lot of pressure on myself to perform. It presented me in such a cool way that I totally loved it. Being a fan of Hindi films, I’m naturally a huge lover of Hindi film songs, especially dance numbers. With the kind of response that Taras has got, I’m hoping that this will be the first hit dance song of my career. That’s a really special milestone for me and I thank my producer, Dinesh Vijan, for the trust he had in me to pull off this song.”

Presented by Dinesh Vijan, Munjya has been directed by Aditya Sarpotdar. The film is being produced by Dinesh Vijan and Amar Kaushik and will release in cinemas on June 7, 2024.

Remembering Irrfan, who passed away on April 29, 2020, his wife and screenwriter Sutapa Sikdar took to Instagram to share a note that was different from the usual posts. She shared a conversation that she imagined they would have had, if had he had been alive.

She began the note saying, “It’s 4 years and three days since Irrfan left me. Four years? A feeling of guilt sweeps through my body. 4 years we have LIVED without him, added with sadness, fear, hopelessness and severe helplessness. And then I thought, but still I lived with him more. I knew him since 1984, so that makes it 36 years of knowing him more and definitely, till I die, I would have spent more time with him than without him. And then I thought, if he was with me physically in 2024, what would have been our conversation like? Because that’s the most I miss (sic).”

Sutapa then shared a hypothetical chat between them where she would have praised Diljit Dosanjh’s performance in Amar Singh Chamkila, which would have led her to recommend they work together. She wrote that the actor would have called his friend, producer, Dinesh Vijan, to try and work out a possible project for the two. She also shared that her husband would have expressed the desire to work in a Malayalam film.