Sobhita Dhulipala features in the ‘contentious’ scene

In February, the Ministry of Information and Broadcasting formulated the Information Technology (Guidelines for Intermediaries and Digital Media Ethics Code) Rules 2021, with the intention of making artistes more accountable for their work. As per the rules, viewed by many as a means to curtail the creative freedom of OTT platforms and content creators, streaming giants should have a redressal mechanism in place to address viewers’ grievances. Five months into its inception, the ramifications of the guidelines can already be felt. On Tuesday, among the first grievances to be registered, Netflix India received a complaint against Anurag Kashyap’s short film in the 2020 anthology, Ghost Stories.

The complainant has raised an objection against the scene in which the protagonist, portrayed by Sobhita Dhulipala, is seen devouring the foetus from her miscarriage. The complaint notes, “The scene is not required for the story, and if the creators wished to add such a scene, there should have been a trigger warning for women who have gone through the trauma of miscarriages.”

According to the guidelines, complaints moved by users have to be registered within 24 hours and resolved at the earliest. The matter is currently pending with Netflix’s Grievance Redressal Officer (GRO).

When mid-day reached out to the streaming giant, the spokesperson said, “As this was a partner-managed production [RSVP Movies and Flying Unicorn Entertainment], we reached out to the production company to share the complaint.”

The actor, who tweeted about outsiders not getting equal opportunities, says that the nepotism debate is flawed. The casting process and what the audience consumes are also to be blamed, and not just star kids, he feels
Renuka Vyavahare (BOMBAY TIMES; July 20, 2020)

Recently on social media, actor Avinash Tiwary, known for his work in Sajid Ali’s film Laila Majnu and web films, Bulbbul and Ghost Stories, reacted to R Balki’s take on nepotism. A few days ago, in an interview talking about the debate on nepotism, Balki had said, “Find me a better actor than Alia Bhatt and Ranbir Kapoor and we’ll argue.” Addressing the filmmaker’s views, director Shekhar Kapur tweeted, “Have huge respect for you, Balki. But I just saw Kai Po Che again last night. Three new young actors at that time. And stunning believable performances by each (sic).”

While writer and editor Apurva Asrani agreed with Avinash, filmmaker Anubhav Sinha defended Balki, and said, “I think what he meant was that they are both truly deserving stars despite their illustrious pedigree. And I agree with that.”

Speaking about his response to Balki and the nepotism discussion at large, Avinash in a chat with Bombay Times reasoned, “Everyone who is talented should get an opportunity. When I read Mr Balki’s statement, it almost said that yehi do log talented hain (Ranbir and Alia). I am not saying that look at me, I am more talented, but there are others who could be, but do they get a chance? I got my first film as a lead actor (Laila Majnu) after toiling for 15 years. I gave 21 screen tests for it and waited for three years for it to be made. Not many people can even afford to sustain this long. I am glad we have casting directors now, but how many casting directors cast the lead actors of a big film? Has Mr Balki found a casting director to cast his leads? The lead actors are often selected by the filmmakers. So, how would he know if there are better actors out there or not?”

He further explained, “Of course, Alia and Ranbir are brilliant actors and they would stand out even if they were outsiders. If Ranbir wasn’t from a film family, he would have probably taken 10 years to get a Rockstar, but he would have still bagged that kind of a film. Talent will shine through, and good work will be rewarded, but it isn’t a level playing field. Ayushmann Khurrana has taken eight or nine years to be a mainstream hero, Kartik Aaryan delivers 100-crore films today, but he too has been acting since 2010. That doesn’t happen with someone like Sara Ali Khan, who has a Simmba even before the release of Kedarnath. That’s an amazing privilege to have.”

Avinash, however, argues that we cannot blame the star kids here. “If my father was a big actor or producer, why wouldn’t I make use of my privilege? I hold the media and the audience accountable. The audience is the consumer. If they pay and watch cinema that is also being made beyond the mainstream, then it equalises things. Laila Majnu didn’t last in theatres even for a week. Why didn’t the audience go and watch Sushant’s Sonchiriya in theatres? It was a good film. Ab sab behti Ganga mein haath dho rahe hain. Ab yeh nepotism ka trend chal raha hai, so let’s talk about it,” he said.

The actor pointed out that the film industry is big enough to accommodate everyone, so the real issue lies in the casting of big-budget films. He explained, “Around 95 per cent of people in this industry are outsiders, 5 per cent may be insiders, but the mainstream is dominated by this 5 per cent, and all the eyeballs are on them. Most star kids assure filmmakers the returns as there’s so much media attention on them. The nepotism argument is flawed. We can’t blame a few individuals for nepotism. It’s the system and culture that needs to change. As an outsider, you are just happy to get an opportunity. My fight is not for validation. It’s for acknowledgement of my existence as an actor.”

When asked what is his take on the flak that Karan Johar has been drawing in the past month, he said, “Karan Johar gets a lot of flak for nepotism, but it was he, who cast me in Ghost Stories without even taking my screen test. I didn’t know him. I am not the kind to approach people easily either. So, I have seen both sides.”

Elaborating on his beginnings in showbiz, the actor said, “I started with a Doordarshan show for the acclaimed filmmaker, the late Lekh Tandon. In 2014, I did the TV show Yudh, starring Amitabh Bachchan. I thought it will change my life, but nothing happened as no one saw it. In 2015, I did a lovely ensemble film, Tu Hai Mera Sunday. I met Sajid (Imtiaz Ali’s brother) at the end of 2015 for Laila Majnu. They liked my screen test and verbally told me that I was their guy. I was barred from doing other work. But the whole of 2016 they kept auditioning other actors as I wasn’t mainstream enough. I remember telling Sajid that there could be better looking actors than me, but there’s no one who can play that part better. It took three years to make the film and within a week of its release, it disappeared from theatres. So, you are obviously upset. Aur kitna ladein? So, over the years, you learn to let go and focus on bigger things and life beyond movies.”

After being noticed as the human-eating ape in Ghost Stories and the manic depressive in Afsos, Gulshan Devaiah says he won't look at any role as a straightforward one
Aastha Atray Banan (MID-DAY; February 16, 2020)

In Dibakar Banerjee's short film that was part of the Ghost Stories anthology, Gulshan Devaiah plays a human-size ape. The one who will eat his own daughter. Although he is unrecognisable under the prosthetics, the brutal swag comes through convincingly. And suddenly, although you have seen him in Hunterr, you are left saying, "Hey, he was good! Why am I not seeing more of him?"

Well, there is more. Devaiah is now in Afsos, where he plays a man committed to committing suicide, and the chaos that ensues. The Amazon Original series has received favourable reviews, and we are not surprised. Whether in Shaitan, or Mard Ko Dard Nahin Hota, Devaiah has managed to bring gravitas to his characters.

Right now, he is shooting in Rajasthan for Reema Kagti's web show, Fallen. He says the man-eating ape was tough to play. "Dibakar wanted a 'performance', even from behind the prosthetics. You know sometimes, you can't even move a finger [because of the weight]. It's like being locked in a small room. I had to really prep physically for it, so I could create that performance." In Afsos, he says, he tried to play a man who thinks he is depressed. "He is like a puppy, easily swayed. But the point is that he only thinks he wants to commit suicide, and is fulfilling a prophecy he has designed. The writers were very careful, especially since mental health is bang in the middle of everyday conversation. We don't make light of suicide anywhere. Every joke needs to have a context, or else it loses meaning," says the 41-year-old.

Although Devaiah doesn't have a check list of the sort of movies he wants to do, he has made sure to choose carefully. And he says, even if he gets a "mainstream" role , he would try to interpret it differently. "I think it's all about not looking at things in a straightforward manner. My characters are influenced by the way I think about life, or the world, at that particular moment. I have realised you have to be convinced of the character's agenda, and then submit to it. That's when you can do a good job of making people believe in it."

He may have the acting hacks pat down, but Devaiah admits it has taken him a while to get a hang of the business of filmmaking. "It's a hustle. Being good is not good enough. Your craft and career are two different things. It's all about having the right projection. I know my work will have the maximum impact, but attention spans are low, so you have to learn how to get yourself out there." The younger lot of actors, he says, he learns from by just watching.

And when he gets time off from work, he catches up on YouTube videos, about sneakers and guns. "I can strip an AK47 and put it back, theoretically of course," he says. He is also a history buff, the subject that "puts everything into perspective". "I watched this series on World War 2. It spoke of how the rise of nationalism was the seed. It's similar to what we are going through right now as a nation. History makes you realise how humans react, and how sorely lacking we are in balance."

Titas Chowdhury (HINDUSTAN TIMES; February 11, 2020)

Avinash Tiwary, who earned rave reviews for his performance in Laila Majnu (2018), believes that filmmakers now, have a certain faith in him and the fraternity’s attitude towards him has changed. “Earlier, people would want to work with me but they didn’t have the faith. But now, people are thinking that maybe, times have changed. I hear these things but I don’t understand them. I’m the same actor with the same talent, but now they look at me differently,” he says.

However, Avinash is practical and feels that the film industry changes every few years with the influx of new talent. He explains, “Five years down the line, their perception about me will change again. It’s about how relevant I can stay and how they will look at me. I’m in an unknown territory. I don’t know how the industry functions.”

The actor, who was last seen in the digital anthology film, Ghost Stories, says that he wants to reach a place where his name is enough to pull the audience to the theatre. “People were excited for Ghost Stories because there’s a Karan Johar in it. They are excited for The Girl On The Train because of Parineeti Chopra and Aditi Rao Hydari. The same thing had happened with Yudh. Everyone thought that I was talented because I was standing next to Mr (Amitabh) Bachchan. But from here on, I want to get into a space where I can get the audience to come and watch me. That’s something that I’m striving for,” he elaborates.

Avinash shares that he’s still getting used to the ways of showbiz and often finds himself questioning his next step. “When you don’t have a film, you can urge them to give you one opportunity. Now that I have done a couple of films, I don’t know what to do next. I used to keep wondering if I’ll ever get a film. Imtiaz (Ali; filmmaker) sir had once said to me, ‘I can only do the films that I’m allowed to and you can only do the films that come to you’. And that’s the biggest truth,” he signs off.

Monika Rawal Kukreja (HINDUSTAN TIMES; February 5, 2020)

With the kind of cinematic sensibilities he possesses — dark, deep and deranged — it doesn’t take much for Anurag Kashyap to stand out from his contemporaries. Take, for instance, his films Black Friday (2007), Dev D (2009), Gulaal (2009), Gangs of Wasseypur (2012), Raman Raghav 2.0 (2016) — the filmmaker has always explored a world that’s not too easy to relate to. In a candid conversation, the filmmaker talks about experimenting with the horror genre, collaborating with fellow filmmakers and more.

You’ve made some really dark films in the past. In what sense was Ghost Stories a different experience?
Ghost Stories gave me an opportunity to make horror that I always wanted to make. It was hard for me to explain to anyone how I look at horror, because the kind of horror that I really like are [films such as] The Witch (2015), Hereditary (2018), the more psychological ones. I love the genre now and after this anthology, I have a reference point that this is how I want to approach things.

Do you feel restricted when you’re teaming up with three different filmmakers? Is it tough to reach a consensus?
It’s not tough. I actually don’t think of it and look at it very differently in this sense. They’re very generous, there’s no pressure… nobody says that I have to adapt to what the other person feels or think should be done. All of us (Zoya Akhtar, Dibakar Banerjee, Karan Johar) are very different from each other. We’re just ourselves and that reflects in our stories, too.

What’s the future of anthology films?
This is ongoing, continuous, and consistent. This will always happen. This is something we look forward to. It’s like an annual holiday you take. Now that Ghost Stories is out, we’ll soon meet and decide the next subject. There’s so much excitement to come together and do this.

With a spurt of OTT platforms, do you feel that web and theatre can coexist?
They will, conveniently, because you’re talking to a whole new generation. For me, even before OTT platforms were launched, I was always in the web space. My audience was always downloading my films illegally and watching them (laughs). A few years ago, Gangs Of Wasseypur series was picked up and serialised in the US as a six-part series. That was my first connect with the web.

So, are you saying your films do better online than in cinemas?
I was always told that people watch my films. But at the box office, why do we just about break even? Why don’t we make humongous profits? Even films like Dev D – they’re quite a hit, but financially, they just crossed the budget and the investments, but don’t become like other massive blockbusters. That’s when I realised that I have an audience but it’s very working, educated audience that doesn’t line up on Fridays outside cinema. They want to watch movies at their own convenience, probably on holidays, weekends or late nights. So, OTT platforms have made my work available to them at their convenience. I still remember, after That Girl In Yellow Boots (2011) release on the web... the number of mails and messages I got on this film, I didn’t get them on its original release. And it’s not like twice or thrice the number; I’m talking 10 times the number. So, with that kind of visibility and accessibility, suddenly, my films got life back.

Kavita Awaasthi (HINDUSTAN TIMES; February 1, 2020)

With the advent of OTT platforms, the design and nature of storytelling has transformed. Gone are the days when actors lived from Friday to Friday. And after a scene stealing act in director Vasan Bala’s critically-acclaimed film Mard Ko Dard Nahi Hota (2018; MKDNH), Gulshan Devaiah started this year with the horror anthology, Ghost Stories. He got a lot of love from audiences for his part in director Dibakar Banerjee’s short.

Gulshan admits that currently, it’s a “truly reinvigorating time” for him as an actor as he doesn’t feel the “pressure of delivering at the box office as much” as he feels the need to give a terrific performance. “The whole notion that box-office figures are the only yardstick for success is burdening on filmmakers and actors. One doesn’t consider the social, cultural and artistic impact a film has on society. But thanks to the streaming platforms, actors like me can finally find some balance. Finally, we can focus on the stories and characters and how good and enjoyable or entertaining they are rather than the business,” he says.

Not one to undermine numbers, he insists that an actor’s career is no longer about the numbers he clocks in just on that one Friday and its aftermath. With digital invasion, he realises that his works are discovered and loved over and beyond their run at the theatres. He adds, “Streaming platforms seem to have found a model that balances art with commerce and that’s fantastic. Actors such as me can now spread our wings and fly with freedom. I am overwhelmed by the love and appreciation I’ve received for MKDNH and even Ghost stories, both of which got their maximum reach on an OTT platform. It’s a great feeling for a craftsman or artist for his or her art and craft to be relevant and I feel very relevant right now. As the great singer Bob Dylan once said “The times, they are changing....”

Monika Rawal Kukreja (HINDUSTAN TIMES; January 28, 2020)

Zoya Akhtar is a no non-sense director who understands her craft and knows what she wants from her actors. She has never put her films into any box of genres. Perhaps that’s why, when after films such as Zindagi Na Milegi Dobara (2011), Dil Dhadakne Do (2015) and Gully Boy (2019), she directed an anthology, Ghost Stories, it came as no surprise. Zoya reveals what was on her mind while making a horror film and how it felt to team up with fellow filmmakers.

After Bombay Talkies (2013) and Lust Stories (2018), this is your third anthology. How easy or tough is it to collaborate with people with different cinematic sensibilities?
The one thing common with all of us (Anurag Kashyap, Karan Johar and Dibakar Bannerjee) is that we really believe cinema should be whatever the individual artiste wants it to be. So, when everyone is liberal, it’s easy to collaborate because there’s a healthy respect for each other and there’s genuine camaraderie. Our anthologies have something for everyone because we’re so different. I’m happy to be part of this gang.

How relatable was it for you to make something in the horror genre that’s not something everyone consumes or creates?
You don’t think so much about who’s consuming it when you’re making a film because it’s a popular genre. Also there’s enough of an audience, so you don’t have to worry about that. Any story that you work on, at the end of the day, operates out of some kind of human emotions, only then it moves you, at least that’s what I want to do. So, if this is even the genre, I stick with a human story and pay attention to it in every film. But yes, here you design a move, a look, a vibe, a mood through lighting, design and sound — these are the tools you can play with.

Making a horror film can be risky where one wrong move can make someone laugh instead of scaring them. Did you have that thought while making Ghost Stories?
See, you take the treatment of the film from the story you’re telling. My story is such that it doesn’t need jump scares. It’s a slow mood story, so I treated it in a particular way and played with the camera accordingly. Just because I need to be scary, I’ll try to put that kind of effect on this, it’s not going to work. So, you’ve to decide the pitch, tone and pace of your film and be aware of it, consistent and stick to it throughout.

What made you cast one-film-old Janhvi Kapoor for your anthology?
When casting for a film, besides age and physicality, I look for that core quality in an actor that fits the character. When I saw Janhvi in Dhadak (2018), I felt there’s an innocence and a pathos she has in her. At the same time, she’s got a bit of sexiness. So, she has got a nice blend of that precocious young girl who’s also sensitive. Later, when I met her to narrate Ghost Stories and the reactions she had to the material, I knew she is on. Also, when you collaborate with an actor who has just walked in and says ‘Do what you want do, I’m here’, it makes it worth.

Monika Rawal Kukreja (HINDUSTAN TIMES; January 19, 2020)

With a lineage of films that mostly include romantic dramas and commercial potboilers, one won’t really expect Karan Johar to step on to uncharted grounds. Yet, he has done it time and again with films such as Dostana, My Name is Khan, Kalank or even his latest anthology, Ghost Stories. In a candid chat, Karan talks about why there’s a constant need to step out of the comfort zone and how the web empowers writers that in turn empowers content in cinema, too.

You’ve directed as well as produced content on the web. What’s it about this space that you find to be most intriguing?
For storytellers and content creators, it’s a Renaissance period. The digital space is just exploding, and tremendous content is coming out on various platforms. The web is empowering writers, and I’m glad because we needed to be empowered. Web content is driven by writers, and the moment they’re empowered, they’re more motivated, and therefore, are writing even better feature films. So, this explosion digitally has also empowered content in cinema.

Your production, Drive (2019), didn’t fare well. Do you regret releasing it on an OTT platform?
The initial plan was to release it theatrically, but then I realised the way the content has gone, it would be better for it to be on a digital format. And it was very brave of the OTT platform also to take the leap along with me. There are thousands of stories being told, so, sometimes you need to shake up and break the clutter with certain decisions. That’s what we did with a film like Drive. I’m not speaking about the film because that’s for people to judge.

Your latest outing, Ghost Stories, is a genre that audience wouldn’t relate to the brand Karan Johar. While directing it, how much did you personally connect with it?
Horror and I don’t connect at all, and very honestly, they’ll not happen again. This is my first and only horror story that I’ve made for Netflix. It’s not a genre that I enjoy watching, so why should I enjoy making it?

So, was it more of a challenge?
Yes, because I felt like this gives me the ability to be out of my comfort zone and tell a story being uncomfortable. I think every filmmaker should be, at one point, uncomfortable to tell a story because that challenges their core directorial spirit. So, making this horror anthology has been the most challenging schedule in my 21-year-long journey.

Why don’t we see many anthology films releasing in a theatre?
It’s a format much attuned for the digital zone because we, in cinema, are very used to the syntax of storytelling — an escalated drama, a mid-point where you come out, chat about it and go back. Here, we have four narratives, four stories that start and stop one after the other that you’re more likely to watch in your private space. What’s great about anthology is that it gets you to chat about each film and also you compare them with each other.

Starting 2020 on a high note with her web debut, Janhvi Kapoor is excited to have four film releases this year
Monika Rawal Kukreja (HINDUSTAN TIMES; January 3, 2020)

It has been over a year-and-a-half that Janhvi Kapoor has had a release since her debut film, Dhadak. And, the actor is set to cover up for this gap in 2020. In fact, she has started that right in the beginning of the year with her web anthology film, Ghost Stories, that’s already out. She has four more films — Rooohi Afza, Dostana 2, Gunjan Saxena and Takht — lined up. In a freewheeling conversation, Janhvi talks about her digital debut, how it’s exciting to be a part of films that offer variety but at the same time, why she’s not a fan of putting them into any box.

Has it been a conscious call to experiment with extreme genres in your upcoming films?
People like to divide cinema into commercial or art, but I think it’s stupid to put labels on films. Every good film that has resonated with people has had something honest or fresh to say. If a film follows a specific criteria but is hollow and made with wrong intentions, it’s not going to touch anyone’s lives. So, all the films I’m doing, aspire to say something in whatever way — comedy, horror or drama.

How easy or tough was it to be part of a horror comedy, Roohi-Afza?
It’s one of the most exciting, challenging, complicated, physically demanding and emotionally taxing roles that I’ve had the privilege of doing.

With Dostana 2, do you fear there would be comparisons with the first instalment?
Dostana (2009) became a cult classic and I hope we match that standard, fun, energy and glamour. But the story, characters and the sets are completely different and what we’ve to say is a little more emotional.

Next is a period drama, Takht. Have you already started prepping for your role?
Full-fledged prep will start soon. But when I signed the film, I immediately started learning kathak and Urdu. Although I knew we’ll shoot it almost a year later, I’ve been so fascinated by this era.

At such a young age, with a period drama like Takht, do you think there’s too much at stake?
I guess so, but I feel it’s something that might come more naturally to me than contemporary roles because I’ve subscribed to that cinema more. I prefer watching older films. Mughal-E-Azam (1960), Pakeezah (1972), Umrao Jaan (1981)… I’ve been obsessed with them and can relate to them.

You’ve just made your digital debut on Netflix with Ghost Stories. Was it more of a challenge to pick up this risky genre?
Today, I get asked a lot of technical questions about what went through my head while choosing this film, but for me it was just about working with Zoya Akhtar. The fact that the script and the character were so intriguing, moving and beautifully written, was a massive cherry on top.

As an audience, how much do you relate to horror as a genre?
I love watching horror films and observe the performances in particular. The girl who played Emily Rose in The Exorcism of Emily Rose (2005) did such a phenomenal job with her body language and voice. I loved Vidya Balan in Bhool Bhulaiyaa (2007) and Jyotika in Chandramukhi (2005).

At this stage of your career, what prompted you to make your debut on the digital platform?
I didn’t think it through like that. I think, web is a great place for content that you can’t otherwise have the freedom of exploring in feature films. Even the directors on these digital platforms don’t feel the pressure of commercial viability.

Was it taxing to switch between characters while shooting for your web film and other projects?
I didn’t have more than a day apart in between my shoots for Roohi Afza, Gunjan Saxena and Ghost Stories, and that was tough. Honestly, I was a little paranoid if I’m giving it enough, if I’m doing justice to this opportunity, if I’m present enough. There was a lot going on, but I really enjoyed that momentous phase.

Ghost Stories is a one-time watch though looking at the scale, cast and directors, this anthology film could have gone anywhere.

1. Zoya Akhtar’s story begins on a rocking note and grips you entirely. The setting is eerie and hence correct for the impact. It gets a bit long but you don’t mind. The finale is average and lacks punch. It also brings up a lot of questions, one of them being – was the horror quotient in the end just for the heck of it? The performances, however, save the day to an extent. Janhvi Kapoor is terrific and gets the accent and the body language right. Surekha Sikri is quite scary from the first frame and it’s commendable she played this part at this age. Vijay Verma as always is dependable.

2. Anurag Kashyap’s story emerges as the weakest of all. The film moves painfully slow and the scares are just not there. The narrative is also quite confusing and it takes a while to get a hang of what the makers are trying to convey. Even then, I don’t really think I got their point fully. Sobhita Dhulipala is excellent as always. Sachary Braz, Pavail Gulati and Sagar Arya are fine.

3. Dibakar Banerjee’s track is the best of all and the scariest, in comparison to the other 3. It has a great plot and the final scene is when it’s all unravelled beautifully. However, it could have been a bit more simplistic. Sukant Goel gets to play a superb character and he makes it memorable. Gulshan Devaiah too plays a part which is to be seen to be believed. A yet another fine and challenging performance from this performer! Child actors Aditya Shetty and Eva Ameet Pardeshi also do very well.

4. Karan Johar’s story is the last one and it’s strictly average. The jumpscares were predictable and dated. The executive keeps one gripped but story-wise, it’s not that exciting. The finale tries to be scary but doesn’t really work well. Mrunal Thakur proves she’s a fine performer. Avinash Tiwary goes all out and yet, remains subtle as required. Heeba Shah’s frightening expressions add to the impact.

My rating - *** out of 5!

Thrilled to work with Zoya Akhtar early on in her career, Janhvi Kapoor says the unusual treatment of horror genre made her greenlight Ghost Stories
Shaheen Parkar (MID-DAY; December 29, 2019)

Most newcomers would want to make a mark in the industry before experimenting with other mediums, but Janhvi Kapoor had no qualms about dipping her toes in the waters of digital entertainment. After making her Bollywood debut with Dhadak in 2018, the youngster is gearing up for her second outing with the Netflix anthology, Ghost Stories.

"As an actor, I am on the hunt for good work and engaging content. I look at every project as a learning experience. That has always been my approach when I select a film. I don't know where it will take me, but I hope it works," smiles Kapoor, who knows that bagging a Zoya Akhtar project for a second outing is no mean feat. Interestingly, while she features in Akhtar's short, her mentor Karan Johar is one of the four directors helming the anthology.

Ask her if she had reservations about doing a web film so early on in her career, and she exclaims, "Why would I harbour such feelings when such an exciting opportunity comes my way? I am working with Zoya Akhtar!" Her love for the horror genre also influenced her decision. "It's thrilling to watch scary flicks. I love watching them; there is fear, intrigue, and suspense. And here was a chance to be part of one."

In the segment, Kapoor plays a substitute in-house nurse tending to an ailing Surekha Sikri. She realises that neither is her patient ordinary, nor are the events in the house. "I followed the director's vision. The story is devoid of jumpscares and the tropes associated with the genre like blood, gore and screams, but it's far more disturbing." Kapoor also had to lend a South Indian twang to her Hindi dialogues.

After winning praise in Laila Majnu, actor Avinash Tiwary elated to be roped in by Johar for Ghost Stories
Mohar Basu (MID-DAY; December 12, 2019)

In Bollywood parlance, you have broken into the big league when you have bagged a Karan Johar project. So, one can imagine actor Avinash Tiwary's delight at having earned a place in the filmmaker's upcoming anthology, Ghost Stories.

"I never thought Karan Johar will cast me. As an outsider, this was a perception fed to me. So, finally, when the offer came my way, it validated my faith in my craft," says Tiwary, who — after some small but memorable roles in films — had critics sit up and take notice of him in Laila Majnu. "After [the debacle of] Laila Majnu, I had no expectations. I had waited two-and-a-half years for the film's release, but it was wiped out in a week's time. I was disappointed, but the film got a new lease of life post its release on an OTT platform," recounts Tiwary.

If Pakistani actor Mahira Khan took to Twitter to praise his performance, closer home, his work caught the attention of actor-producer Anushka Sharma. "For four months after the film's release, I had no offers coming my way. Then Anushka Sharma's production house approached me for Bulbul." Tiwary also has another promising project in The Girl On The Train with Parineeti Chopra.

On his part, the actor is most upbeat about Ghost Stories. "Karan Johar constantly seeks talent; he has his ear to the ground. He had not watched Laila Majnu, but he had heard of me. So when this project came to him, he sought me out. Working with him has done wonders to my self-confidence. Now, I feel as if I deserved this [validation] for long."

Kavita Awaasthi (HINDUSTAN TIMES; December 1, 2019)

Mrunal Thakur is basking in the success of two hit films — Super 30 opposite Hrithik Roshan, and Batla House co-starring John Abraham. But other than box office success, she has also been overwhelmed with the love that she has been receiving from the audience. “I have got so many marriage proposals on social media post Super 30 and Batla House. Messages that say, ‘Can I marry you?’, ‘You are the perfect wife material’, ‘I am crushing on you’. Such messages are so sweet and I have never heard or received reactions like this before. It is wonderful. I remember, once I was returning home after pack up of my film, this teenager met me and literally jumped on me. She gave me a tight hug and kept calling me Bulbul, the name of my character from my last TV show. When people show such unadulterated love, personally or via messages, I don’t know how to respond,” says the Love Sonia (2018) actor.

Talking about her personal love life, she says, “Love is important and I am waiting for it. I really want to fall in love. I want a man who can cook and sing for me (laughs). I want him to travel with me as I love to travel and he has to make me laugh.”

Mrunal has a number of films in her kitty. She is shooting for Rakeysh Omprakash Mehra’s Toofan, co-starring Farhan Akhtar, a horror anthology film called Ghost Stories and the Telugu remake of Jersey, starring Shahid Kapoor. She points out that she has a long way to go, “but one actor who is on my wish list is Ranveer Singh. He is a fabulous actor and bagging a film with him would be mind blowing”.

Avinash Tiwary reveals that following a major accident, he feared his career would come to an end, but soon, offers started pouring in from big production houses
Titas Chowdhury (HINDUSTAN TIMES; November 27, 2019)

Laila Majnu (2018) may have had a lukewarm response at the box office but its protagonist, Avinash Tiwary’s performance received rave reviews. The actor, who has his hands full, reveals that being an outsider, he didn’t have films served to him on a silver platter post the accolades he received for Laila Majnu. “For the first four months, I was sitting at home. There were about eleven scripts that came my way which was a novelty for me, and a validation that so many people wanted to work with me but they weren’t the projects that I wanted to do,” he says.

He says that he’s “enjoying this phase a lot now”. Talking about the time when filmmaker Karan Johar approached him for digital anthology film, Ghost Stories, he shares, “I got a call and I was told that Karan wants to work with me in Ghost Stories. I couldn’t believe it because I’m not his kind of actor. I thought Karan wouldn’t even know me. He hasn’t watched Laila Majnu. He told me that he heard of me and had been wanting to work with me but he didn’t know how to reach out to me!”

Avinash reminisces about the time when he feared that his career will come to an end following a major accident. “After Laila Majnu released, I went on a trip along with a few of my friends. I met with an accident there. I fell off the bike and my face was bruised that made me think that my career is over. I was bedridden for a month and a half. With red eyes and a huge scab on my face, I had to go for the look test for ’83,” shares the actor who also reveals being offered a comic caper with a big banner “that didn’t work out”.

Commenting on landing plum projects, he says with a smile, “At the same time, I tested for Bulbul (web show). The casting guys had to put makeup on my face to hide the scar and I got the part somehow. After a while, The Girl On The Train came my way. I had worked with Ribhu (Dasgupta; filmmaker) earlier. He said that there’s not a lot of money but the part is great, and so I did that.”

Kavita Awaasthi (HINDUSTAN TIMES; November 2, 2019)

This year’s Diwali was a smashing one for actor Mrunal Thakur. She not only celebrated the festival with her friends and family but also basked in the success of two of her hit films — Super 30, opposite Hrithik Roshan and Batla House, co-starring John Abraham.

“The fact that I am shooting for Rakeysh Omprakash Mehra’s Toofan, co-starring Farhan Akhtar, is quite exciting too. The enthusiasm on set is unbelievable,” says the actor, adding, what drew her to the project was the chance to work with Mehra and Farhan. “They are both so talented. The combination is deadly. I am learning so much just by being on the sets and observing them. I remember watching the inspiring Bhaag Milkha Bhaag (2013). I have been a huge fan of Farhan’s work and it is amazing to see the conviction he brings into his performances. I believe when you wish for something, it comes true and I had wished to work with them and here I am,” gushes Mrunal.

She refutes rumours that she is working out to get an athletic body for the role. “I have chopped my hair for the role and it felt good to experiment with my looks. My job allows me to sink into characters, changing my mental makeup and physical appearance. Playing different roles gives one a lot of perspective about our real lives and that’s why I feel every film of mine is a chapter in my life,” she says.

After the success of the Super 30 and Batla House, “few things have changed and few others haven’t”, but Mrunal is focused on looking forward to a bunch of new projects including Toofan and a horror anthology film called Ghost Stories. “What has changed for me is that I am getting the opportunity to work with filmmakers and actors who I wish to work with. It still feels unbelievable. When they share their experiences on set. I get to learn a lot. I am glad that I am getting the chance to play varied characters in my future projects. Ekta Kapoor and Karan Johar have always been there for me. I have known Karan since 2016 and it is a dream come true moment for me to be working with Karan. I was in Switzerland when I heard that I am doing Ghost Stories and on my return to India, we began shooting. When he narrates a story, he whisks you into the world of his creation. He is a true filmmaker. The experience of shooting with Karan turned out to be way better. To be able to work with such different filmmakers is a huge deal for me,” she signs off.

Headlining web shows Made In Heaven and Bard Of Blood, Sobhita Dhulipala discusses taking the unconventional route to Bollywood
Shaheen Parkar (MID-DAY; September 27, 2019)

After Made In Heaven made her a bona fide star, critics and audience have been keenly watching the next move of Sobhita Dhulipala. To her credit, she hasn't disappointed. If her Malayalam film, Moothon, recently did the rounds of Toronto International Film Festival, her digital outing, Bard Of Blood — that drops online today — too has generated buzz. The espionage thriller sees her as Isha Khanna, an analyst in the Intelligence Wing. "Since I have never attempted this genre before, I was instantly attracted to the script," she begins.

Point out that she has earned a place in two of the biggest digital offerings of the year, and she says, "When I signed Made In Heaven, I had no idea about the web world. I signed it before the digital medium boomed. It's an edgy show, so we had no clue how it would be received. It was a creative gamble. Every project I have done, right from my first film Raman Raghav 2.0 (2016), has been a creative gamble."

The move has paid off — up next, Dhulipala will be seen in The Body, opposite Emraan Hashmi, and the anthology, Ghost Stories. Taking the unconventional route to Bollywood, however, did not happen by design. "In the beginning of your career, you are not spoilt for choice. You can only choose not to be part of something you don't believe in," she reasons.

If her choice of projects are uncharacteristic of Hindi cinema actors, she has Anurag Kashyap to thank. "Working with him was like character building. He moulded my understanding of cinema. Raman Raghav 2.0 opened at Cannes and my visit to the film festival changed my worldview."

The actors have been signed on to play the leads in filmmaker’s foray into the horror genre
MUMBAI MIRROR (September 18, 2019)

Filmmaker Karan Johar’s last venture on the web was much talked about. Starring Vicky Kaushal and Kiara Advani, the story that explored lust did wonders for the actors’ careers. Now, Karan has got Avinash Tiwary and Mrunal Thakur on board for his next, a short story.

Avinash, who received rave reviews from the critics and the audience alike, for his acting debut in Laila Majnu, and Mrunal, who was seen in acclaimed films like Love Sonia, Super 30 and Batla House, will play the leads in the short film that revolves around the horror and supernatural genre.

Karan, who is known to promote emerging talent, will be directing a horror flick for the first time. Both Avinash and Mrunal have proved their talent in their debut films and are looking forward to working with the director.

While the film has been creating buzz as this is the first time Karan is venturing into the horror space, the filmmaker has reportedly termed this debut of sorts as “not only hugely challenging but also exceptionally exciting”.