A trained filmmaker and social worker, Malhar Patekar, son of the late actor Nana Patekar, says he has drawn strength from his parents’ “resilient nature” during the tough time of losing his father recently.

Speaking to us, Malhar shares, “When growing up as a kid, I imbibed a lot of strength and resilience from my parents. Also, whatever it looks like from the outside to people doesn’t matter to me; in reality, we as a family were strongly and emotionally connected even my uncle and cousins, for that matter. Mujhe sab ka pyar mila hamesha and that matters.”

“Itna sab kuch viral ho raha, woh kitna ghalat hai. Just because we don’t share family pics on Insta, that doesn’t mean we don’t bond. Even after parting ways, my parents were on a good note; 38-39 saal ka bond tha, and things are never what they might look like… The things I read usska jawab yeh hain ke woh akele nahi thhe, kabhi nahin thhe, nor was he unwell because we all never left his side; one of us was always with him. He was very active and doing two and a half hours of working out in a gym; youngsters nahin kar pate, that was his level of fitness.”

Recalling the day he lost his father, Malhar says, “Nana ji was in Goa, and my cousin Prasad, who used to look into all his entertainment-related meetings, was sent off by him to Mumbai as he had to shoot for KBC Marathi with Madhuri ji (Dixit) in a day; also, my other brother, Amay, only left after settling him upstairs in the house. Nana ji was someone jo kabhi kisi ko pareshan nahi karte. So, when he felt uneasy, he only texted him, and it was only after some time that he called him. He reached immediately, but it was late. I got a call from my mum around 5 am while I was in Pune. Uske baad kya hua kuch yaad hi nahi, I felt the world around me stopped.”

On Nana raking less work of late, Malhar shares, “He didn’t want to do films as repetitive ho gaya tha, so he wanted to make his own stories. He believed in evolving as an actor, and that he had in mind. I remember him telling me that ‘kaam ek jaisa nahin hona chahiye.’ He did Khamoshi because he wanted to show that Nana can deliver his best without those heavy dialogues associated with his numerous characters. More recently, it was social work that kept him at peace and happy; working on bringing schools to Kashmir and also working towards farmers was all that had been going on. And that is now my prerogative, too.”

Malhar also shares his thoughts on the reactions: “Without naming anyone, I want to say that the case people are bringing up unnecessarily is already over. Judiciary se clear hua hain, case khatam ho chuka; phir bhi bol rahe. Aise logo ko main unko kuch nahi boluga; joh sach hai wahi rahega, bhagwan unka bhala kare, this is what I have to say to them.”

Mumbai: “I don’t know whether I will be here tomorrow,” he said at an event in Goa, days before his unexpected passing. “We all have to go someday. That time comes in the life of everyone. But before that time comes… we have to think… am I able to do what I want to do? Have I made the effort?”

In Vishwanath ‘Nana’ Patekar’s case, the legacy bears out the effort. His screen presence rarely depended on conventional heroism. His strength lay in making characters feel unpredictable, wounded, volatile or quietly dangerous, often within the same scene. Over a career spanning nearly five decades in Hindi and Marathi cinema, Patekar moved effortlessly between rage and restraint, menace and vulnerability, theatricality and deadpan humour.

On Thursday, the voice that had championed the cause of the underdog on screen and oppressed farmers in real life was stilled. Patekar (75) was declared dead at 5.20 am Octoober 8 after having suffered a heart attack in Goa’s Dona Paula. He was found lying on the floor and taken to Manipal Hospital where doctors tried unsuccessfully to revive him. He had reached out to a friend after experiencing discomfort around 2.30 am but his message went unseen till an hour or so later.

Patekar’s remains were later transported to Donje village, Pune, where he was cremated on the grounds of his own farmhouse.

Born on New Year’s Day January 1, 1951, Nana Patekar came from a working-class Maharashtrian family of Murud-Janjira. He had to shoulder the burden of earning a livelihood at the age of 13. Despite his sunburnt upbringing, his fondness for art prompted him to enrol at JJ School of Applied Art in Mumbai.

He had recalled in an interview how he would paint posters and occasionally even zebra crossings on the road to supplement his income. Nana worked in advertising for two years before making his way into theatre, onward to cinema. On stage he found a fitting mentor in director Vijaya Mehta. His play Purush ran for 16 years.

He made his film debut in Muzaffar Ali’s ‘Gaman’ (1978) which was followed by the success of Jabbar Patel’s ‘Sinhasan’ (Marathi, 1979). Nana’s career took flight with impressive performances in Salaam Bombay, Ankush and Parinda.

Awards and accolades followed with Krantiveer, Prahaar (which he directed), Yashwant, Ghulam E Mustafa and Tirangaa. His popularity grew through a screen persona that blended street angst with neo-nationalism. His personal reputation as a short-tempered artist with a mercurial temperament often fed into the public image. Occasionally, Patekar would break out of the mould to do a quirky, witty film like Raju Ban Gaya Gentleman or Thodasa Roomani Ho Jaaye.

The actor lived out the slogan ‘Jai Jawaan Jai Kisaan’ issued by former PM Lal Bahadur Shastri. Nana joined the Territorial Army as a captain in 1988, underwent training for his film Prahaar, and later served with the Maratha Light Infantry during the Kargil War. The public-spirited actor also instituted the NAAM Foundation to help tackle rural distress in Maharashtra.

Yet the ‘angry young man’ did face a few controversies, mainly allegations of sexual harassment levelled by actress Tanushree Dutta during the MeToo movement. Nana subsequently steered clear of the limelight for a few years. In later years, he made a comeback with films like Raajneeti, Natsamrat and Kaala with Rajinikanth.

He is survived by his wife Neelakanti and son Malhar.

(With inputs by Aarushi Mehrishi)

Elli AvrRam is at a stage in life where personal growth and emotional well-being are influencing the choices she makes, both on and off screen. As she navigates a difficult personal phase, the actress says she is learning to embrace what life brings while being mindful of the work she takes on. During a recent visit to Goa, she spoke to us about healing, finding calm here and choosing roles that feel right.

Elli is currently healing from a painful heartbreak, an experience that she feels has also brought personal growth. “I’m currently healing from a painful heartbreak. I guess I prayed for growth, so God did what He had to do, because we always grow from what breaks us. At least, that has been my experience in life,” she says.

For her, moving forward means consciously choosing growth rather than remaining in a victim mindset. “It’s important that we choose to push through and aim for victory over a victim mindset. It’s a journey of one step at a time,” she adds.

Marriage, however, remains something she continues to believe in. “Marriage is definitely something I’ve always wanted and still believe in. Now, if it’s in my kismat or not, only time will tell,” she says.

However, she is clear that loneliness will not be a reason for her to settle. “I’ve always been clear that I will not compromise on it just because I’m lonely, because that would be like signing up for a funeral,” she says.

Elli’s favourite Goa memory dates back to 2020, when she spent Christmas and New Year’s Eve in the state. “It was so beautiful to experience the celebrations here. On January 1, I woke up and went to the church first thing in the morning and truly enjoyed the blissful moment,” she recalls.

She says Goa’s slower pace also helps her unwind. “I love the escape from hustle culture, and the locals are very kind. There’s also another kind of stillness in the air. Spending time in Goa helps me calm my nervous system, and nature charges me up,” she says.

At this stage of her career, Elli says she is drawn to roles and scripts that align with where she is emotionally and personally.

“My role as Alicia in Chumbak came to me while I was going through a tough time personally, and it brought so much joy to me while reading about the character. It felt right to do it,” she shares.

The actress also stresses on the importance of looking after one’s mental and physical well-being while taking on demanding roles. “It can be extremely draining when you portray something serious on screen while you’re going through a lot of stress in your life off screen simultaneously. So, one has to take care of oneself and not get burned out physically and mentally,” she says.

Who does not remember the greenish-blue-eyed newcomer who made her Bollywood debut opposite Salman Khan soon after passing out of school? Sneha Ullal shot to fame with Lucky – No Time For Love, making her debut at just 17 opposite Salman, who was 39 at the time. The actress, who recently visited Goa, spoke to Goa Times about her journey since then, the kind of roles she now wants to explore and her enduring love for the state.

While the film brought her instant recognition, acting was never something she had originally planned to pursue. Looking back, Sneha says aspiring actors need to be prepared for much more than just the craft. “It’s not just about the talent. It’s so much more,” she shares, advising those looking to enter the industry to “be mentally and physically prepared.”

Sneha has maintained that the comparisons with Aishwarya Rai Bachchan never bothered her, saying she was too young to be affected by the attention. Today, she is more focused on the kind of work she wants to take up. “I am more than ready to give everything a go if opportunity presents,” she says. The actress is now keen to explore challenging roles, particularly characters that take her away from the conventional glamorous image.

“I would love to do something like the recent hit Obsession or something really unglam. A more serious role. Non-smiling. And very fierce. A lawyer maybe or a doctor. Grey’s Anatomy style,” she adds.

She is currently working on ArdhNayak, a festival film set in rural Bihar in the 1950s, apart from a Telugu horror drama. For Sneha, the focus now appears to be on exploring different shades as an actor and taking up roles that allow her to move beyond the image associated with her debut.

Goa continues to hold a special place in Sneha’s life. “I have always loved Goa. No matter how many times and places I fly to, Goa feels liberating. Mainly because I love beaches and driving between dense plantations. Fortunately, parts of Goa still have that vibe,” she says. She says she has always preferred the quieter side of the state.

“I do love the quieter side of Goa. Having said that, I have never come to Goa and abused it. I have always been amidst the lush greens or chosen a beach hotel and just lay still,” she shares. In North Goa, Morjim remains her preferred destination. “In the north, I prefer Morjim as it’s quieter and I find privacy, and I like a few beach-facing properties there,” she says. And while she has already explored parts of the state, Sneha says there is still more to discover. “Next time I visit, I will discover more of Agonda,” she adds.

Actor and producer Pooja Batra has built a career spanning Bollywood, international projects and film production. Her debut production, Echoes Of Us, was screened at Cannes and Venice. During a recent visit to Goa, she spoke to us about the state, her evolving career and the need for greater agency and representation for women in the film industry.

Pooja first visited Goa as a child on a family holiday with 15 relatives. She shares, “It was a full family trip — both my masis and their families, my parents, my nani — we were 15 of us in total, eight cousins and seven adults.”

Her connection continued over the years. She adds, “I've always loved Goa. I've come here with family, with friends, with boyfriends, with better halves — in every phase of life.” She also shot Haseena Maan Jaayegi here, with Jimmy Gazdar’s house in Aguada used as her character’s home.

“I love the vibe here, when done right, it's a mix of Costa Rica and Ibiza,” she says. She further shares, “What do I enjoy most? Honestly, everything — the people, the place, the greenery. The pace of life here is just different.” She is, however, concerned about “so much construction and so much land being felled.” Her latest visit was for a shoot with friend Asif Merchant and her first-ever yoga retreat in India, which began on the 18th.

Pooja has been exploring different aspects of filmmaking. “As an actor, I just finished working on a Russian film called Magic Lamp — in Russian, Volshebnaya Lampa,” she says. She also turned producer with Echoes Of Us, starring Deepak Tijori and Iulia Vantur and directed by Joe Rajan.

“We won over 80 awards, both nationally and internationally, and it was screened at the Cannes and Venice Film Festivals this year,” she shares, adding that she is now developing two more films for which she has acquired book rights.

Pooja would also like to return to Bollywood in a bigger way. “I would absolutely love to work in Bollywood again in a bigger way if I like the set-up and the role offered,” she says. Having worked on The Rookie, Lethal Weapon and SEAL Team, she further says, “For me it's always about the story and the character, no matter where it is.”

Asked about the recent row involving Janhvi Kapoor and Peddi, Pooja says the issue goes beyond one actor or film. She shares, “I have known Janhvi since she was a student at the Lee Strasberg Institute in Los Angeles. She is a hardworking, sincere girl, and what happened with Peddi is not just about her.”

She feels the controversy highlights a larger problem with how women are portrayed. She adds, “The objectification of a woman in Indian cinema is pathetic. It is weak writing.”

She questions what it means for newcomers, saying, “If an actress with such strong industry backing, with a big film, a big director, a big co-star, can still find herself in a situation where she is filmed that way and has to face that backlash, what chance does a newcomer have?”

On whether women have more power today, she says, “Yes, on paper we talk more about consent, about body image, about equal pay, about working hours and working conditions. Social media has given us a voice to speak up. But has the power really shifted on set, in the writing room, in the edit room? I don't think so.”

She further says, “Until we have more women writing, more women directing, more women producing and actually green-lighting films, this won't change.”

In April, director Mohit Suri announced that he would reunite with his Saiyaara (2025) stars Ahaan Panday and Aneet Padda for another romantic offering. Well, it’s almost time for the Saiyaara team to go back to the set. mid-day has found out that Suri will kick off the yet-untitled movie, backed by Yash Raj Films, in Mumbai in October before taking it to Goa. 

A source shared, “It’s an unconventional and a quirky love story. Mohit conducted the look tests in July and August. From October, he will kick off the shoot at an indoor set at YRF Studios in Andheri.”

We’re told that the first schedule will focus on the lead characters’ introduction sequences and some scenes at their respective homes.

“Then the love story will move to Goa in November. Producer Akshaye Widhani was clear that he didn’t want a bubblegum romance. It’s a mature and unconventional love story that is right up Mohit’s alley. Unlike Saiyaara, this movie will have action as well,” added the source.

If things go as planned, the project will be wrapped up by December.

Panaji: A guitar. A high chair. A final bow. Remo Fernandes fuelled his career with restless energy, cross-language hits and a stage presence that couldn’t sit still. His closing act came sitting down.

Indian pop-rock’s road warrior called time on his concert career at 73 and ended a 6-decade run with a live performance in London, saying he could no longer give audiences “100%” of himself.

Known for prowling every inch of a stage, Remo sang Sunday night’s show at a UK-Goan festival seated on a high chair, delivering favourites in English, Konkani, Portuguese, Hindi and French. The audience responded with thunderous applause, singing along to “Humma Humma”, “O Meri Munni”, “Maria Pitache” and even requesting “Pyaar To Hona Hi Thaa”.

“I’m used to moving around the stage. It was extremely constricting and limiting doing a show sitting on a high chair. Besides, in that crouching position, my lungs felt restricted for singing,” he told TOI over the phone from UK.

The Padma Shri recipient said he would not continue with seated performances. “I feel I’ll be cheating on my audience and myself if I’m not able to give 100% of myself.”

Remo said a mild stroke after his third Covid vaccination affected movement of his fingers. Persistent vertigo, worsened by a fall that required surgery, has left doctors advising him against performing standing up because of the risk of another fall.

Calling time on live concerts leaves him with mixed emotions. “On the one hand, I’m happy as I’m tired of performing... on the other hand, I guess I’ll miss it sometimes.”

His journey began at age 5 in then Portuguese-governed Goa, singing a Portuguese waltz with a banjo in Panaji. By 14, he was writing love songs. Architecture studies in Mumbai led to Indo-Western experimentation before hitchhiking across Europe and North Africa, busking, writing songs and poems, and eventually returning to Goa.

Remo went on to become one of India’s biggest-selling rock musicians before crossing into Hindi pop and film music, earning gold, platinum and double-platinum records, winning international honours and sharing stages with Jethro Tull, Led Zeppelin, Queen, Zakir Hussain, Trilok Gurtu and Eurythmics.

Now dividing his time between Portugal and Goa, he says there is no new project on the horizon after completing his autobiography and an opera on Mother Teresa. Instead, he hopes to spend his days reading, travelling and watching films. “Goa is home, however spoiled it is... my home in Siolim keeps bringing me back.”

No farewell tour. No curtain call stretched out over months. Just one final concert in London. Remo played his last live set. His music still soared. His feet stayed still.

That Goa trip with friends — the one you keep talking about and social media never seems to stop talking about — has become almost a tradition. Even filmmaker Imtiaz Ali has a memorable Goa trip of his own, which he recently shared at the launch of the state’s first community radio station in Panaji on Saturday.

Imtiaz’s first trip to Goa was in 1993, after he and his friends earned some money by staging a play. With their first earnings in hand, they decided to head to Goa. “That was our first earning. I hired a bike and went to all kinds of places. That was the craze of being in Goa,” the Main Vaapas Aaunga director recalled.

But the trip also coincided with a significant moment in his life. While his father believed he was studying in Delhi, Imtiaz was beginning to question the conventional career path he was expected to follow. Around the same time, he had told his father that he did not want to pursue the UPSC examination or become an IAS officer.

“My father had no clue about this trip, as I was supposed to be studying in Delhi for UPSC. But at the same time, I had told my father that I didn’t want to do UPSC and be an IAS officer,” he said.

Instead of discouraging him, his father gave him the freedom to choose his own path. “My father became a very important person to me. He was the one who supported me and said, ‘You choose the line of your choice but do the best in it,’" Imtiaz recalled.

Imtiaz was speaking at the launch of Goa’s first community radio station in Panaji, where he was joined by actor Rahul Bose and actress Bhumi Pednekkar.

Prabhas has gone back in time to the World War II era — on screen, of course. The superstar and director Hanu Raghavapudi are currently shooting one of the most crucial portions of their period drama, Fauzi, in Hyderabad. mid-day has learnt that for the leg, the unit has recreated an elaborate Japanese Army camp of the 1940s at Ramoji Film City.

A source close to the production revealed, “The World War II backdrop is integral to the story. The director wanted every detail of the Japanese Army camp to feel authentic. The team has spent considerable time on the production design to recreate the period as accurately as possible for the screen.”

From what we’ve heard, Prabhas will continue shooting for Fauzi — that is reportedly set against the backdrop of the British Raj in India and sees the actor play a soldier — till July-end. After that, he will turn his attention to Spirit, his cop actioner helmed by Sandeep Reddy Vanga.

An insider said, “The major schedules of Spirit have been wrapped. Soon, the team will move to Dehradun and Goa for two stints.”

When Sameera Reddy arrived in Goa for what was meant to be a 10-day holiday in June 2020, she was looking for a break from Mumbai's relentless pace. She never left. Seven years later, the actress has built a life in Bastora, North Goa, that is intertwined with the rhythms of nature — one where compost replaces garbage, homegrown produce fills the kitchen, and her children learn life lessons from the outdoors rather than screens. For Sameera, making Goa home was never just about moving into a new house. It was about embracing a different way of living.

Step into her property and you'll find more than just greenery. Mango, chikoo, coconut, bimbli, areca nut, breadfruit and banana trees dot the landscape — many planted by Sameera herself. "We also have our own vegetable garden where we grow spinach, salad leaves and other seasonal produce. A lot of what we eat comes directly from our garden," she says.

Nothing goes to waste. She shares, "The banana flower goes into our bhaji, the stem is used for healthy juices and, of course, the fruit becomes everything from snacks to banana bread. It's all pesticide-free. When the harvest is abundant, our neighbours and friends go home with bunches of bananas." If the family wants a cup of lemongrass tea, they simply walk into the backyard.

"I'm blessed that my children are growing up close to nature. They're eating boiled jackfruit seeds as snacks — that wouldn't happen in a city. If they spot a snake, they know not to panic. They simply move away and respect its space,” she shares.

One of the biggest changes Goa brought into Sameera's life was composting. "I knew absolutely nothing about it before moving here," she admits. "Today, all our wet waste is turned into compost and goes back into the soil. No wet waste leaves our home. For me, that's been a huge transformation."

The journey wasn't seamless. There were failed attempts, plenty of reading and hours spent watching tutorials. "We failed a few times when we started. I did a lot of research, watched YouTube videos and kept learning. Eventually, we figured it out," the actress says.

Sustainability, Sameera says, isn't about grand gestures. It's about everyday choices. She adds, "We should try to save water and make use of what we already have around us. We have to be conscious about not wasting resources. My car always has two or three cloth bags. I make sure I don't bring plastic home."

Of all the lessons Goa has taught her, perhaps the most meaningful is the spirit of community. "The best part about Goa is the way people share. I never experienced this kind of culture in Mumbai. Here, people exchange fruits, vegetables, plants and produce simply because they have enough to share. It's taught me the joy of giving and the beauty of living together," she says.

Well, I don’t really like labelling myself. It’s funny to say, “I am a mom or an entrepreneur.” That’s like being put in a box. I feel I’m a little bit of everything, but if I’ve to give myself a label, it would be ‘mom’.

My day starts by waking up with my children and sending them off to school. Of course, they are grown-up big boys now, but I still see them off. Then, I hit the gym. After that, I take a couple of meetings related to my restaurant. In the evenings, I like going out with my husband (businessman Shakeel Ladak). So, it’s pretty much a simple life. I like it that way.

Every year is different and you look back at things and wish you did certain things differently. When I had a question, I used to ask my mom and Malla (Malaika) and they both would be like: “Oh, we have forgotten.” So, it is pretty much your own journey with your children and husband. Organically, through mistakes and things that have not panned out the way I thought, motherhood is like a wakeup call. It’s an emotional journey but very fulfilling. I cannot think of my life in any other way, and my two children are the most important beings in my life.

I keep apologizing to Azaan a lot. I tell him: “I learnt from you and the mistakes I made!” When Rayaan came, things were a lot easier. I was a pro the second time around. With my first child, every moment was overwhelming. I would panic if he had a fever or sometimes when I thought I was not feeding him enough, and things like that. The second time around, things were easier as I had more experience. Of course, I had moments with the younger one as well, but it was still easier.

Azaan is 16 and Ray is 13. I did have my moments of teen issues, but they both are genuinely good kids. Little hiccups will always be there but then parenting is a little bit of friendship too, so as parents you need to balance the situation as you go along.

When there's paparazzi, they run! I tell them to stand for one picture, but they find it cringe (laughs). Then, of course, there are certain things we are particular about since they are at an impressionable age. As teens, they want to go out but then there’s an age limit. We tell them not to get carried away since there is exposure to a lot of things.

Sometimes, you have to take things with a pinch of salt. I believe your kids should be transparent with you; they should not hide anything. They look at me more like a friend, so thankfully both children confide in me and Shakeel all the time.

I think I’m pretty far removed from Bollywood now. But my sons have a little concept of it now because their aunt is very famous. Sometimes, when they are out, they get clicked, but I think it’s not brought home. It’s not a major conversation. It doesn’t affect them…it’s no big deal. Right now, the only excitement kids have is going out and partying with their friends. So Azaan gets to go out a bit. I know all his friends. It’s very important to know if they are in a safe environment and whether he’s hanging out with the right crowd. This makes a huge difference.

Earlier, I didn’t do anything. I gave my complete time to my children when they were smaller. It was during the pandemic that I considered opening a restaurant in Goa. Sometimes, my mum took care of them at home. At other times, my kids would join me for work trips. The shift automatically happened. Kids need to see their mother working. I try to strike a balance between being a stay-at-home mom and a working mother. The grounding was very real.

They used to have me in their face 24x7. At some point, I felt I needed to distance myself a bit and let my kids see me working. I was a helicopter mom, and then the kids were tired of seeing me all the time (laughs). Now they are super proud of me and the restaurant. They take pride in talking about it. They are learning that dreams do come true and hard work pays off. Even for Malaika and me, our mom was always a working mom. She’s done it forever. So, the work ethic is ingrained in us since childhood. Our children also know that. Children growing up need that inspiration.

Shakeel, my husband, has always held my hand. I will give him full credit. Anything I want to do, he supports me and encourages me throughout. He is the backbone of our family. Touch wood!

People don’t see the normalcy of celebrity life. People think celebrity moms are “spa moms.” The impression is such. At the end of the day, we are no different from anybody. When people see us in our natural habitat, they say, “You are so normal.” Obviously, we are not abnormal! It’s the work that gets you fame and scrutiny. Like my parlour girl should be my hero. She comes from so far away, and works all day. People are all the same and very normal and so are celebrities.

Hundreds of times! Like I had put on weight in the past so people have been pretty brutal while commenting on social media. Sometimes, I do look at comments, and it irritates and hurts. You feel bad for a day or so. Shakeel keeps telling me to not read, but when you’re scrolling, you do tend to read a few comments. These trolls have no work. They will comment on everyone, but it hurts.

New moms just need to give themselves a pat on the back. They should know they are doing a great job. As a new mom, you are always overthinking. You don’t give yourself too much credit for giving birth and looking after the human you carried for nine months. Every mom should know they are doing their best. Do not get influenced by others. Don’t look at someone else’s journey and think why is mine not the same. Don’t look at anyone for validation. Do everything to the best of your abilities.

I want to raise happy children who are content with the way they look, with whatever they will do in their lives. Not because I am doing this interview, but I honestly believe that if you have happy and healthy children, you are blessed.

It has been a strong few years for Abhishek Banerjee, who is celebrating his 41st birthday in Goa. The actor is building a home in the beach state and ringing in his birthday there. Known for delivering impactful performances regardless of screen time, Banerjee admits he is as surprised as anyone by the range of characters he continues to juggle across projects.

He believes that while people differ, emotions remain universal. “We all have the same agony, angst, pain, love, empathy, and sympathy, just the degree varies from character to character. I bring that in my performance, but also keep it close to [my real personality]. Gautam, my character from Stolen [2025] is very close to how I would react to a situation. I feel that putting yourself in different situations helps with the process,” he says.

He adds that directors, along with the make-up and costume teams, play a key role in shaping a character.

For Jana from the Stree franchise and Bhediya (2022), he tapped into his childhood. “I was a bondu bachcha when I was a child. I tapped into that to play Jana.” 

For Compounder in Mirzapur, he leaned on real-life bonds. “Divyenndu and I have been good friends since college. I played his friend like in real life, with the only difference that this friend can kill,” he smiles. Banerjee confirms both Munna and Compounder return in Mirzapur: The Movie, but stays tight-lipped on details. “Their friendship and sacrifices are back… we ate and drank together, and bullied each other on set [for fun].”

Despite advice against revisiting a small role, he remains unfazed. “If I’m getting an opportunity to earn more money from one tiny role and go back to the audience, and share their love for the character, then why not?”

Marking International Dance Day a day after the occasion, actor-producer Richa Chadha has chosen to revisit one of her long-standing passions, belly dancing. She is set to travel to Goa for an intensive five-day course aimed at deepening her understanding of the dance form.

A few years ago, while preparing for a special number in one of her films, Richa trained in tribal belly dancing under internationally renowned expert Olga Meos in Kazakhstan. What began as preparation for a role soon evolved into a genuine passion. Known for its intense core work and precise body isolations, the form became both a fitness tool and a means of creative expression for her.

She later refined her technique with Mumbai-based instructor Shaina Lebana, committing herself to consistent practice. Even during the lockdown, Richa continued her training through online sessions. Apart from belly dancing, she is also trained in Kathak, having learnt the classical form for nearly a decade during her childhood under Pandit Abhay Shankar Mishra.

After stepping away from belly dancing due to professional commitments, she is now returning to it with a more immersive approach. The upcoming course in Goa marks a renewed phase in her journey with the form, driven purely by personal interest.

Speaking about her decision, Richa says, “I got back to dancing about six to seven months after my delivery and reached out to Dipika Vijay, who is an amazing teacher. What began as an exploration of belly dance as therapy during my postpartum phase has now grown into a strong parallel interest. After a gap of a few years, I felt the need to reconnect with it in a more dedicated way. This course in Goa is not for a role or a performance; it’s purely for myself, to learn, to grow, and to fall in love with the form all over again.”

In March, mid-day reported that Sunny Deol had quietly kicked off his next, the working title of which is ‘Antony’, in Mumbai (Sunny goes full steam ahead, March 28). Now that the Mumbai leg is wrapped up, the senior actor is heading to Goa. Nope, not for a well-deserved break, but for more work.

Sources have told us that director Balaji Ganesh has planned a month-long schedule in the state, where the leading man will shoot some critical fight sequences.

A source revealed, “This is where the story’s scale expands. The movie is about Sunny’s cop character trying to bust a crime syndicate in Goa. Naturally, some of the film’s biggest action set-pieces are planned here. A major fight sequence involves a high-speed pursuit along the coastal roads, followed by combat set against the shoreline. The unit is also planning a night shoot featuring explosions and heavy-duty stunts, with Sunny sir performing a large part of the action himself.”

The movie also stars Jyotika, and Vijay Varma as the antagonist.

Ishita Dutta, recently in Goa for the shoot of Drishyam 3 starring Ajay Devgn, Tabu and Shriya Saran, describes the state as one of her favourite escapes.

“Goa is close to Mumbai, the weather is similar, and it’s ideal for travelling with kids. The resorts and food are wonderful; I often say Goa has some of the best restaurants in the country. I find immense peace and freedom by the beach,” shares Ishita, who spent time here during both her pregnancies.

She reveals that resuming work after having her second baby was unplanned. “I didn’t expect to return so soon. I was planning a family trip when the Drishyam team called. My husband Vatsal encouraged me to take it up, and I’m glad I did. By the time filming began, our daughter Veda was six months old," shr says.

The actress went through a difficult health phase. Diagnosed with gallbladder stones during her second pregnancy, she underwent surgery two months after delivery. “It was an extremely painful period. I lost around 16 kilos in an unhealthy way and became very weak. The first few months with my baby were challenging,” she shares.

Balancing work and motherhood is possible because of family support, she says. “With two young children, you need family. My parents and in-laws have been my biggest strength," adds Ishita.

Kavita Kaushik is back in Goa, her happy place, and the return feels as natural as breathing for someone whose bond with the state goes far beyond holidays. Recently sharing a sun-soaked picture from Goa with the caption “When in doubt, head to Goa,” the actress reiterated that the place continued to be her go-to destination whenever life called for a pause.

In a chat with Goa Times, Kavita said, “It's not just in my case; I think anyone who’s been to Goa wants to go back again and again. You can never get enough of Goa. It’s the capital of rejuvenation, the capital of vacation. Anytime I want to be in the sun, eat shack food and just slow down, I head to Goa.”

The F.I.R actress had lived in Goa for four years before moving to Lonavala last year, a decision she describes as purely practical. “The only reason we shifted to Lonavala was the extreme heat and humidity. We have a beauty brand where everything is made from natural herbs, flowers and leaves. In that heat, my potions would often get spoiled. Lonavala is much more suitable for my ingredients. Even I couldn't deal with the heat, so for my health and business, we took that decision,” she explained. 

Despite relocating, the emotional connect with Goa remains unshaken. “I miss living here. That’s why I keep returning whenever I get the opportunity,” she said.

Looking back at her years in Goa, she says it’s the people, more than the place, that made it home. “Everyone in the colony — the people in the neighbouring bungalows — are friends for life now. Even the staff who worked with me, both at home and at our small karkhana office, became family. We’re still in touch, and they keep calling me back.”

She added, “The love Goans give me, such sweetness, such warmth...I will cherish it forever. We celebrated all festivals together. They would come for Ganpati, stand through the aarti even if they didn’t understand it. During Durga Puja, the women would come and do sindoor khela with me. That sisterhood, especially among women, was very special.”

She recalls a defining moment that cemented her faith in that bond. “I was shooting for Carry On Jatta 3 in London when my husband fell seriously ill. I called the women from my colony and told them, ‘I don’t know how, but you have to help him.’ They took complete charge — sending meals, coordinating doctors, looking after him. I was able to stay calm because my Goan friends were there.”

From staying in rooms that cost just Rs. 50 a night during his early visits to the International Film Festival of India (IFFI) to returning to Goa years later for the premiere of his own film, actor Vijay Varma says his journey has come full circle. Speaking to us, Vijay recalls attending IFFI between 2005 and 2008 as part of the Film and Television Institute of India (FTII) tour.

“We used to stay in rooms that cost Rs. 50 per night and watch around four films a day. This is where I learnt about cinema,” he says, adding, “Going back to Goa for the premiere of my own film, Gustaakh Ishq, where I play the lead, truly feels like a full circle.”

Known for his intense roles in films and series, the actor also shared his thoughts on the growing OTT space.

“OTT is a win-win situation for both viewers and makers. When a new avenue opens up, it creates more opportunities, especially with streaming, which offers the freedom to tell stories that may not traditionally make it to the screen due to budget, subject or star power.”

He added that OTT platforms have ushered in a new wave of storytelling and audiences. “It has created a strong fandom and opened doors for actors, writers, directors and technicians alike. It’s truly beneficial for everyone involved,” said Vijay, who was recently seen in Gustaakh Ishq with Fatima Sana Shaikh.

Rangeela has just hit the screens once again, 30 years after its release, in a restored version. In a candid conversation with us, Urmila Matondkar looks back at the film that has become a cult classic. “Rangeela represents, in the biggest and best ways, a flight of fantasy that takes you to an alternate reality — a world that is glamorous, beautiful, yet so very real. Characters like Mili (Urmila) and Munna (Aamir Khan) are so real, you feel you could literally see them walking down the street. It’s also a story of an underdog making it big. That’s why it remains timeless and iconic,” says Urmila.

The film’s release marked a turning point in Urmila’s career. “Rangeela changed things overnight for me — becoming a star and receiving tremendous public adulation. I always say the film showcases the navarasas that are at the core of Indian performing arts. It’s a huge gamut of emotions that people and the audience witness through the characters. The beauty of the film is that it was shot on a pretty minimalistic budget, with no foreign locales, just Mumbai and a bit of Goa. It encapsulates the beauty of life itself magnificently. Playing the character came easily to me because it resonated with me.”

The actress says that besides its impact on pop culture, the movie also influenced the remuneration offered to actresses. “After the release of the film, not just mine, overall actresses’ remuneration shifted majorly. But I cannot compare — I don’t know what Aamir was paid, but both Aamir (Khan) and Jackie (Shroff) were huge stars when I did the movie. I was a huge fan of them myself.”

It also brought along opportunities that helped Urmila step into characters that weren’t stereotypical. She further adds, “What I am extremely proud of is that I didn’t use that stardom to throw my weight around or to hike my price unnecessarily. I used it to seek films that were waiting to be made. I took risks with different kinds of characters and became part of movies like Pinjar, Pyaar Tune Kya Kiya and Judaai. Rangeela gave me the chance to do those kinds of projects.”

Despite the film’s impact, she has watched it far less than people might imagine. “I really haven’t seen Rangeela as many times as people might think. I am not megalomaniacal (laughs), and I don’t get happy seeing myself on screen. The name of the movie – Rangeela – brings a smile to my face, and I hope it has the same effect on others who remember it after so many years.”

The dance sequences in Rangeela were among the talking points of the film. Urmila remembers, “Choreography in Rangeela was path-breaking, with the great Saroj Khan doing Tanha Tanha and Hai Rama, and then Ahmed Khan, a newcomer, doing brilliant work as well. In fact, Saroj Khan told me I should get credit as a choreographer as there were quite a few sequences where there wasn’t any choreographer really. There is a white saree sequence in the song Pyaar Ye Jaane Kaisa Hai, and other such pieces with no choreographer, where I was asked to do whatever comes to my mind.”