Chennai: Tamil cinema lost its one-man studio, K Bhagyaraj, on Saturday. The director, actor, screenwriter, composer, ad novelist, who was 73, was brought unconscious to Apollo Hospitals, where doctors declared him dead.

His death, which comes two weeks after the passing of his mentor K Bharathiraja, brought a fresh wave of grief to an industry still mourning — with actors, directors, and fans flooding social media with tributes to a man who had given Tamil cinema its soul.

The director, actor, screenwriter, composer and novelist, who was 73, was brought unconscious to Apollo Hospitals, where doctors declared him dead.

Born Krishnaswamy Bhagyaraj on January 7, 1953, near Gobichettipalayam, he arrived in the film industry carrying little more than ambition.

His first screen appearance, in Bharathiraja's 16 Vayathinile (1977), required him to lead a donkey across a field as a background extra. Two years later, he became a director.

He spent the next five decades doing what very few in Indian cinema have managed: writing the script, composing the music, directing the film, and then stepping in front of the camera to play the lead. He did this not once, but across a remarkable body of work.

His hits came in a dazzling run through the 1980s. Oru Kai Osai (1980) announced a distinctive new voice in Tamil cinema. Mundhanai Mudichu (1983) — which he wrote, directed, and starred in alongside Urvashi — won him the Filmfare Best Actor Award and remains a touchstone of Tamil popular cinema.

Chinna Veedu (1985) cemented his reputation as a filmmaker of warmth and wit. Several of his films were remade in Telugu and Hindi, crossing linguistic boundaries at a time when that was far from routine.

Off-screen, he edited the weekly Tamil magazine Bhagya and authored several novels. In his later years, he returned to acting in prominent supporting roles, most recently in Dhanush's Kuberaa (2025).

At his golden jubilee celebration in January 2026, with Rajinikanth and Kamal Haasan in the audience, he announced that he would direct again — a film, and possibly a web series. Tamil cinema had been waiting.

He is survived by his son, actor Shanthanu Bhagyaraj, daughter Saranya and wife Poornima.

Despite the accolades and decades of experience, actor and director Ananth Mahadevan says he is often overlooked for roles that he believes are tailor-made for him. The latest disappointment? The Manoj Bajpayee-starrer Governor.

After playing RBI governor S Venkitaramanan in Hansal Mehta’s Scam 1992: The Harshad Mehta Story (2020), Mahadevan earned widespread praise. Yet, when casting began for A Ramanan — a character reportedly inspired by S Venkitaramanan — nobody approached him.

“When Scam 1992 came out, Manoj was one of the first persons to acknowledge my performance on social media, before Nawazuddin Siddiqui and Shahid Kapoor. I would have given the role an edge and looked like the character of the Governor, had I been given the chance,” laments Mahadevan. He adds that filmmakers today often “lack maturity” in their thinking.

While Bajpayee may enjoy greater popularity, Mahadevan argues that both actors are ultimately valued for their craft. “Manoj may be a more popular star than me but he has a different grade of popularity. He is not in the rat race, as he himself admits. If they had got Kamal Haasan to play that part, I would have been fine with it.”

The actor says this isn’t the first time he has been sidelined. He recalls messaging director Neeraj Pandey about the R D Burman biopic with photographs, only to receive no response. “Maybe because they wanted more commercial options,” he says.

“If they had taken a Bengali actor who looked like the music director, that would have been alright. I have nothing against Farhan Akhtar, his father [Javed Akhtar] is a dear friend, but if I was making the film, would I cast Farhan? No.”

- ‘Thiruda Thiruda’ (1993): Mahadevan says director Mani Ratnam had initially considered him for the CBI inspector’s role, which eventually went to SP Balasubrahmanyam.

- ‘Halo’ (1996): He says cinematographer-director Santosh Sivan had approached him for a father’s role, but filmmaker Rajkumar Santoshi ultimately played the part.

The alleged online leak of Jana Nayagan, the much-anticipated political thriller starring Tamil superstar-turned-politician Vijay, has sparked outrage across the film industry, with Rajinikanth and Suriya leading calls for accountability and stricter anti-piracy measures.

Directed by H Vinoth, the film is widely seen as Vijay’s final cinematic outing before his full-time entry into politics. It was reportedly leaked online on Friday, triggering strong reactions across the fraternity.

Rajinikanth took to social media to express anguish over the breach. Writing in Tamil, he called the leak “a cause for shock and pain” and urged film bodies to raise their voice, while asking the government to identify those responsible and impose strict punishment. “Such crimes must not be allowed to continue,” he said.

Suriya termed the incident “heartbreaking and unfair”, making an emotional appeal to audiences. “An entire team’s passion reduced to this. Please don’t watch, share, or discuss the film here. Respect their work,” he said, adding that he stands with the film’s team and condemns the act.

Several others in the industry, including Chiranjeevi, have also extended support, urging audiences to watch the film legally in theatres. Production sources said civil and criminal proceedings are being initiated against those responsible for the leak.

The actor offered a sharper critique, linking the leak to delays in the certification process. The film has reportedly been caught in a prolonged legal tussle with the Central Board of Film Certification. “The leak of Jana Nayagan is not an accident, it is the result of systemic failure,” he said, adding that delays create fertile ground for piracy. Haasan stressed that piracy goes beyond politics and directly harms the creative ecosystem. “It endangers the work of hundreds of artists and technicians, and the investments of honest, tax-paying producers, exhibitors and theatre owners,” he said, calling for accountability, timely certification and real-time takedowns.

Filmmakers across Indian language industries are increasingly scanning and restoring their works in 8k, as a new market develops for restored movies long after their release days and box office numbers are forgotten. Helping preserve older content from irreversible damage is opening new monetization opportunities in a more visual-first market.

Prominent Indian directors and actors who have scanned their films in the 8k format include Mani Ratnam, Vidhu Vinod Chopra, Rajinikanth and Kamal Haasan.

“The cost of scanning a film is relatively cheaper than restoring it. Today, scanning old films in 8k is all about becoming future-ready. Film negatives are vulnerable. In future, when makers want their films in higher resolution, they can go back to their scanned 8k version,” explained Kavita Prasad, managing director, Prasad Corporation, one of the oldest film laboratories in India.

According to film processing labs, the average cost of scanning films in the 8k format is in the range of Rs 25–50 lakh. For 4k format scanning, the average cost is in the range of Rs 7–20 lakh.

Scanning films in 8k is a strategic rather than a tactical decision, said industry veterans. “Today, new films, especially big-budget spectacle films, are shot digitally in 8k. Producers can monetize such films across multiple avenues. One of these is large-screen formats such as IMAX,” said Hiren Gada, CEO, Shemaroo Entertainment.

“But scanning existing films in 8k is more of a strategic decision. Negatives are susceptible to natural decay due to climatic and storage conditions. Also, it is difficult to upgrade 4k content to 8k. However, it is easier to convert 8k resolution to 4k, given the high pixel density of 8k content,” he added.

Scanning films in 8k also helps significantly in digitally repairing and restoring images, said editors.

“A film restored in 8k can bring in visual aspects that may be missing in earlier formats. With the help of AI and VFX tools, a technician can repair images in an 8k version of a film to bring them as close to the original visual as possible,” said veteran editor Vaibhav Desai.

Scanned 8k films also fetch higher valuations for film libraries and licensing deals, said producers.

Being part of Lokesh Kanagaraj’s Cinematic Universe (LCU) is a big deal for any actor. But when Samyuktha was offered Benz, the fourth instalment in LCU, she reacted to the film not as an actor, but as a fan. “I thought that if I took the narration, I would be the first person to know what happens next,” she laughed.

The actor is currently shooting the Tamil action drama that stars Raghava Lawrence and Nivin Pauly. An LCU offering is known as much for its star presence as for its action, and Benz is no different. If anything, it may only up the ante in terms of the star presence.

Samyuktha teased that popular characters from LCU’s previous films — Karthi’s Kaithi (2019), Kamal Haasan’s Vikram (2022), and Vijay’s Leo (2023) — will make appearances in Benz.

She shared, “The makers developed [new] characters around the other popular characters of previous films. You will get excited about [how they are all] connected. The makers have brought the popular characters from the previous films here, and not as cameos. I don’t want to name names and say what exactly is happening. Similarly, the characters introduced in Benz will be seen in the next parts.”

The actor also described Benz as a story that the audience won’t be “expecting”. “It’s a rooted and stylish universe. It’s our very own Avengers, and fans are seeing all their favourite actors in one place.”

After actor Vijay’s final film, Jana Nayagan, was postponed from its January 9 release for failing to receive CBFC certification following allegations that it hurt religious sentiments, several film personalities have voiced their support.

Taking to X, actor-politician Kamal Haasan wrote, “India’s Constitution guarantees freedom of expression, guided by reason, never diminished by opacity. This moment is larger than any one film… when clarity is absent, creativity is constrained, economic activity is disrupted, and public trust is weakened. Tamil Nadu and India’s cinema lovers bring passion, discernment, and maturity to the arts; they deserve openness and respect.”

Meanwhile, director Ram Gopal Varma posted on X, “It’s truly foolish to think that the censor board is still relevant today. It has long outlived it’s purpose, but it’s being kept alive out of laziness to debate it’s relevance now, and it is the film industry as a whole which is mainly responsible for this.”

He added, “Everything is available on the internet instantly, anonymously, and without a gatekeeper… And in this reality, for the honourable censor board to believe that cutting a word in a film, trimming a shot, or blurring a cigarette will ‘protect society’ is a joke.” HTC

In his first statement since the legal tussle with the CBFC at the Madras HC, producer Venkat K Narayana described the situation as “extremely difficult.”

In a video statement, he said, “On 5 January, we were informed that the film had been referred to the revising committee. With time running out to approach the revising committee, we approached the Honourable HC.”

With the fate of Jana Nayagan’s release now hanging in limbo, especially amid the upcoming Tamil Nadu elections, Venkat said the process has been both challenging and emotional. He added, ”Above all, we firmly believe that Thalapathy Vijay sir deserves the farewell he has earned through decades of love from his fan.”

While turning 40 can be a daunting milestone for many, Shruti Haasan isn’t losing sleep over it. With her milestone birthday coming up in January, the actor-singer is embracing the idea of growing older with candour, humour and a sharp sense of self. During a recent visit to the city, she sat down with Hyderabad Times for a freewheeling conversation, opening up about letting go of ageist expectations, stepping back from the online world, her thoughts on AI and creativity, and the nostalgic joy of her first-ever recording at six.

There’s an ease with which Shruti carries herself, a quality that’s sharpened over years of living in the limelight while charting her own course. Whether it’s choosing roles that interest her or stepping back from the noise, she says her choices today are guided more by instinct than compulsion. That’s what prompted her recent digital detox.

“I’m not fond of words like attachment or detachment because they carry so many connotations, I wanted to step away from social media for a while. I think I just needed that,” she explains, adding, “I want to be honest and authentic with people. And I wasn’t in a state of mind or frame of mind to feel like sharing. You don’t have to always be sharing. Everyone should take a digital detox; and everyone should put their phone away for a whole two hours if they can.”

Technology, ironically, is something Shruti is deeply curious about, particularly the growing presence of AI in creative fields. She references her segment X-Life from the Telugu anthology Pitta Kathalu, directed by Nag Ashwin, where she played a character trapped in a tech-saturated future.

“I see the world shifting and it’s surreal because it’s actually happening just like how the movie predicted,” she says. Still, while she acknowledges the inevitability and power of AI, Shruti draws a firm line around what it can never emulate.

“I’m genuinely excited about AI because it’s unavoidable and will develop at an incredible pace. However, I’ve always believed that while AI can mimic human thinking and leverage immense computational power, it will never be able to replicate the human soul. The soul is the essence, and that can never be duplicated.”

From starting as a child singer to delivering chart-toppers like Odiyamma, Shruti’s had quite a journey as a singer. “My father is very supportive and he is such a pookie. My debut song as a child singer was in dad’s iconic film Thevar Magan,” she says, adding, “I remember those days when I was six, practicing in the car while driving to the shoot with my dad for my first song as a singer. Back then, I didn’t know Shivaji Ganesan as the OG. I used to call him Shivaji thatha, and Ilaiyaraaja Sir as Raja uncle. But now, looking back, I feel truly blessed to have made such a debut in singing.” She adds, “Music is my saviour, I don’t know if I’d be alive without it.”

Nawazuddin Siddiqui, whose cinematic journey began in a theatre in the remote village of Budhana (Uttar Pradesh), believes that Indian cinema’s global recognition has been largely driven by independent filmmakers. With their work being appreciated in Europe, this acknowledgment, he feels, was long overdue and keeps him anchored to the kind of cinema he has always loved – from Naseeruddin Shah’s powerful performance in Sparsh (1980) to Irrfan’s in The Lunchbox (2013).

“These films, performances, and my theatre training shaped me into the actor I became,” he says. In conversation, Nawaz speaks to us about the deep impact films have had on him.

According to Nawaz, film festivals expanded his vision of what Indian cinema could be. Sharing that he has been in screening rooms from Venice to Berlin, where audiences come for cinema, not spectacle, Nawaz says, “Berlin ho ya Cannes ya Venice, itne log aate hain sirf cinema ke liye. You go there, watch films from around the world, and then you see the ones that went from India, aur tab lagta hai ki ‘Thank God! Hamare yahan se bhi itni achhi filmein gayi hain.’ Even if they didn’t run in India, even if people here didn’t know about them – they worked globally.”

He adds, “Be it All We Imagine As Light (2024) or The Lunchbox – these films went on to become global phenomenon.”

This year, Neeraj Ghaywan’s Homebound made it to Cannes. Payal Kapadia was on the Cannes jury. About the growing global recognition of Indian indie films, Nawaz says, “Indian cinema ko global level pe kisi ne crack kiya hai toh woh independent directors ne . Most of our commercial films are preferred by Indian diaspora and Middle East. But in Europe, our independent films are more appreciated.”

Nawaz reveals he has always been a cinephile, drawn to movies by actors who pushed boundaries. “There are so many films I keep going back to Dev Anand and Dilip Kumar’s films, Naseeruddin Shah’s Ijaazat (1987), Om Puri’s Ardh Satya (1983), Pankaj Kapur’s Ek Doctor Ki Maut (1990). Yeh filmein main baar-baar, hazaar baar dekh sakta hoon .”

For him, it’s not genre or director, but the power of performance that links them. “It’s the actors,” he says. “Hamare country mein aise actors ka hona, yeh hamari khushnaseebi hai. Naseeruddin Shah, Om Puri, Kamal Haasan, Manoj Bajpayee, Irrfan – they’re great actors.”

“The first film I ever watched in a cinema hall was Jaggu (1975),” Nawaz recalls, adding, “I must’ve been five or six. Hamare yahan toh Shatrughan Sinha bahut hi popular thay western UP mein.”

The Supreme Court on June 17 upheld the rights of filmmakers and theatre owners to release movies without threats of arson and violence while making it clear that the Karnataka government must protect actor-producer Kamal Haasan’s right to screen Thug Life in the state.

Expressing concerns over the “extra-judicial ban” on the screening of the Mani Ratnam directorial, a bench comprising Justice Ujjal Bhuyan and Justice Manmohan said the rule of law demands that any film that has a Central Board of Film Certification certificate must be released and the state has to ensure its screening.

The bench was hearing a PIL filed by Bengaluru resident M Mahesh Reddy, seeking directions to allow the screening of Thug Life, which was not released in Karnataka after certain groups issued threats against its exhibition following Haasan’s “Kannada was born out of Tamil” remarks. The Supreme Court gave a one-day time to the Karnataka government to apprise it about the release of the movie in the state.

Actor Kamal Haasan on Tuesday announced that his production house is not looking to release his upcoming film Thug Life in Karnataka for now, pending a dialogue with the Karnataka Film Chamber of Commerce (KFCC). This submission was recorded by the Karnataka High Court during its hearing on Tuesday, which also indicated that the matter may be adjourned to allow for a potential settlement of the controversy stemming from Kamal’s recent remarks on the origin of the Kannada language.

Earlier, following demands for an apology, Kamal issued a clarification letter to KFCC President Narasimhalu. In the letter, he expressed his “pain” that his remarks were “misunderstood and taken out of context,” asserting his intent was to convey unity, not diminish Kannada. He affirmed, “There is no dispute or debate on the rich legacy of Kannada language.”

He underscored his “genuine” love for Kannada and its people, reiterating his firm stand for “equal dignity of all Indian languages,” and opposing the “dominance of any single language.” However, during its hearing, the High Court also slammed the actor for not explicitly apologizing in this letter. “The letter addressed to the KFCC is in response to the demand for an apology, but the word apology is not found in the communication,” the court observed.

Earlier on Tuesday, the Karnataka High Court had rapped the actor for his controversial remarks, stating, “You may be Kamal Haasan or anybody, you cannot hurt the sentiments of the masses.” The judge stated, “Haasan could have said ‘I have made a statement without looking into the history’... Language is a sentiment attached to particular people. You have said something to undermine that.” 

Emphasizing the need for a direct apology, the judge added, “There is a difference between a person who is a victim of circumstances and a person who creates circumstances. Now that Haasan has made the statement, you can’t unscramble the scrambled egg, only thing left is to apologize. (If you won’t apologize) Why do you want film to run in Karnataka?”

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Exploring South Indian cinema was an idea Ali Fazal often toyed with. But the actor had never imagined making his Tamil debut in a Mani Ratnam film and having Kamal Haasan as a co-star. At a recent promotional event of Thug Life, the superstar welcomed Fazal to south cinema, revealing that he wanted to work with him ever since he saw his work in Vishal Bhardwaj’s Khufiya (2023). When we sit down with Fazal, the first thing we ask him is how it feels to be praised by Haasan.

“Kamal sir is not just a legend, but a force of art and cinema. Getting to share the screen with him feels like a once-in-a-lifetime moment. To be welcomed by him with such generosity is beyond anything I could’ve imagined,” he smiles.

Featuring in the action drama, which also stars Silambarasan T R, Trisha Krishnan, and Abhirami, was among the easiest decisions he has made.

Fazal says, “There are some calls you get that you instantly know are meant to change the course of your journey. This was one of them. When you hear the name Mani Ratnam, you think of legacy, storytelling that’s timeless and deeply rooted in human emotion. I didn’t have to think before saying yes to Thug Life. A Mani Ratnam film isn’t something you get offered every day, and certainly not alongside someone as iconic as Kamal Haasan.”

Thug Life is being mounted as a pan-India action extravaganza. For Fazal, that was another draw. He reasons, “That the project brings together talent from across the Indian film industries makes it more special. Language, geography, or ethnicity should never be a barrier for an actor.”

Amid backlash over his comments that Kannada was born out of Tamil during Thug Life promotions, Kamal Haasan responded on Wednesday, saying he meant no offence. “What I said was with a lot of love,” he said.

According to PTI, he added that historians have shaped his understanding of language, and any in-depth discussions should be left to experts. “This is not an answer [but] an explanation. Love will never apologize,” he concluded, hinting at the criticism from pro-Kannada groups and the Bharatiya Janata Party (BJP)

Meanwhile, the Congress and the BJP have jointly condemned his remarks immediately after they came to light on Tuesday. BJP leader R Ashoka called Kamal a “mental patient”, while Karnataka CM Siddaramaiah dismissed the actor’s claims as “misinformed” and added that he is “unaware” of Kannada’s deep-rooted history. htc

Controversy erupted when Kamal Haasan, at the audio launch of his upcoming film in Chennai earlier this week, said, “My life and my family are the Tamil language.” Turning to Kannada star Shiva Rajkumar, who was also present, he said, “This is my family in that place. That’s why he (Shiva Rajkumar) has come here. That’s why I began my speech saying life, relationships and Tamil. Your language (Kannada) was born out of Tamil, so you too are included (part of it).”

Pro-Kannada group Karnataka Rakshana Vedike filed a police complaint on Wednesday, as calls to boycott the film grow. The Karnataka Film Chamber of Commerce had also announced that they would discuss a possible ban.

Expectedly, Mani Ratnam’s head is always brimming with ideas. And it was, after the release of his last film, Ponniyin Selvan 2 (2023). But the filmmaker points out that his upcoming movie, Thug Life, led by Kamal Haasan, wasn’t one of them.

“This was an idea that Kamal had. We decided to pick this up because something in this idea resonated with me. It had the germ, which I liked,” he smiles.

Thug Life — also starring Silambarasan T R, Trisha Krishnan, and Abhirami — sees Haasan as a gangster, who is forced to turn on his family in the face of betrayal. The June 5 release is pegged as a gangster action drama, but to Ratnam, it is an emotional story that has “a lot of action” in it. Those emotionally charged, interpersonal conflicts are admittedly the “germ” of an idea that struck a chord with him.

“I think action is made for cinema. It has all the elements that highlight the medium fully. I’ve always liked action films, but only when they are an integral part of the film, and not action for action’s sake. This film has action as an integral part of the story. What hooked me were its emotional content, the relationships, and interaction between the characters,” he explains.

Much of the anticipation about Thug Life lies in the fact that it marks the director’s reunion with Haasan 38 years after their maiden collaboration, Nayakan (1987). A lot has naturally changed over the decades. 

Has anything remained the same? The trust, Ratnam promptly replies. “When I did Nayakan, Kamal sir had done maybe 100 films. He was a big star, and I, a beginner. But he trusted me fully. He would let us do things exactly the way we wanted. That was encouraging, and it hasn’t changed even today.”

Surely, given Nayakan’s iconic status, the actor-director duo was conscious of the audience’s expectations while making Thug Life. No, says the filmmaker. “You can’t be carrying the baggage all your life. You just try to do the next one. You’re not in competition with your previous work.”

Mani Ratnam agrees that experimenting is risky, especially when the star status of an artiste tempts them to recreate the past glory. But he doesn’t know any way other than experimenting. “It’s a survival instinct, you keep shifting so that you don’t become predictable and repetitive. There is a certain amount of risk [when I do] something new; I don’t know how it is going to be, I have to figure it out. That keeps me excited and fresh.”

This approach has made Ratnam one of the finest Indian directors, with works ranging from a gangster drama in Thalapathi (1991) to a real-life drama in Bombay (1995), from a film about youth politics in Yuva (2004) to a rom-com in O Kadhal Kanmani (2015). Despite the rich four-decade career, the filmmaker confesses to not feeling good enough.

“I am insecure all the time. No artiste would deny that. Insecurity stems from what you think of yourself. I can make a film, and then think I can do better. The standard of cinema around the world is so high. Younger filmmakers are making brilliant movies. So there is always scope for you to push yourself higher, and not settle for where you stand.” 

While he keeps mum on what he is planning to do next, we probe about the possibility of him reuniting with his Guru (2007) and Raavan (2010) stars Aishwarya Rai Bachchan and Abhishek Bachchan. The rumours of their potential collaboration did the rounds all of last year.

“I am working on ideas, but I don’t really have something concrete to offer the two of them. If I have something which is right for them, I will call and ask them, ‘Can I meet you?’” But are the ideas he is working on exclusively for them? “They are exclusively for me,” he grins.

What took you more than 30 years to reunite with Mani Ratnam? - This question has made a frequent appearance since Kamal Haasan kicked off the promotions for his next, Thug Life. When we express our curiosity, the superstar smiles before saying, “I’m almost tempted to request all of you not to ask that question because I can only say sorry, it’s our fault. We should have done it earlier.”

In 1987, the two gave Indian cinema the much-loved Nayakan. Thirty-eight years later, as the actor reunites with one of his favourite filmmakers for the gangster action drama, he reveals that an encore was always on their mind.

“Sometimes, we were thinking too big, and at other times, we would think something small and then [shoot it down] believing that these are the days of big films. Sometimes, I’d come up with an idea, and Mani would already be working on something else, and vice versa. But we were gently, subconsciously, and from a distance, inspiring each other,” grins the actor.

That decades-long inspiration has resulted in Thug Life, which also stars Silambarasan T R, Trisha Krishnan, Abhirami, Ali Fazal, and Sanya Malhotra. How was it working together considering they both have come a long way from Nayakan? Haasan is an even bigger star today, and Ratnam, one of the greatest filmmakers in the country. Did the actor try to impress his director this time?

“I can’t impress the director; the character can. He booked Kamal Haasan not because of the stardom. Left to us, I think we are both overpaid. But then if we let that go, they [the industry] won’t respect us. So, we will take our cut.”

This time around, their collaboration has also taken a different turn. Haasan not only leads the June 5 release, but has also co-written and co-produced it with Ratnam. And he firmly believes that nobody else could’ve done justice to the film as far as production is concerned.

The superstar states, “[We are the kind] who will put our money into the film. Suppose all that we have shot is destroyed, we won’t panic. We will go ahead, put our own money, and do it [again]. Another producer could not have taken the pressure of Thug Life. We made some difficult decisions.”

Production and direction were a natural graduation for the actor. It all stems from his endless love for movies and deep respect for the craft. His passion is evident as he says, “I never walk out of a film because that would [mean] insulting my peers. We’ve made stupid films. When I say that, I don’t include Mani’s films in it. But I have, because I needed finance for my own productions.”

That is a career lesson Haasan learnt from late actor and filmmaker Shashi Kapoor. “He would be singing a song on top of an elephant in Shaan [1980], and the same elephant would be beside him in Junoon [1978]. I had asked him, ‘Can I also [juggle mainstream and parallel cinema]?’ He said, ‘Sure. It’s pragmatism. Don’t mistake it for valour.’ Some of the great Italian directors did commercial films, made money out of them, and [used that] to make films that would live on.”

Wise career lessons, unmatched talent, and a progressive worldview have come together to shape Haasan’s enviable filmography that spans over six decades and different branches of filmmaking. Through his films, he has positioned himself as an artiste who often mirrors society’s fractured reality. In Nayakan, he showed the perils of violence. But today, how does he view Indian storytelling’s penchant for violence and the audience’s love for it? He points to a chapter in history to make his case.

“You know, after the Second World War, America kept making musicals; they didn’t want any violence. Now we’ve had enough peace. Now, the time of violence has begun, and that’s reflecting on screen. Earlier, the angry young man was only angry; now he will become violent if his voice is not heard. At least, a soapbox oratory should be allowed in front of the Red Fort. Listening to [the common man’s] voice is what great leaders have always done. After Partition, look at the kind of films we made — Naya Daur [1957] and Waqt [1965]. Even now, cinema is reflecting society, and [the violent films imply] that society has become violent. If you want proof, watch any television channel.”

When Mani Ratnam offers you a film headlined by Kamal Haasan, you need to know nothing more to come aboard, shares South star Trisha Krishnan, as we sit down in Chennai to chat about the gangster action drama, Thug Life. “This combination was more than enough for me to be part of it,” she adds. It’s not just their genius as artistes but also her faith in the legends to utilise her well — despite a huge ensemble cast — that made her confident about the film.

“Kamal sir and Mani sir are [greats]. I always knew they wouldn’t ever waste [me] in a film, irrespective of the [character I] play in it. Being in the best of hands, [I was sure] Mani sir would fine-tune me into becoming the character. Kamal sir always makes sure that his co-actors have their space in the film. He is one of the most generous co-actors I have worked with,” she smiles.

Ratnam and Haasan have co-written and co-produced the film, which also stars Silambarasan TR and Abhirami. When asked what a set with the filmmaker feels like, Krishnan quips, “A very early morning!” The actor explains that before the film went on floors, the director-actor duo had meticulously planned everything, with tons of rehearsals to ensure that the shoot progressed smoothly. 

“There has never been a day we did not finish what was planned. They had done a lot of homework  before coming to the set. It was  a structured set, despite the chaos.”

Thug Life, set to release next month, marks Trisha Krishnan’s fourth film with Mani Ratnam after Aaytha Ezhuthu (2004), Yuva (2004), and Ponniyin Selvan (2022–23). And It is her third venture with Kamal Haasan after Manmadan Ambu (2010) and Thoongaa Vanam (2015).

With the tension between India and Pakistan escalating, the Indian film industry is recalibrating its immediate activities. Close on the heels of Bhool Chuk Maaf’s makers announcing skipping its theatrical release, Aamir Khan has pushed the trailer launch of Sitaare Zameen Par. We’ve heard that the actor intended to release the three-minute-plus trailer on May 8, but decided against it.

A source close to the production house reveals, “Considering the developments at the borders and the nationwide alert, Aamir decided to postpone the release of Sitaare Zameen Par’s trailer. His thoughts are with the bravehearts of our Armed Forces. He feels it is important to respond with unity and restraint during this time.”

Also starring Genelia Deshmukh, the dramedy is set for a June 20 release. An adaptation of the Spanish film Campeones (2018), R S Prasanna’s directorial venture revolves around Khan’s arrogant protagonist whose worldview changes when he starts training a group of differently-abled kids in basketball. Another insider shares, “Whoever has seen the trailer has found it heart-warming and funny. The team is confident that whenever it’s released, it will appeal to the audience.”

The sentiment of putting the country first is being felt down South as well. Kamal Haasan decided to postpone Thug Life’s audio launch that was to be held on May 16. He issued a statement that read, “In view of the developments at our nation’s border and the current state of heightened alert, we have decided to reschedule the audio launch of Thug Life. As our soldiers stand firm on the frontlines with unflinching courage in defence of our motherland, I believe it is a time for quiet solidarity, not celebration. A new date will be announced at a later, more appropriate time.”

After bidding an emotional adieu to the 16th season of the game show Kaun Banega Crorepati, megastar Amitabh Bachchan has his attention trained on his next, Kalki 2, co-starring Prabhas, Kamal Haasan, and Deepika Padukone. The sequel to the 2024 film Kalki 2898 AD, Nag Ashwin’s dystopian science fiction will offer more screen time to Bachchan, we hear. 

A source says, “He begins shooting in May, and his screen time has been increased. Filming is expected to continue till June 15, and following that, Amitabh is expected to kick off the next season of KBC in July. The next edition of the quiz show airs in August.” Bachchan, we’re told, will begin prepping for his role of Ashwatthama from the end of this month.

“The sequel will take forward his and Bhairava/Karna’s [Prabhas] story, and their role in rescuing Sumathi’s [Padukone] unborn child. It will be grander than the last one as Prabhas and Bachchan also confront the evil Supreme Commander, Yaskin [Haasan]. So, three titans will clash.”

For those familiar with the tale of the original film, the source shares that the upcoming sequel will also introduce a fourth world, Flux Lands, and a tribe called the Nomens.

“While a 30-day filming leg concluded last year, a lot of action portions still need to be shot. As Bachchan plays an immortal being from the Indian mythological epic Mahabharata, he will also be seen doing more action with weapons. They will shoot on the outskirts of Hyderabad, where a massive set has been constructed. The first film was shot in Shankarpally.”

You’ll see me a lot this year,” promises R Madhavan when we call him to speak about Hisaab Barabar. The ZEE5 thriller is his first project of what will be a busy year, with De De Pyaar De 2, a rom-com with Fatima Sana Shaikh, and Dhurandhar in the pipeline. Incidentally, each of his characters is different.

“I want to do roles that I can relate to. I’ve had such varied life experiences that I know how a railway man behaves, as well as how someone in Decoupled [2021] does. My wife says, ‘You’ve done a comedy in English, dramas in English and Tamil, and action. Why can’t you make up your mind about who you are?’ That’s exactly who I am, someone who can’t make up their mind,” he laughs.

What drew Madhavan to Hisaab Barabar, also starring Kirti Kulhari and Neil Nitin Mukesh, is the story’s relatability. Ashwini Dhir’s directorial venture revolves around how a ticket collector uncovers a bank scam.

“History has seen that the moment the regime starts derailing the common man’s life, [he will fight back]. This has been explored beautifully in the film,” shares the actor. 

After Hisaab Barabar, Madhavan will star alongside Ranveer Singh, Sanjay Dutt, Akshaye Khanna and Arjun Rampal in Dhurandhar. The actor’s filmography is peppered with ensemble films despite the industry’s perception that they pose a risk to one’s stardom. Mention this, and he simply says,

“Imagine all the ensemble films that I’ve done. Now, imagine me not doing a Rang De Basanti [2006], or 3 Idiots [2009] or Vikram Vedha [2017]. Whose loss would it have been? Even though my role in Rang De Basanti was only for nine minutes, being part of such projects adds to my immortality as an actor. In 3 Idiots, I was playing second fiddle to Aamir Khan. But it didn’t upset my stardom in Tamil [cinema]. These are barriers that people in the industry draw around themselves to protect their own insecurities. I don’t have such insecurity.”

Madhavan recalls being advised against being a part of Anbe Sivam (2002) with Kamal Haasan. “Everyone said, ‘He is not known to share credit.’ But he bent over backwards to make sure that I got the role of a lifetime,” he recounts.

Vivek Oberoi made his onscreen debut in 2002 with Ram Gopal Varma’s Hindi film, Company. Since then, he has worked on many projects, including ones in all four South Indian film industries, and with some of the biggest names. This includes essaying the role of the antagonist to Ajith in Vivegam (2017). In a chat with us, he shares about his desire to work with Rajinikanth and Kamal Haasan, being anti-exploitation, and more.

Every actor in my generation has a dream to work with Rajini sir and Kamal sir. My journey will not be complete till I do a film with them. Also, I love working in Tamil cinema because the talent here is brilliant. It was fantastic working in Vivegam. The film’s team felt like a family, and Ajith anna is amazing to work with. What a gentleman he is! He gave me so much love and treated me like a younger brother.

Chennai has a beautiful and big heart. My mom is from here, and I used to come visit my grandmother. I have spent a lot of hot summers in the city, and I remember all of us cousins used to get together, eat lots of crispy dosa, and then drive to Coonoor to enjoy the cool weather. I have beautiful memories here. When the tsunami happened, many people supported me when I was trying to do Project Hope in Devanampattinam, Cuddalore. I still meet with many volunteers and students from then.

I’ve done a film in every single South Indian language and it was my dream to do that. That gave me a kick. The people in the South Indian film industries are extremely committed. The same can be said about the fans, as they love so deeply. If you look at the fan following of Rahman sir and Anirudh, it’s huge and not normal.

I loved playing Vikrant Dhawan in Inside Edge. Its makers are like family to me. I started my OTT journey with them in 2016, when people didn’t know what OTT was. It was so new in India at the time. If they reach out to me for season 4, I’ll do it in a heartbeat. But that’s a creative decision that they have to take.

Any kind of exploitation, whether it is sexual, financial, or emotional, is absolutely wrong. I’m anti-exploitation. You have to be fair and honest in life and have integrity. When you have stardom, the least you can do is facilitate harmony and live without exploiting people who are poorer or weaker than you. Exploitation is cancer to society and any industry. Every one of us should work together to remove exploitation.

Telugu star Nani has played an action hero several times in his 16-year career. What separates his latest release, Saripodhaa Sanivaaram, from his previous offerings is his brooding character. “Since the antagonist is full of energy, I decided I needed to play a character opposite of that. If his USP is energy, mine should be intensity,” says the actor.

It won’t be wrong to say that filmmakers in the south seem to have cracked the code to the genre. Of late, Tamil, Telugu and Kannada actioners have found takers across the country. In contrast, Bollywood action films underperformed at the box office this year. Nani believes the key to a successful action film is the story.

“Action is not about stylish choreography; it’s about the emotion, the build-up to a fight, and its purpose. You should focus on story-building. I saw an action film here [in Bollywood]. I don’t want to name it. It’s shot brilliantly, but it was a disaster here. Everything was done so well, but it missed the most important fact—that action needs emotion. Someone’s kicking another person and you aren’t feeling for either of them. Then it’s just a well-shot demo reel of an action choreographer!”

Is that what south actioners get right? “Our focus has been on the emotion. There are some great action films in Hindi as well. But where they could’ve gone wrong is in putting too much attention on technique and less on emotion.”

That said, one of his favourite action heroes hails from Bollywood. “I’m a huge fan of Amitabh Bachchan and Kamal Haasan sir. I love how Bachchan sir holds an expression and delivers it with double impact. Kamal sir is all about trying out things.”