It began in 2024 and has continued well into 2026 — Kriti Sanon’s successful run at the movies shows no signs of slowing down. It started with Teri Baaton Mein Aisa Uljha Jiya, followed by the heist comedy Crew and a darker turn in Do Patti. 2025 brought the intense love story Tere Ishk Mein, and now, the breezy Cocktail 2.

When we point out that she seems content staying out of the rat race and away from social media rivalries, she says she is “actually very competitive”. She says, “When I see someone doing well, I feel like I also want to do well. Competition motivates me to do better. I feel like it also comes at a certain point in your career that you have a sense of security with yourself.” Things changed for the better, especially in 2021, she adds: “The validation that Mimi (2021) gave me, whether from the audience or through the National Award, made me feel like I had finally proved my talent and could now explore more... I am very critical of myself. So, I am always wanting to do better than what I have done before. It’s boring to be in a race with someone else and it just doesn’t give you peace.”

It’s a mix of both. I think any actor craves for that moment and day. Fortunately, this is a role that is very glamorous but also has its layers. I got lucky.

I knew that there would be comparisons, and thankfully, this was not a sequel but a franchise. It’s just the vibe of Cocktail (2012) that was being taken forward in Cocktail 2… and the fact that it was one boy and two girls. Apart from that, there was absolutely no similarity; the story and the conflicts are completely different. I feel like Ally, my character, was not Veronica (Deepika Padukone’s character in Cocktail), and that’s what excited me. If I were doing a remake, then I think the pressure would have been way more.

At the end of it, we all want to be loved, so I feel that’s a similarity. But I also feel even though she is really bindaas and free-spirited, in her heart, she really cares. The empathy part of it was interesting for me, and I connected with it.

There have been so many coming from everywhere. Whether it’s Sajid (Nadiadwala, producer) sir or Sabbir (Khan, director) sir, who have seen me in my debut film Heropanti (2014), and now after this journey of about 12 years, playing a role like this; both sent me long, lovely messages. That was very emotional because when I did Heropanti, I was a baby who knew nothing and just learned everything on the job. The only thing that hasn’t changed is that I used to ask a lot of questions back then. And I am curious even now.

That also happens where sometimes it’s like, ‘Oh now I don’t want to spoil it, it’s a good run going on,’ But when you try different things like when I did Mimi (2021), a lot of people told me ‘Why do you want to play a mother right now’ or ‘Surrogacy is such a serious topic’ or ‘It’s too soon to take something on your shoulders’. The fact that I didn’t listen to it and went with my gut feeling gave me what it did (her first National film award).. So, that made me feel that okay, ‘I need to feel it from inside’. I need to really feel hungry towards doing a certain film. I need to feel challenged by the character and not repeat myself. When Tere Ishq Mein (2025) happened, it was such an intense film; it was emotionally and physically draining. As an actor, by the end of that film, I couldn’t do another intense project immediately. Fortunately, I had Cocktail 2 that came to me, and I was like, ‘This is a breath of fresh air and I would love to do this next.’

Yes. Aapko agar ek hi tarah ka khaana baar-baar denge toh aap bhi bore ho jaoge na? So, as an audience also, you want different kinds of cuisines and different genres of films. I think what we started thinking is ‘Oh, action is working. So, let’s make action films.’ But at the end of it, people want something that is engaging and different for them to not wait for the film to stream on OTT. People should have FOMO, ‘we have to go to a theatre and see it’. That experience needs to happen. Earlier, when OTT was not there, it took six months for a film to come on TV. So, there was a little more urgency to watch it. Now, mediocrity is not going to work.

I am excited to find a script. Genuinely, I have not signed anything, and I am not in a hurry. Right now, quality over quantity for me, for sure.

Spider-Man: Brand New Day is coming. I’m excited about that. Dune: Part Three, too. Then there’s Eetha. Laxman Utekar sir is directing, the teaser is fab. It’s Laxman sir in his full element and avatar with Shraddha (Kapoor, actor). It looks very powerful.

That will happen when it happens. I am not in a hurry. I think everything has its own time.

The buzz doing the rounds is that Vicky Kaushal and director Laxman Utekar might reunite for another historical biography. After the success of Chhaava (2025), the makers are planning a sequel of sorts.

A source close to the development shares, “While Chhaava was based on the life of Sambhaji Maharaj, this one is going to be based on his son, Shahu Maharaj. Vicky is apparently interested in collaborating with Utekar for this project, which is currently in the planning stages.”

According to our source, the movie is expected to go on the floors next year or early 2028. At present, Utekar is directing Eetha, starring Shraddha Kapoor, and is expected to begin work on the yet-to-be-titled sequel after completing the project. Meanwhile, Vicky Kaushal is currently shooting for Love and War and will subsequently start filming Mahavatar, a project based on Lord Parshuram. We reached out to Vicky and Utekar, but they were unavailable for a comment.

Earlier in an interview, Vicky decoded how patriotism is working at the box office. “I think patriotism can't be a formula and saying it is a formula is an insult to the emotion. Patriotism is our truth, which we will keep showing through our movies, literature and sports,” he said.

The actor added that patriotic films offer filmmakers a platform to express their pride in the country. “This is the way we can put our foot in the door and say that we are proud of the diversity, legacy and the truth of our country. I am so proud that I am a little part of this big moment where we are fearlessly representing India on a global map,” Vicky added.

Chhaava, directed by Laxman Utekar, chronicled the life of Maratha king Chhatrapati Sambhaji Maharaj and his conflict with Mughal emperor Aurangzeb. The film featured Vicky in the role of Sambhaji Maharaj, alongside Akshaye Khanna as Aurangzeb, and went on to collect ₹807 crore worldwide.

Weeks of rest later, work has come calling Shraddha Kapoor again. The actor, who is bringing Tamasha artiste Vithabai Bhau Mang Narayangaonkar’s story to the screen with Eetha, resumed filming for the biopic on January 4. Before this, director Laxman Utekar had called for a five-week break since the leading lady suffered a toe fracture in November 2025 (Intermission just as the show starts, Nov 22).

Sources told mid-day that the unit has now been shooting at Marve Beach near Malad, where the production design team has created a set of a village.

“Among the few sets that were built on the site in November, one reflected the interior of a house, and another, a bustling village. Laxman kept the sets standing until Shraddha healed. Now, they have resumed the shoot of a dance number that sees Shraddha’s character performing on a stage in the middle of a mela. Over 800 background artistes, who will be seen as people milling about at the mela, report to the set every day. Vaibhavi Merchant is choreographing the fast-paced number,” revealed a source.

Playing out between 1940 and 1990, Eetha will spotlight the Pandharpur-born artiste’s unusual rise in the world of Tamasha, her brush with fame, and her eventual financial distress. Currently, they are filming the portions that trace Narayangaonkar in her 40s — a part for which Kapoor has apparently put on weight.

We’ve heard that after this leg is wrapped in February, the actor will have a 10-day break. The source added, “Shraddha will use the time to shed weight. Soon after, she will shoot the portions that chronicle the protagonist in her 20s and early 30s. Originally the project was to be wrapped by February, but due to the fracture and the subsequent delay, the director is aiming to reach the finish line by April.”

Everyone loves an underdog finally getting their moment in the spotlight and right now, it’s actors Akshaye Khanna (50) and Bobby Deol (56) stealing it. Gen Z can’t get enough of Akshaye, while Bobby has been crowned “Lord Bobby” online, with fans going all out for their favourites.

Akshaye’s recent performance in Dhurandhar has earned universal praise, especially after his dance to the film’s catchy Arabic number went viral. Earlier this year, Chhaava had also won him widespread admiration, proving his charm just keeps growing.

Similarly, Bobby, who had been away from the mainstream for a few years, is back in a big way. Animal (2023) reignited his career, with his entry song Jamal Kudu becoming an instant rage. And this year, The Ba***ds Of Bollywood further cemented his renewed fan base.

Trade analysts see this as a positive for the industry. Komal Nahta notes, “It’s all about getting that right role. Bobby had a small role in Animal but it created a tremendous impact. On social media, Gen Z has dubbed him as Lord Bobby for long.”

He adds that the social media love for both stars isn’t fleeting. “We need more good actors. Akshaye should keep signing more films and not retreat after Chhaava and now Dhurandhar,” Nahta says.

Ramesh Taurani, co-producer of Race 3 — Bobby’s comeback film in 2018 after a career slump — is thrilled with the actor’s return to the limelight. He says, “Bobby was a star even before his debut film… I can’t describe the craze people had for him even before he launched. He’s not only good-looking but now a solid actor too.”

Director Priyadarshan, who has worked with Akshaye in multiple films, admits he wasn’t aware of the resurgence of Jeetu from Videocon, Akshaye’s now-cult character from the 2003 film Hungama.

He says, “It’s not just about Gen Z, people have always loved him. Earlier, PR and the media made an actor, but today, audiences form their own opinions. The fact that people are talking about him now shows he was always a genuinely favourite artiste.”

Laxman Utekar, who directed Akshaye in Chhaava, says, “The kind of performer he is, his physique… when we did his look test, it was magical. He deserves even more success.”

Meanwhile, director Farah Khan shared on social media that she often sends Akshaye all the viral reels of his funny scenes in Tees Maar Khan (2010).

The song that Akshaye dances to in Dhurandar is Fa9la by Flipperachi, a Bahraini rap track currently ruling social media. The track has gone so viral that even BJP shared a reel on Tuesday highlighting PM Modi’s journey from childhood, set to this very song! The lines translate to: “Brother, dance hard, I’m ready for a good time...”

November was meant to be showtime for Shraddha Kapoor, who began filming for Eetha, a biopic on legendary Tamasha artiste Vithabai Bhau Mang Narayangaonkar, in Aundhewadi near Nashik (Behind the curtain, before the Tamasha, Nov 6). But last week, director Laxman Utekar had to hit pause on his film after Kapoor fractured a toe on her left foot. 

The injury happened while she was performing the Lavani, a folk dance form that Narayangaonkar was known for.

A source shares, “Lavani music characteristically has fast-paced beats and a quick tempo. In this number composed by Ajay-Atul, Shraddha — sporting a vibrant Nauvari saree, heavy jewellery, and a kamarpatta — had to perform a series of steps in succession, to the beats of the dholki. To look the part of a young Vithabai, the actor has put on over 15 kilos. In one step, she mistakenly put all her weight on her left foot, and lost her balance as a result.”

While Utekar immediately called off the Nashik schedule, we’ve heard that Kapoor was keen to not let the days go to waste. She suggested that they rework the schedule to shoot close-up scenes.

The source adds, “After returning to Mumbai, they began to film on a set at Madh Island, where Shraddha shot some emotional sequences. However, after a couple of days, her pain aggravated and they had to discontinue the shoot. The unit will regroup two weeks later when she has completely recovered.”

November has brought a new person and a new story into Shraddha Kapoor’s life. On November 1, the actor kicked off the shoot of Eetha, a biopic of legendary Tamasha artiste Vithabai Bhau Mang Narayangaonkar, near Nashik. But becoming Narayangaonkar — the famed singer and dancer, who had an illustrious career spanning over three decades — is no cakewalk. Word is that before heading to the set of Laxman Utekar’s directorial venture, Kapoor trained in the dance forms of Lavani and Gavlan for three months.

Sources tell us that Kapoor’s Maharashtrian roots made her Utekar’s top choice for the role. “With her mother Shivangi Kolhapure being Maharashtrian, Shraddha is deeply steeped in the culture. Another advantage was her dancing skill since it formed a big part of Vithabai’s life story. Shraddha picked up Lavani and Gavlan, the two folk dance forms that originated in Maharashtra. They are widely used in Tamasha, which traditionally combines storytelling with singing, dancing, and satire,” says a source. 

Through Eetha, spanning the 1950s to 1980s, Utekar wants to introduce the audience to Narayangaonkar’s life story — how the Pandharpur-born artiste joined her family troupe at a young age and was driven to regain her family’s lost glory when her father fell on hard times. Soon, she tasted success with her performances. Even though she achieved fame and was honoured with the President’s Award in 1957 and 1990, she was reportedly in financial distress in the last years of her life.

Earlier this week, the unit began shooting in Aundhewadi, a village 50 kilometres away from Nashik. Sequences depicting Kapoor as Narayangaonkar in her prime are being captured in the first leg.

The source elaborates, “Shraddha is seen wearing a saree in kashta style, in the dance sequence that is currently being shot. Stylist Sheetal Iqbal Sharma did extensive research for the period film, including understanding the kind of sarees Vithabai favoured. After the week-long shoot, the team will film in Solapur, Satara, Nashik, and Kolhapur throughout November and December. Art directors Amit Ray and Subrata Chakraborty have zeroed in on all real locations. Barring a 10-day break in December-end, the director wants to shoot continuously till March.”

Randeep Hooda and Mohd Zeeshan Ayyub will be seen in crucial roles. Atul-Ajay have composed for the musical.

In May, rumours were rife that Shraddha Kapoor had exited director Rahi Anil Barve’s Pahadpangira, which was to be produced by Ektaa R Kapoor. Five months on, there appears to be an update on the project. mid-day has learnt that Shraddha is a part of the film, which reportedly explores themes of feminism against the backdrop of the Sati practice. The actor is likely to not only headline the movie, but also be involved in a creative capacity.

Barve apparently plans to begin Pahadpangira’s shoot after completing work on his Netflix series Rakt Bramhand.

A source reveals, “Shraddha, who will begin shooting Laxman Utekar’s next in November, will finalize her commitment to this project after her schedule for 2026 is drawn up. If things go as planned, the film could start by mid-2026. Pahadpangira is a dark fantasy rooted in myth and folklore. She is taken by the story’s originality and believes it can be expanded into a franchise. Besides fronting it, she may serve as a creative producer on it.”

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

Filmmaker Anurag Kashyap has been very vocal about his criticism of the Hindi film industry, saying he doesn’t find it worthy to make films in Mumbai.

Filmmaker Laxman Utekar has taken a jibe at Anurag for his statements. “Chale jaao chorh kar, beshak chale jao, koi zabardasti nahin kar raha hai,” Laxman told Mama’s Couch, adding, “Yeh industry aisi hai ki you have to be mentally and creatively happy, then only we can make great (cinema)… agar aapka mann nahin hai yahan rehne ka, toh aap great films kaise banaoge? Aap chale jao, isse acha.”

When further prodded about Anurag’s opinion that audiences lack the sensibility to appreciate his kind of cinema, Laxman disagreed: “Unki sensibility nahin hai audience ka taste accept karne ki. Aaj Rs. 700-Rs. 800 crore tak business kar rahi hain films… how can you say cinema is dying? Baahubali ka, Pushpa ka Rs. 1,200 crore tak ka collection tha. Ya phir in fact Chhaava ka. Sensibility aapki change honi chahiye kyunki aap wahin par atke hue ho.”

Chhaava director Laxman Utekar’s start to 2025 was what most filmmakers dream of. With the blockbuster behind him, the director is setting the stage for his next. This time, he is said to have gone back to the leads of his maiden Hindi directorial venture, Luka Chuppi (2019). We’ve heard that Kartik Aaryan, Kriti Sanon and Utekar may reunite for a hard-hitting love story, which will be backed by Dinesh Vijan.

A source shares, “The story is currently being developed. It has the flavour of hinterland India that Laxman does so well, but this time he is exploring an intense subject, unlike Luka Chuppi that offered a light-hearted take on live-in relationships.”

Exciting as the prospect of their reunion may be, Aaryan and Sanon’s busy calendars could pose a challenge. Aaryan, who is currently shooting Anurag Basu’s next, will dedicate the remaining year to Naagzilla and Tu Meri Main Tera Main Tera Tu Meri. Meanwhile, Sanon has Tere Ishk Mein, a film with Shahid Kapoor, and reportedly Don 3 in her kitty.

“Dates will be the real problem. If all goes well, the project could roll early next year. A decision will be taken after August when the final draft is ready,” adds the source. Kriti Sanon’s last collaboration with director Laxman Utekar was Mimi (2021), which earned her the National Award.

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

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

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

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

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

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

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

Amid the cheer which its box-office collections have ushered in, Vicky Kaushal-starrer Chhaava has found itself in a legal soup. Some descendants of Maratha commanders Ganoji and Kanhoji Shirke have threatened to file a Rs. 100-crore defamation suit against the makers, alleging that the historical drama portrays their family’s ancestors incorrectly.

Chhaava shows the two commanders as traitors, who played a role in Chhatrapati Sambhaji Maharaj’s capture by Mughal emperor Aurangzeb. Deepak Raje Shirke, one of the descendants of the duo, says, “Our reputation has been deeply affected. The whole of India thinks of us as gaddar. If the filmmakers continue to ignore us, we will take to the streets in protest. The Shirke family numbers are in lakhs in Maharashtra.”

He adds, “Chhava was, otherwise, a good film and the story of Chhatrapati Sambhaji Maharaj should be told to audiences. Only the few controversial parts must be removed.”

Meanwhile, according to a report by Marathi daily Pudhari, director Laxman Utekar has said that it was never their intention to hurt anyone’s sentiments. “We have only mentioned the names of Ganoji and Kanhoji without referring to their surname. We’ve also made sure to not disclose the village they belonged to. Our intention was not to hurt the sentiments of the Shirke family. I sincerely apologize if Chhaava caused any discomfort,” Laxman reportedly told Deepak.

We tried contacting the director and other members of the film, but didn’t get any response till the time of going to press.

Laxman Utekar, director of the Vicky Kaushal and Rashmika Mandanna-starrer Chhaava, said on Monday that the lezim dance sequence will be removed from the film based on the life of Maratha king Chhatrapati Sambhaji, after it faced objection from politicians and history enthusiasts.

The film’s trailer has a sequence in which Vicky and Rashmika, who portray Chhatrapati Sambhaji Maharaj and Maharani Yesubai, are seen dancing with the lezim – a traditional musical instrument associated with Maharashtra’s cultural heritage.

The filmmaker announced his decision after discussion with Raj Thackeray. “Raj Thackeray’s knowledge of history, especially regarding Chhatrapati Shivaji Maharaj, is extensive. He provided valuable suggestions for changes which we will implement. As for the scene featuring Chhatrapati Sambhaji Maharaj playing lezim, we will delete it. It was not our intention to hurt anyone’s sentiments,” said Utekar.

Divya Dutta is bidding adieu to 2024 with a bang, thanks to the second season of Bandish Bandits, and is ready to open 2025 with much fanfare. The actor will be seen as Soyarabai in the Vicky Kaushal-led Chhaava, which also stars Rashmika Mandanna and Akshaye Khanna. Mention the biopic, and Dutta breaks into a smile.

“The shots that Laxman Utekar [director] has taken give me goosebumps. It’s a very good-looking film. I am delighted to be a part of it,” she starts.

As excited as she was to be a part of the period drama that chronicles the Maratha king’s reign, Dutta wondered how Utekar envisioned her in the part of Soyarabai, Chhatrapati Sambhaji Maharaj’s step-mother who had conspired against him.

“When he narrated the role, I told him I haven’t done something like this before. It was starkly different in terms of the look and the character. The fact that you dress up a certain way and go to your palace, it takes you to another world,” she says.

What also enriched her experience was sharing screen space with Kaushal. Dutta has clearly walked away impressed by the leading man, as she says, “Vicky is adorable. He would not go until he has given cues to his co-stars. I would ask him to go and he’d refuse. We would talk in Punjabi; such camaraderie is important. He is one of the finest actors we have. Give him any role and he will belong in it. In spite of being an excellent actor, there is so much modesty and humility in him.”

When it came to helming his first historical drama, Laxman Utekar decided to attempt an ambitious retelling of the life of Chhatrapati Sambhaji Maharaj. Out of this desire was born Vicky Kaushal’s Chhaava, an adaptation of the Marathi novel of the same name by Shivaji Sawant. With the biopic focusing on the Maratha king’s reign and his conflicts with Mughal Emperor Aurangzeb, an important chapter in the narrative is Sambhaji’s coronation ceremony in 1681. It is heard that the director shot a grand song with Kaushal, leading lady Rashmika Mandanna and 700 background dancers in May, to depict the ceremony.

Sources tell us that an expansive set, modelled on the Raigad fort, was built at Film City by production designers Subrata Chakraborty and Amit Ray. The song, composed by A R Rahman, was shot over four days at the venue.

A source reveals, “The official coronation had taken place on January 16, 1681, at the Raigad fort. At the research stage of Chhaava, it was found out that a London newspaper had carried an article about how the coronation ceremony was a vibrant affair. The article aided the director in recreating the event. In the song, Vicky’s Sambhaji will be seen performing the yagna and the thread ceremony while his wife Yesubai does the Rajabhishek and aarti. As his kingdom rejoices, the king is finally seen taking the throne.”

The source adds that the song is inspired by Powada, a form of Marathi poetry that is used to glorify the kings. Staying true to the subject, composer Rahman is said to have used traditional musical instruments of dholki, tuntune and sambal for the track.

“Vijay Ganguly, who previously choreographed the Stree 2 songs, made it a majestic affair by bringing in over 1,500 people to depict the crowd. The entire city of Raigad is shown to have come to celebrate Sambhaji’s coronation. While the number starts with Vicky’s character partaking in the rituals as his subjects rejoice, Rashmika and he are then seen joining in the revelry. This is the only dance number in the film, the rest play out in the background.”

Historical dramas demand a foundation of exhaustive research and precision. As director Laxman Utekar set out to make Chhaava, a biopic of Chhatrapati Sambhaji Maharaj, he was certain about offering an authentic representation of the 17th century Maratha king. Before the Vicky Kaushal-starrer went on floors in October 2023, the director worked closely with historians and costume designer Sheetal Sharma for a year to perfect the leading man’s look as well as that of the remaining cast.

Sources say that Sharma and Utekar, as part of their research, went to Aurangabad, Ratnagiri, Pune, Nashik, Paithan and many other towns of Maharashtra.

A source elaborates, “Some filmmakers love playing with whites and pastels that are far removed from the world they are depicting, but Laxman wanted to be authentic in his storytelling. When the team began their research by visiting Maratha towns, they found out that Indians are not about pastels, but about a blast of colours. Laxman and Sheetal visited several forts and museums in these cities and towns that further gave them an insight into the dressing and culture of that era. They also met historians, who studied that period.”

Chhaava, an adaptation of the Marathi novel of the same name by Shivaji Sawant, sees Rashmika Mandanna play Sambhaji’s wife Yesubai, Divya Dutta as his stepmother Soyarabai and Akshaye Khanna as Mughal emperor Aurangzeb.

“For Rashmika’s look, the costume design team went to Paithan and Narayanpeth from where authentic Paithani and Narayanpeth sarees were sourced. Considering many fabrics used in that period are no longer available, they scoured museums and took pictures of the fabrics and textiles, which were then replicated by weavers. Some old sarees, including a few pieces that had 500-year-old borders, were also bought and restored. Rashmika has worn many Paithani sarees with Chandrakala designs.”

Sambhaji’s statues and busts heavily influenced Kaushal’s look in the period drama. One of the historians collected pictures of the king’s busts from Sambhajinagar, Pune, and Nashik.

The source adds, “The last image in Chhaava’s teaser, of Vicky sitting on the throne, has been designed based on a bust in Pune. The accessories have been sourced from Kolhapur, Sawantwadi and Ratnagiri. The jewellery as well as accessories had to have an old-world charm. So, Rashmika has worn the Lakshmi haar with a nath—a look that was replicated from images and artefacts found in museums. Sambhaji’s sword Bhavani was recreated from a museum in London, by production designers Subrata Chakraborty and Amit Ray.”

Divya Dutta has been part of a few historical dramas, including 23rd March 1931: Shaheed (2002). But she says there is something “magical” about Chhaava, the Vicky Kaushal-led biopic on Chhatrapati Sambhaji Maharaj.

“I felt something magical was happening during Bhaag Milkha Bhaag [2013], and I feel that with Chhaava,” says the actor, who plays a pivotal role in the 17th century drama. She refuses to divulge details about her role, only stating, “It’s something I haven’t attempted before, in terms of the historical period and the character.”

This is her second collaboration with director Laxman Utekar after Nazar Andaaz (2022), which he had produced. Dutta praises his clarity of vision. “The passion with which Laxman sir tells this story, you feel transported to that glorious era. He has a vision for every character. My job is to translate his vision. It is exciting when a director like him guides me on a subject like this.”

Having a powerful co-actor like Kaushal further enriches the experience. “Vicky would be on the set giving cues, even if he wasn’t required to be there. He is sincere and dedicated.”

When telling the life story of a warrior king, his adversaries are as crucial to the narrative as the protagonist. So, as Vicky Kaushal steps into the shoes of Chhatrapati Sambhaji Maharaj for Chhaava, Akshaye Khanna portrays the role of Mughal emperor Aurangzeb. Now, the latest addition to the cast is Neil Bhoopalam. The actor, who was recently seen in the second season of Made In Heaven and Masaba Masaba, has been roped in to play a Mughal warrior in Laxman Utekar’s directorial venture.

Sources tell us that the actor commenced shooting for the period drama earlier this month. Over the next few days, he will apparently shoot a crucial action sequence in Mumbai.

A source reveals, “The biopic delves into the life of Chhatrapati Sambhaji Maharaj, who ascended to the throne in 1681 after the demise of his father, Shivaji Maharaj. Through the film, the director wants to shed light on how Sambhaji showed exceptional talent in politics and warfare during his reign in the 17th century. As the king, he led numerous battles against the Siddis of Janjira, the Portuguese and the Mughal Empire, and strongly refused to surrender to Aurangzeb’s oppressive methods. Neil portrays a Mughal warrior, who plays a key role in Aurangzeb’s life. He has some important action sequences.”

The biopic has been adapted from a book on Sambhaji penned by Dr Jaysingrao Pawar. Utekar’s historical drama also stars Anil Kapoor and Rashmika Mandanna.

"Seeing the pride in my parents’ eye was special,” Kriti Sanon tells us after receiving the Best Actress National Award in the capital for Mimi. From waiting to win any award for best actress for years, to now being a National Award winner, Kriti has come a long way. Excerpts from a chat:

This award is the highest form of validation that any actor can receive in this country. It is something that all actors dream of. You don’t think of getting a National Award because you don’t get it easily. It’s a big one. I had not even received any best actress award before Mimi. So I thought a National Award is far away, but I still wrote it in my diary in 2020. To receive it within a decade of being in this industry is a huge deal. The kind of pride that I saw in my parents’ eyes when the award was announced, how overwhelmed they were, was special. When I told my father about it, he jumped up and hugged me. He had tears in his eyes, which is extremely rare for him. It took my mother a few seconds to believe it was true. She thought somebody was playing a prank on me. She rushed back from the salon, where she was, and hugged me. It was such a sweet moment.

Mimi has been a special film. Everyone associated with it has been very passionate about it. It offered me so much to do as an actor, which I was craving for. Sometimes you need a character that allows you to explore your potential as an actor. Mimi gave me that. There were so many challenges, both emotional and of physically transforming myself by gaining almost 15 kgs. While we were shooting the film, we divided the pre and post pregnancy shoots as happy and sad schedules. In the sad schedule, every single day had very draining scenes. I was dealing with a three-year-old Scottish child who had no idea of acting, did not know Hindi and had never faced the camera. It was not easy. I didn’t tell him my real name, he used to call me Mimi. I had to become his best friend and played with him in between scenes - and that’s when you get magical moments. I am so thankful that Dinesh Vijan (producer of Mimi) gave me that chance. Laxman Utekar (director of Mimi) sir believed I could do it and I was ready to give it my everything. He used to call me Mimi, and would say, ‘Mimi aap dekhna, iske liye aapko National Award milega’. I used to tell him that I have not even received a best actress award, but he believed it.

(At the National Award ceremony) Pankaj sir and I were talking about the film and he was like ye agar theatre mein aati toh kamaal karti. We held the film for a year, and I always felt that Mimi was meant for theatres. We are used to box office numbers being the only sign of validation. I think today that every film has its own destiny. Mimi has gotten all the love even on OTT. A friend who was confused about adoption told me that after watching the film they decided to adopt. Someone’s mother was not okay with them adopting a child but after watching Mimi, she was okay with it. These stories were precious. I feel that if you make such an impact, it’s beautiful. A good film will get what it deserves, it doesn’t matter on what platform it comes.

Since she broke on to the film scene five years ago, Sara Ali Khan has worked with a number of A-list directors like Abhishek Kapoor (Kedarnath; 2018), Rohit Shetty (Simmba; 2018), Imtiaz Ali (Love Aaj Kal; 2020) and Aanand L Rai (Atrangi Re; 2021). Riding high on her latest, Laxman Utekar’s Zara Hatke Zara Bachke (ZHZB), the actor, who is a “nervous person in general” believes that working with these big names is a privilege.

The 27-year-old shares, “I don’t feel pressure while working with a big director, but rather privileged. I want to work with filmmakers, who I can fully surrender myself to and say ‘Bhai aap jo bologe, as an actor, main vahi karungi’. I want to continue to do honest work so that more directors want to work with me. That’s the only way to grow.”

Sara, who comes from a filmy family (her parents are actors Saif Ali Khan and Amrita Singh), doesn’t let that go to her head. “Early on in my career, I was spoiled. But I understood that mera kaam hai apna kaam karna. I have to be on set on time, know my lines and do what the director says. Films are a director’s medium,” she says.

Sara, who starred along with Vicky Kaushal in ZHZB says, she is taking success with a pinch of salt. “You’re only as relevant as your last Friday [collections]. I got a lot of love for the film. I’m enjoying the moment but I am not holding onto it. One wrong Friday and it can all go away,” she ends.