From winning hearts in love stories to carving her space in some of contemporary cinema’s most anticipated films, Kiara Advani has built a career that blends relatability with undeniable star power. Audiences have connected with her warmth and emotional honesty in films like Kabir Singh, Satyaprem Ki Katha and Jugjugg Jeeyo, but her journey has never been confined to romance alone.With films like War 2 and now the much-anticipated Toxic: A Fairy Tale for Grown-Ups, she is stepping into a larger cinematic canvas.

On Rustomjee presents the Bombay Times Lounge, Kiara joins us at a defining moment in her life — balancing the demands of stardom with the emotions of new motherhood, and reflecting on the choices, risks and relationships that have shaped her journey so far. Here’s a sneak peek into an intimate conversation with the actress.

The actress says some of the biggest turning points in her career came from instinctive choices rather than calculated decisions. Looking back, Lust Stories proved to be one such moment. "When I did the anthology, Lust Stories (2018), I shocked myself. At that point, I didn’t look at it through the lens of women empowerment, or taking a step towards breaking certain stereotypes. For me it was like…I want to work with Karan Johar and I’m getting this fantastic platform, so why not? But today when I look back, I realize it was a bold choice as that film spoke of so many more things and there was a larger story there. That one short film gave me the kind of validation that you are really looking for in your early days," Kiara shares.

On constantly evolving as an actor she says, "Today when I look back at some of my work, I feel like the actor in me has evolved. I see the difference. I hope and I’m assuming the audience also sees that. Of course, I would hate to think that I’ve arrived. I would hate to think that I know it all. I still feel like I’m learning."

The actress explains, "I’d like to believe that my EQ is quite high, so I guess when filmmakers meet me that influences the kind of parts they visualize me in. Any genre of film could be popular, but romantic films will never go out of fashion. We will always need that in our life. When I watch a film, I want to see the female lead. I love seeing the macho guys on screen, but I don’t want to see just them. I love female energy in a film, because they come with a certain EQ which only they can bring. They bring a certain depth and gravitas which even the men enjoy, right?"

The actress admits that reaching the top is only one part of the journey — staying relevant and meeting expectations is a different challenge altogether. Kiara says, "I think reaching your goal is not the hardest part. When you’ve reached, what do you do with it — is what is harder. How do you sustain it? You’re also then at a position where people are looking up to you, and asking…what next? I see it with my fans, they’re like, ‘Okay, we supported you till here, now what are you giving us? We want to see something new, we want to see something different’."

For Kiara, her Met Gala appearance became more than a red carpet milestone — it turned into a deeply personal memory connected to motherhood. She says, "I wanted my pregnancy story to be a part of this moment (Met Gala) and we did it. Saraayah was such a good baby throughout. I was at that stage of my pregnancy where I was feeling kicks inside me like a football and that night, she just made it so easy for me. She was so calm. It was a very personal moment for me. I can’t wait to share it with her when she grows up and tell her that we were right there and doing all of this together."

Kiara says her upcoming film challenged the way she views conventional ideas of love, freedom and relationships. She says, "I think Toxic: A Fairytale for Grown-Ups will completely change the way you see the man-woman dynamic. In fact, when Geetu Mohandas (director) narrated the script to me, it took a while for me to understand that, okay, aisa bhi ho sakta hai. It may be grey, but not in your conventional way, and there’s a certain liberation in that love that is portrayed. When I heard Nadia’s part, I thought…I wish I was so liberated in my own thoughts."

Kiara Advani shares how she embraced independence in the new phase of her life with actor, husband Sidharth Malhotra.

She says, "Sidharth has always been independent as he lived alone for so long. So, when we got married, he taught me so many little things about living independently and running my own home. Moving out of my parents’ home and starting my family was an interesting transition for me. Now as a mom, it’s a whole new ballgame. I feel time is so precious right now."

Watch the full episode of the Bombay Times Lounge with Kiara Advani, coming soon on the Bombay Times YouTube channel

Title Sponsor: Rustomjee: Shot at Parishram by Rustomjee, Pali Hill, Bandra, Mumbai

Everyone has a favourite Salim-Javed film. Even Namrata Rao, the director of Angry Young Men, a docu-series that tells the story of Bollywood’s most successful screenwriter duo, Salim Khan and Javed Akhtar. She says, “Deewaar [1975] would be my favourite film, but I also love Shakti [1982].” It certainly is hard to pick, considering the duo delivered 22 blockbusters.

Together, the two writers shaped a glorious chapter of Hindi cinema. Rao, one of the industry’s most successful editors, has turned director to bring that era alive again. She worked on the Prime Video offering for three years. It all started when Zoya Akhtar, with whom she had worked on Lust Stories (2018) and Gully Boy’s (2019) songs, shared Angry Young Men’s idea with her.

“I was editing Lust Stories [2018] with Zoya. She told me then [that she had this idea]. I was very taken even then. In December 2020, she asked me if I wanted to direct it.”

The stalwarts collaborated for more than 15 years, giving us gems in Sholay (1975), Don (1978), Trishul (1978) and many more. When making a documentary that charts their career, how does one even start to make sense of such vast material?

“With a chart of their chronology,” replies Rao. “First, the anecdotes of their lives in the public domain were sought out—what was their process, the interesting things they did together and how they parted. But when we started interviewing them, the story changed. What was interesting was to tap into their personality. They are cool guys, they are badass. They dreamt big and made it happen. Like Javed saab says, ‘I didn’t think this wouldn’t happen; I always thought this could go in my biography.’ I found it beautiful how they have aged, from their young photos to the last photoshoot.”

Anyone who has seen the documentary will agree that it is true to its two subjects. The fact that it’s not a piece of glorification comes from them.

“They symbolize the wisdom about success and failure, and what it means as you age! They know storytelling better than any of us. So, they have the ability to offer what I would want. I remember when we shot the scene where Javed saab chokes up about his breakfast; he then makes light of it within minutes, saying, ‘Achcha, abhi aapko shot mil gaya mere rone ka.’ I was taken aback when Salim sir spoke about his mother because I got an insight into the vulnerabilities of this rough and tough man. They own their lives, their failures and successes, and even that they fu**ed up! I discussed a lot about Sholay [1975] with them—how they showed that a widow could be remarried, but didn’t give her a happy ending. They said, ‘You can’t push the envelope all at the same time. You first bring in the idea and then you normalize it. The story of Sholay required a tragedy to make it as big!’”

After 80-plus interviews—ranging from Amitabh Bachchan to Karan Johar, from Salman Khan to Farhan and Zoya Akhtar—Rao had 800 hours of footage. But she remained loyal to the storytelling over her favourite films. The only criticism is that Angry Young Men doesn’t have much for those who know them already.

“At the end of the day, the story represents them. As they got candid, I realized their mantra is: bolo yaar, aage dekha jaayega. That rubbed off on me. I’ve never seen their kind of confidence in anyone. That you can believe in something and stand by it, whether it goes your way or not, is what I loved about their story.”

We end the interview with two important questions. First, why did she not show them together?

“That was always the idea. We started in the pandemic when movement was limited. It wasn’t easy to shoot two people of that age. Then we fell into a pattern. I enjoyed catching them in their space. The last thing we shot was the photos when they went to Shivaji Park to inaugurate Diwali lighting. We shot at Raj Thackeray’s house!”

And is the last script of Salim-Javed happening any time soon? “Everyone at the première had that question. I can tell you they aren’t acting on it. But they are angry young men who do what they want to; maybe just as unexpectedly, they will get back someday!”

Manisha Koirala looks back on her films, relationships and making a career out of a stop-gap arrangement
Kunal Guha (MUMBAI MIRROR; August 16, 2020)

Manisha Koirala was only 17 when she caught her first break in acting, a Nepali film. The job offered her Rs 50,000, a grand sum for a teenager in 1990. With the 20-day shoot to be held in the neighbouring town, Pokhran, her Kathmandu-based family gave the go-ahead without much ado. “I never felt I’d get so hooked [to acting] that it will become something that I’ll end up wanting to do till my last breath,” says Koirala, who turns 50 today, marking her three decades in films. “Even when I made my Bollywood debut in Subhash Ghai’s Saudagar [1991], I felt I’ll do a film or two, and then move abroad and settle,” she says, over the phone from Kathmandu, where she’s presently staying put with her family.

Koirala’s filmography, which is one short of 90, includes super hits such as Bombay (1995), Agni Sakshi (1996), Akele Hum Akele Tum (1995), 1942: A Love Story (1994) and Dil Se (1998). But nudge her to look back on her career, and she ruefully reflects upon her “volatile” profession as one “where one’s sorrows, joys and anguish are shared with everyone”. “It’s been erratic,” she says. “I’ve had the great highs and crushing lows, so it has been dramatic.”

Hits and misses aside, Koirala suffered a major setback in 2012 when she was diagnosed with ovarian cancer. And while she has been cancer free since 2014, she remembers being extremely nervous when Dibakar Banerjee offered her a part in Lust Stories (2018), her first performance following her recovery.

“I had apprehensions about whether I still knew how to act and if people would like and accept me again,” says the actress, who went ahead with the film, despite having reservations about the subject material. “It had some intimate scenes. The story also featured an extramarital affair and I wasn’t sure about it.” The critical response the film garnered was reassuring but the life-altering experience of grappling with a terminal condition led to many epiphanies too. “A lot of illusions fade away and you see the reality of life as it is when faced with death,” she says. “You realise that you shouldn’t expect those who share a good laugh with you, to stand by you during your bad time, unless you want to be disappointed.”

But to be able to function and be relevant at 50 is something Koirala is grateful for. “I have seen documentaries, where actresses who reach their 40s and 50s say that work slowly diminishes after a certain age. While that’s the truth, if you work at it, and have the craft, nothing can stop you,” says the actress, who acknowledges that the rise of OTT platforms that have opened doors for actors of a certain vintage. “One doesn’t just have to be young, college-going and dancing around trees anymore. It was fun when I was that age and did it. But now, I get to play my age and sometimes, even older and I don’t mind. As long as there’s material for me and the director brings out my best, it’s great,” she says.

Koirala takes an optimistic view about the offers she’s received in recent years, which include playing Nargis Dutt in the Sanjay Dutt biopic, Sanju (2018). “When I started out, to get work for an actress at 50 was unheard of. Even the best actresses would last [in the business] for 10 years at the max,” she says. “But today, people appreciate your grey hair and respect that you’re accepting your age. Back then, you couldn’t afford to have a single wrinkle.”

Hailing from a prominent political family in Nepal, Koirala recalls how her family was initially sceptical of her delving into the “big, bad world of Bollywood”. But a few years in, they came around. “The reputation of the industry wasn’t that great at the time. But over the years, a lot of people from good families began joining films, and it became a respectable profession to be in,” she says, adding, “It hurts me now, when people say horrible things about the industry. There’s a lot of hard work and struggle, but a lot of dreams come true too.”

Entering mainstream, Koirala admits, was not easy at first. “When I got cast in Saudagar, I was clueless. Subhash ji put Vivek (Mushran, co-star) and me through various classes for kathak, diction, horseriding, driving and acting. I didn’t even know how to dress up or do make-up… I was taught everything from scratch.” From her initial days to plunging into the deep end soon after, Koirala remembers pulling 20-hour-shifts in her prime, a norm for many popular actors in the 1990s. “When one is young and has that extra energy, you work till you drop. That pulled me through a lot of hard work.”

Koirala credits her career’s trajectory to chance. In fact, according to her, she was hardly aware of Mani Rathnam’s legacy when he offered her a part in Bombay, and only agreed to it on cinematographer Ashok Mehta’s insistance. “I’ve been extremely blessed to have people around to guide me. Bombay helped me get recognised as a good actor,” says the actress, who is quick to admit how she struggles to watch some of her older films. “When I see myself wearing the frills and loud make-up, it makes me cringe. Even the extremes that we would go to show a character cry, it was just too much melodrama,” she says with a laugh.

On the personal front, Koirala, who has over the years been linked with co-stars, business tycoons, among others, says that every relationship she’s been in has been a learning experience, even though some have caused her much hurt. “Early on, relationships mattered to me a great deal, and I would give them my 100 per cent. I was often alone in Mumbai and there was a constant pressure of work. While I’ve always had a great circle of friends, there were many times when a sense of loneliness would creep in. Perhaps the need for relationships was a lot more back then,” says the actress.

Koirala tells us that she is presently in a “satisfying relationship” with herself. “Whatever I am today and whatever I’ve gone through, it’s all part of it,” she says. “I trusted people I shouldn’t have and regret the pain I suffered, but that’s also a part of growing up and maturing.”

The actor believes her two consecutive hits last year have dramatically changed her life
Rishabh Suri (HINDUSTAN TIMES; February 8, 2020)

It was a slow start, but her Bollywood career has taken off in full throttle since Kabir Singh, followed by Good Newwz (both 2019). And Kiara Advani has a packed 2020 — Laxmmi Bomb with Akshay Kumar, Bhool Bhulaiyaa 2, Shershaah, and Indoo Ki Jawaani, which she headlines. We get talking to the 27-year-old. Excerpts:

It’s a new phase in your career, with two hits behind you. Do you feel the difference already?
It’s like a special high. It’s gratifying that everywhere I go, whoever I meet, I can feel the difference. People come up to me and talk about my movies, my work. In turn, they look at me and see the changed energy. I think that comes from appreciation for your work. That’s what an artiste wants!

Are you more confident about your choices now?
I believe so. Whenever I did anything, be it Lust Stories, Kabir Singh and then Good Newwz, I took brave steps. It gives you more confidence definitely. The minute you are appreciated, your belief in yourself goes up.

It’s observed that once actors find success in a genre, they tend to stick to it and prefer not to take many risks. Is that happening with you too?
I am aware of that. Today, when I look back, I keep thinking I still have got to be that girl who is free with her choices. I never strategise, never calculate my decisions, and go with the flow. That has led me here. I trust the journey, and hope to continue. It does become (different) the minute you are aware of where you stand in the industry... I just want to be able to do every single thing I can, to the best of my potential. I don’t want to lose out on anything!

You have four releases for 2020. But are you being very choosy about what you say ‘yes’ to?
I haven’t been choosy about all of these films. I was thinking about it the other day — in 2019 I had a Kabir Singh, then Good Newwz, both different. How many actors really get the opportunity to have two extremely different characters, both equally loved? People believed I was Preeti, and also the minute they saw me in Good Newwz as Monika! I’ve always wanted to be versatile and not stereotyped, which is what happens in the film industry. This year has a lot of firsts for me. It just happened.

You are also set to be seen in the digital film Guilty. What made you say yes to it?
It’s a subject which is bold, topical and about women’s empowerment. It’s a first for me. I do not see a single trait of my own personality in that character. I’m happy it’s going to be my next release after the hits I had in 2019. Then, a new genre awaits me in Bhool Bhulaiyaa 2, which is going to be my first franchise. Then comes Laxmmi Bomb. Indoo Ki Jawani will be my first woman-centric film. 

Vijay Varma says he looks at 2019 as a turning point in his career; adds it helped shape his career
Titas Chowdhury (HINDUSTAN TIMES; December 29, 2019)

“Gully Boy has opened up interesting avenues for me. I’ve been getting meaty parts in films and on the web,” says Vijay Varma, who shot to fame with the film that released early this year. Post the film, the actor has had his hands full with four web shows, an adaptation of A Suitable Boy, and three feature films, Baaghi 3, Hurdang and Bumfaad.

Vijay is happy that members of the industry are taking a keen interest in him now. “Commercial filmmakers and people who create rich content are interested in me now. At the same time, there’s also been some noise in the journalism and the fashion community. It’s been pretty good and comprehensive. I’m also participating in it,” he says.

Ask him about Gully Boy not making it to the final Oscar nomination list in the Best International Feature Film category, and he says, “Though we all knew that it would be an uphill task, we were disappointed that the film didn’t make it. But it’s always good to fight. I’ve fought for so many years to say what I’ve wanted to say and do what I wanted to do. I understand the importance and joy of fighting.”

The actor is, however, happy that with his film, India could make “small inroads into the bigger world”. He says, “With Inside Edge, Lust Stories and Gully Boy, Zoey (Zoya Akhtar; filmmaker) tried to break into a bigger market. Right now, a lot of people in America know about Made In Heaven and Gully Boy. That, in itself, opens up the possibility to create content that’ll have a market outside India, even beyond the Indian diaspora.”

Encapsulating 2019, Vijay says, “I would look back at 2019 as a turning point in my life. A lot of stuff that I’ve been thinking and wanting to accomplish for years started happening in 2019. This was a landmark year that shaped my career as an actor. It has been a year full of great collaborations. I’m finally getting the chance to work in a capacity that I really appreciate.”

So, how does he plan on bidding farewell to an amazing year? “It has been a lot of hard work this year and so I look forward to ending the year with two days of doing absolutely nothing and probably just relax and be with my mum,” he signs off. 

Makers and cast of Sacred Games and Lust Stories

From cheering for Nawazuddin Siddiqui to playing dress-up, Kubbra Sait on how Emmys was a night to remember for Sacred Games and Lust Stories team.
Mohar Basu (MID-DAY; November 27, 2019)

"Realistically, I was hoping for a win. It's gutting that we didn't," says Kubbra Sait, when we connect with her a day after the International Emmy Awards 2019. The Indian contingent went into the night with several nominations — Sacred Games vied for the Best Drama nod, Lust Stories was nominated in the TV Movie/ Mini Series category, and Radhika Apte, in the Best Actress category. The golden statuette may have eluded them, but Sait — who played the memorable character Cuckoo in Sacred Games — says it was a night to remember.

"As Team India, we wanted to have fun regardless of the verdict. It would have been great had we won, but we didn't miss out on the fun either way. After the show, we all hit the bar, had a few drinks and surprisingly, retired early," laughs Sait, who was joined by the show's directors Anurag Kashyap and Vikramaditya Motwane, actors Nawazuddin Siddiqui and Radhika Apte at the event. The creative minds of Lust Stories — Karan Johar, Zoya Akhtar, Dibakar Banerjee, Ronnie Screwvala and Ashi Dua — too made their presence felt. "We dressed to the nines and laughed all night."

It was a big moment for Siddiqui as his McMafia edged past India's prestige drama to bag the Best Drama award. "When McMafia won, we all cheered for Nawaz. We were so happy for each other. It's the spirit of being there that mattered," she says, adding that seeing MJ Rodriguez and Christiane Amanpour in the flesh was the high point of the evening for her.

Sacred Games creator Vikramaditya Motwane, Lust Stories producer Ashi Dua discuss the growth of local OTT as India bags four nominations at the International Emmys
Sonil Dedhia (MID-DAY; September 21, 2019)

"It's a great feeling that we are being recognised at an international level," says an elated Vikramaditya Motwane when we connect with him over a call, hours after the announcement of the International Emmy Awards nominations on Thursday night. A mundane weekday had quickly turned exciting for ardent cinephiles as India bagged four nominations at the prestigious awards forum. While Sacred Games earned a nod in the Best Drama category and Amazon Prime Video's The Remix, in the Non-Scripted Entertainment category, Netflix's anthology Lust Stories walked away with a nomination in the TV Movie/Mini-Series category. Radhika Apte, who featured in Anurag Kashyap's chapter in Lust Stories, is vying for the Best Actress trophy.

Motwane, who was the co-director of the first season and showrunner of the second, says that this honour brings a sense of validation. As Netflix India's first original series, the Saif Ali Khan and Nawazuddin Siddiqui starrer could well be credited for creating inroads into the global digital scene. "I am happy that now, people across the globe are taking Indian content seriously. Anurag [Kashyap] is out of town, so the whole team will come together and celebrate this success soon." Interestingly, Siddiqui aka Ganesh Gaitonde is on a hot streak — the actor's British show, McMafia, shares space with the series in the Best Drama category.

Despite the country being a relatively new player in the digital space, the thumping four nominations prove that Indian entertainment is headed in the right direction. Proud as he is, Motwane adds that local content still has a long road ahead. "A lot of the content that is being created is at par with the international material, but we are still [lagging] behind in some aspects. We are still learning. We are getting used to the idea of coming out with quality content, season after season."

Ashi Dua, co-producer of Lust Stories, says that the team was surprised with the honour. "We never dreamt of being nominated at any Indian awards. So, initially, I didn't believe that we had secured a place at the Emmys. It is such a surreal moment. With Sacred Games and The Remix also being nominated, it puts India on the global map."

Kiara Advani has been dressing up and dancing in front of a mirror since she was a child and now has five aces in Bollywood
Ankita Chaurasia (MUMBAI MIRROR; June 4, 2019)

When she watched Arjun Reddy, Kiara Advani had no inkling she’d be playing the female lead in its Hindi remake, Kabir Singh. But Sandeep Vanga who had also directed the original, was impressed with her performance in the Telugu political drama, Bharat Ane Nenu, and decided she was his Preeti. This came as a surprise to the actress. “Preeti’s contained, speaks very little but her silence resonates. My brief however was not to let the audience know what she’s thinking as she needed to have a touch of intrigue. In contrast, I’m animated, keep cracking up and talk a lot when nervous,” she points out.

It’s an emotionally-charged film, with Shahid Kapoor’s Kabir, jilted by her Preeti, going down the self-destructive path and the actress admits she’d be drained by the time she reached home. “It was a cathartic experience,” she smiles, rationalising that while Kabir is stubborn and chauvinistic with anger management issues, there are men like that for real. “Yes, girls love bad boys but we are not glorifying anyone. Kabir is a flawed character and not representing every man.”

Mention Shahid and Kiara’s face lights up saying he’s a favourite because it’s all about collaboration with him. “The film is a love story and it was important for us to be on the same page and feed off each other’s energies,” she explains, recalling how Shahid who’d become a father for the second time during the shoot, looked after everyone on the set.

Talking of co-stars, her next two films are with Akshay Kumar who launched her in Bollywood with the 2014 Fugly. “Life’s come a full circle. There’s so much to learn from him, he’s so disciplined,” she moons but clams up when prodded on Good News and Laxmmi Bomb and Indoo Ki Jawani saying it’s too early to speak about them. She’s however gungho about the Vikram Batra biopic, Shershaah, with Sidharth Malhotra, whose first schedule she recently wrapped up in Palampur and Chandigarh. “It’s a beautiful script which moved me to tears and I knew immediately that I wanted to play Dimple whom I recently met,” says the girl who is still friends with Sakshi Dhoni whom she played in the Dhoni biopic. “It’s been five years but people think I’m a newcomer. I am lucky that I still look fresh on screen.”

While Kiara keeps referring to herself as an “outsider”, her Wikipedia page lists Ashok Kumar as her step great-grandfather, Saeed Jaffrey as great granduncle and Juhi Chawla as her aunt. With a laugh, Kiara clarifies that Juhi is a friend of her parents and while she is related to the other two legends, she was very young when they passed away. “It was only during Fugly’s promotions that I learnt about their contributions to cinema.”

So, with no filmi connections, was it difficult getting films after Fugly? “I wasn’t flooded with offers but M S Dhoni - The Untold Story made me a household name and though Machine didn’t work, the recreated version of 'Tu Cheez Badi Hai Mast Mast' became popular and even today, in small towns, people recognise me by it,” she exults, adding that she did Machine for the experience of working with Abbas-Mustan. Ditto the episode in Lust Stories which was directed by Karan Johar. “Every time Karan comes with a script, I listen to him because he has my best interests at heart,” she says reverently.

The gamble of doing a South film also paid off with Bharat Ane Nenu opposite Mahesh Babu turning out to be a blockbuster. “I want to do at least one South film every year, I want to be a pan-India actress,” she asserts, admitting that as a kid, she’d stand in front of the mirror, dress up and dance. “As a Leo, a drama queen, I have to be in the spotlight. I’d put up shows for the family and now I’m entertaining a bigger family,” she signs off with a smile. 

Badshah on rejecting two promising offers before role of singer-rapper in Sonakshi Sinha-starrer came his way
Sonil Dedhia (MID-DAY; May 9, 2019)

For an artiste who had often discussed his desire to venture into acting, revered rapper Badshah turned down way too many promising projects, including Vicky Kaushal's role in Lust Stories (2018), and that of Diljit Dosanjh in Good News.

"I rejected them because I wasn't confident enough," says the singer, who found common ground with his on-screen avatar in débutante director Shilpi Dasgupta's currently untitled forthcoming film. "I play a Punjabi singer-rapper in my debut movie, which is [like] playing myself. My character is only more flamboyant than I am, and that was easy to nab. The premise seemed comfortable, and I was intrigued with the character."

Never one to shy away from facing the camera in his own songs, Badshah says doing so for a feature film is a different ball game. "That I am camera-friendly helped, but, it's really tough to act. There are various emotions which need to be portrayed."

Leading lady and good friend Sonakshi Sinha has been sharing her insights with the musician. "She made my job easy, and me, comfortable. Apart from that, Shilpi and Mrighdeep Lamba [producer] made the environment welcoming too. I am relishing this phase of my career."

On the work front, the rapper recently collaborated for a track with Sony YAY! for their show, KickO & Super Speedo. He created a special children's track titled #GoKicko. "I am a kid, who refuses to grow up. Since childhood, I have been fascinated by superheroes and animated characters. The song gave me an opportunity to revisit my childhood."

Nayandeep Rakshit (DNA; December 16, 2018)

Ever since Karan Johar announced that his forthcoming film Takht is a historical epic, it is being compared to Sanjay Leela Bhansali’s period dramas, especially since the movie also stars Ranveer Singh, who has already acted in SLB’s magnum opuses like Bajirao Mastani (2015) and this year’s Padmaavat.

Set against the backdrop of the Mughal Era, Takht, which also stars Kareena Kapoor Khan, Alia Bhatt, Anil Kapoor, Vicky Kaushal, Janhvi Kapoor and Bhumi Pednekar, goes on floors next August.

However, KJo says it’s unfair to draw such parallels. He explains, “Many people were shocked when they heard I was doing a period film. It doesn’t necessarily mean that they should compare me with Sanjay. He’s a master of the craft and I hope the audience enjoys my period film just as much. If you ask me whether my language as a filmmaker will come across or not, I’ll only say that I can’t keep myself away from anything I do (referring to the larger-than-life scale of his films that have dollops of drama and romance).”

The maverick also argues that he’s often not acknowledged for the ‘different cinema’ that he offers to viewers. “The idea is to take myself out of my comfort zone. I have tried to do that even with the short films I’ve helmed and the topics that I’ve addressed as a filmmaker. But somehow, I never get credit for such things. I’m often told, ‘Oh, you make movies that are only about rich people and first-world problems.’ I’m fed up of justifying myself, but it’s sad that no one talks about a My Name Is Khan (2010) or a Bombay Talkies (2013) or a Lust Stories (2018). I even raised a topic like infidelity in Kabhi Alvida Naa Kehna (2006), which was considered taboo. But everyone will just go on about the popcorn, bubble and the sets of Kabhi Khushi Kabhie Gham (2001) and Kuch Kuch Hota Hai (1998). So, I’m doing Takht thinking, ‘Maine kuchh naya nahin kiya hai’. But I hope to prove people wrong with it,” asserts Karan.

Chaya Unnikrishnan (DNA; December 16, 2018)

Swara Bhasker’s bold attempt at expressing women’s sexuality in Veere Di Wedding, through a masturbation scene was trolled badly. She, however, shut them down with a fitting reply. Since then, things have changed and three more actresses have enacted scenes of pleasuring themselves on screen.

While Kiara Advani and Neha Dhupia did it in Lust Stories, Shweta Tripathi’s introduction in Mirzapur was with a similar scene. “Hindi cinema is finally able to depict women in all their humanity and not just as sexually chaste, angelic heroines or promiscuous vamps. The binaries are dissolving and we are seeing some positive and empowered female characters on screen, which is great. Masturbation scene is a sign that Hindi cinema is finally waking up to showing women’s desire in an open manner. Earlier, it was shown in a concealed way with metaphors and songs,” says Swara.

The actress is also happy that writers are scripting female characters that are real with all their flaws. “So far, only male protagonists had the freedom to be flawed, but that’s not the case anymore. Women are also shown making the wrong choices or being confused. They are writing interesting roles with multiple layers for women,” observes Swara, who plays a divorced single mother in It’s Not That Simple 2.   

Touted as the web world’s blue-eyed girl, Radhika Apte says she yearns for more work since her acclaimed shows have only seen her play second fiddle
Sonil Dedhia (MID-DAY; September 26, 2018)

Three consecutive Netflix offerings later, Radhika Apte is set to return to the big screen with AndhaDhun. Giving her nod to Sriram Raghavan’s thriller, which revolves around a blind protagonist’s run- in with the law, she says, was a no-brainer. “He can call me anytime and tell me to do a film. I’ll blindly say yes,” she says of the director, who she credits for creating unpredictable plot lines. “The way he scripts his films is crazy. He inspires [his artistes], which is amazing.”

Having featured in web shows like Lust Stories, Sacred Games and Ghoul, Apte is evidently being touted as the digital world’s lucky charm. Yet, the actor doesn’t take her success seriously. She argues, her roles in the acclaimed shows were bit-sized. “I was part of one segment [of the four-part anthology film] Lust Stories. I played a small part in Sacred Games. Ghoul was the only show that saw me in the lead. If I was running the three shows, I would have felt a different kind of high. So, there is a lot more to do. I don’t feel satisfied at all.”

Yet, what she has on offer are projects that many in the industry would yearn for. She talks about English filmmaker Michael Winterbottom’s The Wedding Guest, and American producer Lydia Dean Pilcher’s untitled female-driven World War II spy drama, with palpable excitement. “Only few Asian actresses get to play lead roles in non-Indian films. We rarely get the opportunity to be cast in them. I have got the taste [of such success], but I want more.”

Speaking to mid-day at the launch of True Roots Botanical Hair Tonic, the actor reveals that a second edition of her horror, Ghoul, is likely to roll. “The subtext allows for a second season. But, it is the makers who would know if that’s possible.”

The current national obsession, actor Radhika Apte, talks fame and why every day is about survival in this industry
Aastha Atray Banan (MID-DAY; September 9, 2018)

If you haven’t been living under a rock recently, you couldn’t have missed all the Netflix-Radhika Apte memes, which even prompted the online entertainment service to change their Instagram bio to “Just another @ radhikaapte fan account”. Apte, who turned 33 last week, has featured in three Netflix originals this year — Anurag Kashyap’s short in Lust Stories, Sacred Games and most recently, the horror series, Ghoul, where she plays a feisty yet loyal government official, who turns rogue when she realises the truth about Big Brother. “That was just a joke. Lust Stories and Ghoul weren’t supposed to release on Netflix. It just worked out like that,” Apte tells us over the phone as she heads to the airport, where she is catching a flight to Canada for the Toronto International Film Festival for the premiere of her Michael Winterbottom film with Dev Patel, The Wedding Guest.

But ask about the online portal’s affect on her career and she says she is just glad it exists. “The reach is great, and the projects are different. It’s just employment of all kinds on all levels. It’s really a no-brainer to be on it.”

After watching Apte’s meteoric rise in the past year, those who have refused web series for mainstream movies, are perhaps regretting their decision. The Pune-bred actress, who we first noticed in movies like Shor In The City (2011) and Parched (2016) and then in shorts like Ahalya ( 2015) and the TV series Choker Bali (2015), really hit the big time after Pad Man released earlier this year. It’s truly her knack of being in the right place at the right time that could be credited for her being omnipresent now. “Well, only time will tell if it lasts. But yes, I took whatever was offered and made some right decisions. I only thought about the role I was playing, and really didn’t think what platform it would be appearing on,” says the former Kathak dancer.

Ask her what brings the confidence to say yes to projects that could be termed risky, and she says she never had such qualms. “Fear is imposed by society. If we start pandering to it, that won’t work. I don’t give attention to such external factors. If I get a good indie project, I take it. If I get a big commercial blockbuster, I will take that too.”

Apte has also managed to carve a niche for herself that lies somewhere between commercial actors like Deepika Padukone and art house actors like Nandita Das. Her unconventional looks may have to do with that as well. But ask her about her notion of beauty and her answer is as logical and practical as the roles she has been playing recently. “I think looks don’t come into the picture if your character connects with the audience. These are superficial things that cease to matter when you are being authentic, when people are empathising with the person you portray,” she says.

For now, she is waiting for her movies — AndhaDhun with Ayushmann Khurrana, and Baazaar with Saif Ali Khan — to release. “AndhaDhun may seem like a simple love story, but you will be shocked at how twisted a tale it is. Baazaar is as commercial as it gets.”

If she is worried about sustaining her winning streak, she doesn’t show any signs of it. “It’s an industry where there is insecurity on a daily basis. It all depends on what you are doing next. But with freelance work like acting, there always comes insecurity. And with secure jobs like working at an office, comes boredom. So, it’s all about survival. And all I can say is that I am just starting out. I have many years to go.”

With Ghoul marking her third series with Netflix, Radhika Apte on being the face of its foray into India
Shaheen Parkar (MID-DAY; August 23, 2018)

Radhika Apte finds herself enjoying the distinction of being the only actor to be part of all three home-grown productions of Netflix. After Lust Stories and Sacred Games, the actor is gearing up for her third outing on the streaming giant with the horror series, Ghoul.

Point out how she is the poster girl of Netflix's plan to roll out made-in-India content around the globe and she says, "It's a sheer coincidence that my shows have come up back-to-back. I was only aware of Sacred Games being made for Netflix. I shot for Lust Stories and Ghoul almost two years ago. They were envisioned as films then. But later, the makers decided to release them online."

Ghoul, which drops online tomorrow, is a horror thriller directed by Patrick Graham and produced by Phantom Films. "I play an interrogation officer at a detention centre," she says of the show that sees her sharing screen space with Manav Kaul of Tumhari Sulu (2017) fame.

The actor admits that there is a "big comfort factor" while working with the production house led by Anurag Kashyap. "I don't even ask Anurag for a script. It holds true for Sriram Raghavan and Anurag Basu too. In fact, I always joke with Anurag that when Phantom doesn't get a female actor they desire, they end up casting me."

Nayandeep Rakshit (DNA; July 20, 2018)

Kiara Advani is just five films old, but her latest short for Lust Stories, directed by Karan Johar, has got her the appreciation and recognition that she has been waiting for. She tells us what was going through her mind while filming the scene where she was pleasuring herself. Excerpts...

You have been noticed for your performance in Lust Stories. Do you consider this the best phase of your career?
As I’m seeing so much love coming from the audience and the industry, I feel more grateful about how my journey has been so far. If Lust Stories would have been my first film, I don’t know if I would have been so grounded. But as my debut film (Fugly, 2014) didn’t get that instant love, I realised that at the end of the day, everything is temporary. That’s why I had the drive to give more than 100 per cent. Today, when that love is coming, it’s a bit scary since I have seen the flip side as well. So far, the graph has been good, but it gets tougher when you reach a particular point. I still haven’t reached that as yet.

Did you have reservations about filming the vibrator scene?
I did it because I had no reservations or inhibitions. I never thought what the repercussions could be. That’s why my performance in that scene wasn’t hampered in any way. I didn’t overthink about whether people would be ready for it. Now that it has been accepted, I feel that’s a good thing. Of course, there are other actresses who have also done this and I’m happy it started a conversation.

This is a topic that was waiting to be addressed and quite a few films have dealt with it within a year...
At the end of the day, films mirror our society. It will take time for everybody to open up to this and accept it. They are not instantly going to sit up and change the way they think about it. The whole thing will take its own course and that’s fair enough. A film is made to entertain and this one had an issue which was lying beneath the surface. It’s great that we have commercial filmmakers, who make family films and understand the aesthetics well, taking this route. They know how to bring the emotions out there without being vulgar. After all, it’s a natural instinct. Why can’t a woman do this and demand an equal part in the relationship?

But the element of humour in the scene helped...
Absolutely. It was the humour that made me confident and uninhibited to do the scene. I’ve seen it before in international films, which have been done in a humorous way, so I was exposed to it. It didn’t cross the line of vulgarity and that’s why it worked. It wasn’t meant to titillate because the minute it does, it becomes unnecessary and we forward the scene and move on. It all depends on how you use the skill of filmmaking to execute the scene.

What were the things that were running through your mind just before you enacted the scene?
From the time I heard it till the time the scene was shot, I had different thoughts. Just a week before the shoot, we did a costume look test. I asked Karan if we were going to do any workshop. He told me, ‘No, you just come on the set, act, and have fun.’ I Googled how a vibrator works and checked out a few scenes, too. The fact that we didn’t prep helped us keep everything spontaneous. After doing this particular short, I’ve realised it’s all about the timing in comedy. The more rehearsed you are, the more boring it gets. Every night, I would get my lines and just had that much time to learn them. All our scenes were hilarious, and Karan had so many inputs while shooting it as well. He’s an actor himself, so at times he would perform each of our characters.

Is there something you would never do on screen?
I’d be careful about an intense lovemaking scene. I need to know how it’s being shot because I’ve reservations about how much to show or not. Anything that’s there just for effect and not in context to the story, doesn’t work for me.