Showing posts with label Parvathy Thiruvothu. Show all posts
Showing posts with label Parvathy Thiruvothu. Show all posts
Hrithik Roshan's first web series as a producer, Storm, goes on floors in Mumbai
11:27 PM
Priyanka Sharma (MID-DAY; January 6, 2026)
It may be a while before fans see Hrithik Roshan back on screen, but the superstar has ensured that work behind the scenes is well underway. Roshan, who announced his entry into the streaming space as a producer on October 10, 2025, has taken his first production, Storm, on floors. Sources tell mid-day that the thriller series began shooting in Mumbai in November 2025.
“The shooting for Storm is in full swing. Ajitpal Singh serves as the show’s director, writer, and creator. It’s largely a start-to-end schedule. Ajit is looking at wrapping it by February,” says a source of the series, which stars Parvathy Thiruvothu, Alaya F, Saba Azad, Srishti Shrivastava, Rrama Sharma, Ashish Vidyarthi, and Rajit Kapur.
The show marks the first of many collaborations between Prime Video and Roshan’s HRX Films, a division of his FilmKraft Productions. The makers worked on the script for over three years before taking the series on floors.
“Hrithik and Ajitpal have spent considerable time exchanging ideas through the scripting and pre-production stage. Hrithik is kicked about the show’s script. He loved Ajit’s directorial venture Tabbar (2021). So, he knows the filmmaker will bring his unique flavour to the genre, where style, substance, and sensitivity will unite,” shares another insider.
Actresses are public personalities, not public property to be made fun of-Gouri Kishan
9:47 AM
At a recent press conference to promote a film, a YouTube vlogger asked Tamil–Malayalam actor Gouri G Kishan’s co-star whether he had difficulty lifting her in romantic scenes “because of her weight”. An irate Gouri cut in: “How does my weight concern you? How is that relevant to the film? My weight is my choice — it does not define my talent.” Her poised pushback, delivered even as the vlogger began shouting, went viral. In this interview with Alka Dhupkar, she explains why she pushed back, and what led to this moment
Alka Dhupkar (THE TIMES OF INDIA; November 30, 2025)
Your firm response to the body shaming has won praise, but were you disappointed that nobody on the dais or the journalists came to your rescue?
I was disappointed, but not because I expected someone to rescue me. I think I proved that we’re all capable of speaking for ourselves. But having said that, we are a team. My encounter went on for 10-12 minutes. As human beings we have a certain threshold, a limit to how much we can take. In the eighth or ninth minute, the victim mindset did kick in: why is nobody speaking in my support? Am I saying something wrong? It makes you question things. If the director and actor had taken a firm stand, it wouldn’t have escalated the way it did. I did speak to them later and they regretted not speaking up. I’m not someone who carries a grudge. But I think it’s a lesson. Sometimes, it’s better not to expect anything from anybody.
Why did you speak out?
We’ve grown up hearing such comments and it has become normalized in society. In our homes, in our workplaces... Just because we are in this industry does not give anybody the right to comment on anything and everything. This must change because it affects the recipient’s mental health, self-esteem, and self-identity. I wanted to create awareness that this can’t go on casually.
Have you faced this kind of casual misogyny in the film industry?
It’s not just in this industry. In school, I was shamed because I wore a ponytail. Teachers casually said things like, “Oh, you’re trying to seduce the boys.” It leaves you feeling terrible because you’re not doing anything wrong. At 13 or 14, you just want to dress up and look good, but they put these ideas in your head. If you’re always scared of being judged, where is the space to be yourself? Once I entered the industry, I was body-shamed by directors and producers. If a director says you need to look a certain way for a role, that’s fair, and as actors we work hard. But something like your face shape can’t be changed. I have a round face. Asking me to lose the roundness is impossible. It takes a lot of courage to be in this industry where you’re always judged for how you look or what you’re wearing. My reaction that day was a build-up of facing this for many years.
It all becomes tiring sometimes, right?
It is definitely tiring. Everywhere you go, you’re commented on, made fun of, judged. In my case, the question was asked on such a public forum with so many cameras, and still he felt entitled enough to put me down. That’s why I said, ‘This is not okay.’ But having to retaliate to each and everything would take up so much of my time – time that I should spend focusing on my work.
Do you think women in the industry get blacklisted for being too vocal?
Yes, I think so. (Singer and voice artist) Chinmayi Sripada, who’s my friend, is an example. She has been blacklisted from the industry only because she spoke up about #MeToo. Another example: after the case in Kerala involving the AMMA Association, the actress was kicked out, but the perpetrator stayed, at least at that time. (Actor) Parvathy Thiruvothu is another example. She speaks openly about issues, and I’ve heard that some filmmakers have labelled her “problematic”.
Are you worried about consequences too?
If you come in with the attitude of, “Oh, she’s too problematic,” or “She’s a drama queen,” or “She’s too feminist”, then I feel like I’ve done myself a favour. These are people I wouldn’t want to work with anyway.
Would a male actor ever face these things?
Whether in South or the rest of India, there isn’t a conventional standard set for men. Of course, there’s the six-pack and the very fit look. But even then, many successful and older actors look just the way they are, and no one questions them. Having said that, my colleague Pradeep Ranganathan, during promotions for his movie ‘Dude’, was told he doesn’t conventionally look like a hero. So, I wouldn’t say only women go through this, but women face it far more. This, however, is not about man-woman. People should stop judging others for their appearances. We are public personalities, but we are not public property.
How do you feel when women are mocked for taking everything seriously and such questions are dismissed as “just for fun”?
Oh, they call it light-hearted. In my case, they even said maybe I didn’t understand the question because I’m from Kerala, but I was brought up in Chennai and I speak fluent Tamil. When you don’t have valid points, you say things like, ‘You didn’t understand because you’re not from here.’ This is gaslighting. At one point, the vlogger even said, “The question was not to you, why are you reacting? Just calm down.” It was so patronizing. In fact, I even asked him, ‘Would you ask the hero this question? You’re asking the hero about my weight and you’re angry that I am responding.’
You haven’t asked me anything about my work, my preparation, my character, the challenges, nothing. You only asked about my weight, and that too to someone else, while I am sitting right there.’ He then said something like, “We can’t ask you (questions) about Donald Trump and Narendra Modi and politics, right? We can only ask you these kinds of things.” And I was like, what do you mean? I might know more than you. They assume women don’t read current affairs, that we’re just arm candy meant to look pretty.
Kind of storytelling emerging from Hindi cinema today is far more authentic, experimental-Parvathy Thiruvothu
8:41 AM
Parvathy Thiruvothu talks about how today’s discerning audiences are the real gamechangers, driving the fading divide between Bollywood and regional cinema
Vishakha Pandit (HINDUSTAN TIMES; November 10, 2025)
Actor Parvathy Thiruvothu, who has been a part of Malayalam and Tamil cinema for over 17 years and marks eight years since her Bollywood debut Qarib Qarib Singlle today, feels that the lines between Hindi and regional cinema have blurred significantly since then. She shares, “Audiences no longer care about language; they just want an honest story. That’s a beautiful change because it pushes all of us to work harder and stay true to our craft.”
Parvathy adds, “Earlier, I used to think regional cinema, especially in the South, was more rooted, while Hindi films often followed certain set formulas. But that distinction doesn’t exist anymore. The kind of storytelling emerging from Hindi cinema today is far more authentic and experimental than it used to be. At the same time, southern industries have opened up to a global audience, especially after OTT. So, I feel both worlds are learning from each other now.”
The 37-year-old credits this change to the audience: “The audience has become the biggest game-changer. They’re far more aware, intelligent, and demanding. You can’t fool them with the same old ideas anymore.”
Reflecting on her journey since then, Parvathy admits she’s become far more selective about the projects she takes up. “Sometimes a script looks great, but if the energy with the team doesn’t feel right, I know it’s not for me. I’ve learned to listen to my instincts,” she explains.
That instinct, she says, has guided her choices across industries, including her Bollywood debut opposite the late actor Irrfan Khan. She recalls, “Working with Irrfan sir was one of the greatest blessings of my life. There was never any sense of hierarchy, only mutual respect and curiosity. He made every moment on set lighter, and that energy was contagious.”
If they are saying that they haven’t seen it around or think it doesn’t exist, that’s just cruel-Parvathy Thiruvothu
8:28 AM
Renuka Vyavahare (BOMBAY TIMES; September 2, 2024)
The #MeToo movement in the Malayalam film industry gained momentum after the release of the much-delayed Hema Committee report on August 19. It revealed rampant sexual exploitation, gender inequality, lack of pay parity and misconduct in Mollywood. The entire executive committee of Association of Malayalam Movie Artists (AMMA) led by Mohanlal resigned on August 27 citing moral responsibility.
Actor and member of Kerala’s Women in Cinema Collective (WCC), Parvathy Thiruvothu, who has been vocal about the issue from the beginning, spoke to us about the situation and reforms needed in the industry.
While revelations continue to surface in the Malayalam film industry, there are some who claim they were unaware about what was going on, and many kept quiet about it. Do you believe that?
Anybody who is saying that they are not aware of what was happening is lying. There are possibilities that some of them weren’t affected by this system or this power structure. Maybe some of them haven’t been harassed sexually, but verbally, or even in terms of being given contracts or basic sanitation at the workplace. There are probably some who haven’t been deeply impacted like the rest. But if they are saying that they haven’t seen it around, haven’t heard about it, or think it doesn’t exist, that’s just cruel. I have faced it, which is what I disclosed to the HEMA committee in a confidentiality clause.
What are your thoughts on the mass resignation of Mohanlal-led AMMA, following the Hema Committee report? Both Mohanlal and Mammootty in the past two days have broken their silence and said they welcome the Hema Committee report, but they are not part of any ‘power group’. Mohanlal stated that the entire industry is answerable, so why crucify AMMA?
When the actor assault case was happening in 2017, the same AMMA executive committee did nothing to support or protect the survivor. One of the prime accused wasn’t suspended from AMMA, he voluntarily stepped away. They even invited the alleged perpetrator back into their fold while the survivor was forced to leave. She put out a statement saying that the same association that’s supposed to stand by her is inviting one of the prime accused back into their fold. At that time, they had no moral obligation to resign and start a new leadership? Today, when all these cases are coming up, they chose to resign. It is a blatant cop-out.
The committee submitted its report to the Kerala government in December 2019, but it was only made public on August 19, 2024. What’s your reaction to it?
This happened here because a survivor spoke up in 2017 and continues to fight her fight. This happened here because the collective (WCC) came together and we went to the Chief Minister. It has been seven long years since we have started the collective, and four and a half years of us repeatedly asking and never backing down and questioning why the report was not coming out.
They tried to sweep the report under the carpet, and we didn’t allow it. And it takes time and effort. Four and a half years of delay means women losing out on their careers. Everybody wants to hear about who did what, where and when, but nobody wants to talk about what will happen to the women once they come out. Who is going to take care of them?
Do you think in the coming days, more stakeholders from the industry, especially the male actors, should speak up?
When it comes to women’s safety, the onus is always on women to prove their innocence. The fact that they didn’t ask for it. Men are never held accountable. When everyone says this is our Malayalam film industry, the silence is deafening. We do expect more actors, directors and stakeholders to speak. If their involvement comes in at the right time, not later, this can benefit the film industry in a big way. This is not a situation where you can say it does not affect me, so I’ll just be quiet until the storm passes. The storm is here to stay. Too many of us have been impacted by the wrongful ways of the industry for more powerful people to be quiet.
Ram Gopal Varma tweeted that, ‘If Malayalam film industry has been exposed by the Hema Committee, which has been constituted only for the Malayalam industry, then unless committees are formed for each of the other language industries, how will one know what’s happening there’?
What is happening in the Malayalam film industry is phenomenal because there is a certain growth in allyship in our society, because we have a civic consciousness which keeps us accountable that way. We (Malayalam society) have a civic consciousness that dissents against our government and structures. So, it’s not surprising that this is happening in Kerala. But there is such deafening silence from other industries. If you think there are no cases happening in other film industries, you are living in a fool’s paradise. It’s such a welcome change that in Kolkata, Bengali women and filmmakers have asked for a similar panel study. This is not a Malayalam cinema centric issue. Yes, it’s happening here, and we are cleaning up our house. But look at your own houses. What’s happening there? Are we taking care of the women?
Like you rightly said, the larger point here is what are we collectively doing as a society to safeguard women’s rights?
We need to understand that it's not just an industry-based issue, it's the collective approach towards women. Do we even consider them as individuals and human beings? Or are they fitting into a narrative of patriarchal structure that benefits us to check boxes? We're trying to say that they treat us as human beings. Do not get scared when we ask for our rights, because us getting our rights does not mean you losing out on your freedom. But in case you're scared and you're opposing this, then in some way you're benefiting from this exploitation.
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On pay disparity being attributed to an actor’s market value and not the gender
“If the Hema committee has said that the pay disparity exists, there’s enough evidence to prove that. It’s easy for top-level actors to say that it’s about how you fill the theatres. Do these top-tier male actors take a pay cut for the producer if their next three films fail? From the time I have acted in Uyare (2019), I have not gotten a penny more because I have been told, ‘but market value’. For the first time in 18 years, a producer suggested profit sharing to me. When a movie does really well, male actors are always considered in the profit sharing. It’s unheard of to give that option to a female actor.”
I don’t think Mohanlal should have stepped down as President-Shanthi Priya
8:16 AM
Navya Kharbanda (HINDUSTAN TIMES; August 30, 2024)
Amid mounting furore over the findings of the Hema Committee report, actor Shanthi Priya has questioned the effectiveness of actor Mohanlal’s resignation as Association of Malayalam Movie Artists (AMMA) president. “There was no point. Mohanlal shouldn’t have resigned — he could have actually supported the victims, been there and said, ‘Yes, we are there, please raise your voice and come to speak to us,’ this should have been the approach,” reasons the 54-year-old, who has worked in over 50 films across South cinema.
Mohanlal’s resignation, tendered on Tuesday, August 27, followed the disbanding of AMMA’s executive committee, elected only in June. The decision came after serious allegations of sexual assault and misbehaviour were raised against some of the committee’s members, including office-bearers.
The actor goes on to add that sexual harassment is pervasive, and that instead of singling out industries, instilling the fear of punishment is needed. “Even men are harassed, and across industries. I am a pan-India actor and these things happen in all the industries... Two years later, someone from the Telugu industry can come up and say something,” she says, adding, “Everybody has raised their voice but the question that now arises is — how strong will the action that’s taken be, and how long will it take to get to the point where our future generations don’t need to worry. There should be fear among potential perpetrators. At the moment, it is missing.”
Samantha lauds Women in Cinema Collective
Actor Samantha is the latest major star to openly express support for the Women in Cinema Collective (WCC), which played a crucial role in the formation of the Hema Committee. “For years, I’ve followed the incredible work of the Women in Cinema Collective (WCC) in Kerala. Their journey has been anything but easy. Now, as the serious implications of the Hema Committee report come to light, we owe a debt of gratitude to WCC,” she wrote on her Instagram Stories on Wednesday.
Cowardly, a cop-out: Parvathy on AMMA’s collective resignation
Actor Parvathy, a founding member of the WCC, who quit AMMA in 2020, came down heavily on the body’s executive committee’s decision to step down. “The first reaction I had when I heard the news about this collective resignation was, ‘how cowardly.’ How cowardly of them to step away from a position where they are accountable to speak to the media. That’s an immediate cop-out. With this, the onus has again fallen on women to take the conversations and debates forward. When are the men going to call themselves and each other out in front of the community clearly they are a part of?” she told Mojo Story.
My social media activities make me financially secure-Pratibha Ranta
8:35 AM
Nominated at Melbourne film fest for Laapataa Ladies, Pratibha says earnings through social media activities give her freedom to pick and choose movies
Priyanka Sharma (MID-DAY; July 17, 2024)
Not too long ago, Pratibha Ranta would look in awe at Alia Bhatt’s performances on the big screen. Today, her performance in Laapataa Ladies has scored her a nomination alongside Bhatt in the Best Actor category at the upcoming Indian Film Festival of Melbourne. “Alia, Jyotika [for Kaathal—The Core, 2023] and Parvathy [for Ullozhukku] have inspired me with the kind of roles they’ve done and continue to do. To be nominated alongside them is a dream come true,” she says.
After playing the strong-minded Jaya in her debut film, Ranta was seen in a short but impactful part in Sanjay Leela Bhansali’s Heeramandi: The Diamond Bazaar in May. Her life hasn’t remained the same ever since she became a popular face. “I want to keep my life as it used to be before. When my life was simple, I was able to focus on my craft more. I always remind myself of that.”
Being grounded also helps the actor approach her work practically. She is happy to use her social media popularity for financial sustenance, which gives her the freedom to choose only films that she truly loves. “My social media activities make me so financially secure that when I am offered acting work, I’m not even negotiating money. I only negotiate on the script,” she says, adding that she aims to feature in more stories about women.
“I want to lend a voice to the women around us. I’m being offered a variety of characters. They are so interesting that at times, I get confused about what to pick.” Does it get difficult to say no? “I had never read a script before this; all of this is new to me. It is not easy to turn down an offer. But if you’re honest, you find a way.”
Why didn’t Javed Akhtar tell the same thing to Farhan Akhtar when he was producing Mirzapur-Sandeep Reddy Vanga
8:16 AM
HINDUSTAN TIMES (February 7, 2024)
Two months after it hit theatres, the debate around Sandeep Reddy Vanga’s Animal refuses to die down — with many accusing the film of promoting misogyny and glorifying violence. Lyricist Javed Akhtar, for instance, called the movie’s success “dangerous” for the society.
Responding to these remarks, Vanga said in a recent interview with Siddharth Kannan, “It’s very clear in that comment that he did not see the entire film. Now, if someone is talking without watching the film, what can I say about them? You feel bad because it is very clear that he has not seen the film. And it’s not only about him; anybody who is throwing stones on an art piece, why don’t they check their surroundings first?”
The filmmaker further went on to question why Javed Akhtar “isn’t checking his son’s work”. He added, “Why didn’t he tell the same thing to Farhan Akhtar when he was producing Mirzapur. Duniya bhar ke gaali ek show mein hai and I haven’t even watched the whole show. If you watch the Telugu version, you will feel like puking.”
Vanga also reacted to actor Parvathy Thiruvothu’s comments about his films Arjun Reddy (2017) and Kabir Singh (2019) glorifying violence. “There is a Malayalam actor, I think her name is Parvathy Thirovothu. She said in an interview that Joker (2019) didn’t glorify killing. When Joker dances on the stairs while a song plays, she didn’t think that was glorification. I was shocked. She’s a very good actor, and if someone like her can feel Joker doesn’t glorify violence but Kabir Singh does, then what can we expect of the general public?” he said.
Meanwhile, filmmaker Kiran Rao has responded to Vanga’s claim that she didn’t flag off the misogyny in her ex-husband and actor Aamir Khan’s ’90s movies. In an interview with The Quint, she addressed Vanga’s statement that people should “check their own surroundings” before criticizing movies directed by him. “If Mr Vanga has something to tell Aamir, he should tell him man-to-man. I’m not responsible for Aamir’s work or Aamir Khan. I wish Mr Reddy would address his questions directly to Mr Khan,” she said.
It’s such a difficult role. But Pankaj Tripathi is like water; he made it so easy-Aniruddha Roy Chowdhury
8:51 AM
With Pankaj-led Kadak Singh marking his third Hindi film after Pink and Lost, director Aniruddha on how he doesn’t like to rush art
Priyanka Sharma (MID-DAY; December 8, 2023)
It took one phrase, “father-daughter confrontation”, from the producer to sow the seeds of Kadak Singh in Aniruddha Roy Chowdhury’s mind. From there, he developed the crime thriller that stars Pankaj Tripathi and Sanjana Sanghi. After the thought-provoking Pink (2016), this is the director’s third Hindi feature film. In Bollywood, where filmmakers are in a hurry to announce their next as soon as their current project releases, Chowdhury patiently waits for a film to take shape.
His reason is simple—a good story requires time. “I used to wait for my female school friends. They’d never come, but I still loved waiting. Similarly, I waited for 42 years [before] I made my first Hindi film. My wife, my friend and I put money in, and we made it. After that, I got offers every day, but the next film I made was after three years. I don’t want to rush. You need three years to write a script, to understand the characters and fall in love with them. Your art is important, not you,” says the National Award-winning director.
It’s not just his characters, but also his actors that Chowdhury seems to be in love with. He is all praise for Tripathi, whose character is battling retrograde amnesia while trying to piece together the events of the past, in the ZEE5 thriller.
“It’s such a difficult role. But Pankaj is like water; he made it so easy. Complicated things can be easily made. To make a simple statement is the toughest.”
The director is equally happy that he could rope in two actors he wanted to work with for long—Parvathy Thiruvothu and Bangladeshi actor Jaya Ahsan.
“I had told Parvathy almost six months ago, sitting in a Bandra café, that we have to do something together. On the other hand, after watching a Bengali film of Jaya, I had written to her that we had to make a Bengali film. The stars aligned in a way that we ended up doing a Hindi film.”
Trisha-Mansoor Khan case: I will not question the actor who made the remarks, but the producer-Parvathy Thiruvothu
8:19 AM
Putting the onus of creating a safe working space on the producer, Parvathy speaks up in Trisha-Mansoor Khan case
Priyanka Sharma (MID-DAY; November 23, 2023)
A few weeks ago, Tamil actor Mansoor Ali Khan’s misogynistic remark about his Leo co-star Trisha Krishnan invited condemnation from both the film’s leading lady and its director, Lokesh Kanangraj. After the incident, several artistes have issued statements objecting to Khan’s comments. In an interview with mid-day, Parvathy Thiruvothu says that a functioning Internal Complaints Committee (ICC) is the need of the hour in the industry.
Thiruvothu says, “You can feel anger, but it’s important to [channel it] and take action. You don’t have to prohibit and punish [a culprit]. The first attempt should be to prevent such instances. It is the producer who should be [at the helm of matters]. He or she must create a safe environment. So, I will not question the actor who made the remarks, but the producer. I will ask the producer, can you ensure that an ICC will be set up in the future so that each one on the set feels safe and respected?”
She says she felt safe while working on her upcoming Hindi film, Kadak Singh, because the producers took appropriate measures. Khan has been booked by the Chennai Police.
On our last shooting day, we went to Tony Da and said, ‘Please write a few more pages and extend the shoot’-Sanjana Sanghi
8:30 AM
After sharing the screen with Ranbir in Rockstar 12 years ago, Sanjana says co-star Pankaj enhanced her passion for her craft
Priyanka Sharma (MID-DAY; May 23, 2023)
Sanjana Sanghi would agree that the company of a suitable co-star can elevate an actor’s experience multi-fold. Twelve years after she made her acting debut with the Ranbir Kapoor-starrer Rockstar, the actor says she felt the same “magic” while stepping onto the sets of her next project.
“My upcoming film with Pankaj Tripathi sir has been my best experience since Rockstar. I felt the same magic on this set that I felt on my first film. I don’t know what [good] have I done to deserve this,” Sanghi smiles, as she opens up about the Aniruddha Roy Chowdhury-directed drama, which features her as Tripathi’s daughter.
The yet-untitled film, also starring Parvathy Thiruvothu, has been penned by Ritesh Shah and Andhadhun co-writer Pooja Ladha Surti. “Pankaj sir, Parvathy, and our director, whom we fondly call Tony da, are kind and caring human beings. They are creative geniuses. When I look at them, I think that they are too good to be true. On our last shooting day, we went to Tony Da and said, ‘Please write a few more pages and extend the shoot.’ We didn’t want to leave Kolkata. We extended our flights. Such things happen rarely.”
Sanghi says her fourth offering has reignited a renewed sense of passion for the movies within her. “I feel replenished. Even if we worked for 15 hours, things didn’t matter. It’s a beautiful father-daughter drama that is also a thriller. It has such a meaty script. Too many greats are involved with the project.”
Meanwhile, Sanghi will also be seen in the women-led road-trip drama, Dhak Dhak, produced by Taapsee Pannu. Also featuring Ratna Pathak Shah, Dia Mirza and Fatima Sana Shaikh, the film gave Sanghi the opportunity to learn to ride a bike. Tarun Dudeja’s directorial venture, the poster of which was unveiled recently, tells the story of four women embarking on a road trip across the Himalayas, which brings with it epiphanies and discoveries.
Father is one of the most brilliant scripts that I’ve read in the past five six years-Pankaj Tripathi
8:39 AM
Sharing screen space with Sanjana and Malayalam actor Parvathy in Father, Pankaj says it’s enriching to team up with artistes from different schools of cinema
Priyanka Sharma (MID-DAY; January 19, 2023)
Few things give an actor as much high as a well-written script does. Pankaj Tripathi remembers being elated when he read the script of Aniruddha Roy Chowdhury’s Father, which has been penned by Ritesh Shah.
Considering the actor has a keen eye for stories, it says a thing or two about the script’s merit, when he states, “It’s one of the most brilliant scripts that I’ve read in the past five-six years. When I am so excited about the [material], I am sure the outcome will live up to it.”
Father is an investigative drama set against the backdrop of a dysfunctional family coming together. The unit wrapped up the shoot in Kolkata recently. As he collaborated for the first time with Malayalam actor Parvathy Thiruvothu, and Sanjana Sanghi, Tripathi says teaming up with artistes of different sensibilities leaves one richer.
“The film stars Parvathy, Sanjana, actor Jaya Ahsan from Dhaka, and a lot of new artistes. It’s [joyful] to have artistes of different industries and regions come together.”
A collaboration with Chowdhury was on his wish-list ever since he saw the director’s Pink (2016). He describes the union as “magical”. “I had such a good time working with Tony da that I didn’t even realise when the shooting finished. The film is a father-daughter story; it explores their bond and how far they can go for each other,” says the actor, who plays father to Sanghi.
Pink director Aniruddha Roy Chowdhury’s next, starring Sanjana Sanghi, Pankaj Tripathi goes on floors
8:20 AM
(L-R) Aniruddha Roy Choudhury, Parvathy Thiruvothu, Sanjana Sanghi, Pankaj Tripathi, Mahesh Ramanathan, Viraf Sarkari, Jaya Ahsan and Shyam Sunder Photo: htbs
HINDUSTAN TIMES (December 7, 2022)
Set to take movie buffs on a roller-coaster ride, National Award-winning director Aniruddha Roy Chowdhury’s untitled next went on floors yesterday and it promises to be high on content. Starring actors Pankaj Tripathi, Sanjana Sanghi and Parvathy Thiruvothu in lead roles, the film is an investigative drama with a heartwarming story of a dysfunctional family coming together.
Chowdhury, who has earlier helmed films such as Pink (2016), says, “I am happy to do this film that has an intriguingly layered story.” The first shooting schedule started in Mumbai and the team will move to Kolkata for the second schedule.
Producer Viraf Sarkari of Wiz Films is elated with their first feature film production. “We are delighted to begin this journey with a socially relevant film being put together by a multi-award-winning and talented team of actors and music director Shantanu Moitra,” he says.
National Award-winning producer Mahesh Ramanathan, CEO, HT Content Studio, says, “Aniruddha builds on his forte of exploring socially relevant themes with honesty and promises to deliver another impactful film that would entertain audiences while the message hits home. Coming from a team that has won over 12 National Film Awards and delivered box-office successes, audiences can expect a film that stays with them.”
Producer Venkat K Narayana from KVN Productions says, “We are very happy that our first Hindi feature film will be featuring one of India’s finest actors — Pankaj Tripathi.”
The cast, too, is excited to embark on this journey. Tripathi tells us, “I have read a lot of scripts lately and this was the most amazing one.”
Sanghi, who plays Tripathi’s daughter in the film, says, “It was that rare moment every artiste craves for, to hear a story that you resonate with. I can’t wait to bring our pure, yet complex tale to audiences.”
Thiruvothu calls this project a “massive opportunity” to “dismantle and unlearn”. She explains, “I’ll be working with Aniruddha sir and Pankaj sir. That’s always an amazing and scary process.”
The film, co-produced by Shyam Sunder and Indrani Mukherjee, is slated to release next year.
I was told nobody would want me after 25-Parvathy Thiruvothu
8:11 AM
Parvathy, who fronts the female-led film Wonder Women, on busting industry’s sexist myths over her 16-year career
Priyanka Sharma (MID-DAY; November 18, 2022)
An actor is like a moong dal packet, with a shelf life.” This was among the scariest things that Parvathy Thiruvothu, then 18, was told on entering the Malayalam film industry. Sixteen years later, she is among the most successful actors in the south movie industry today, happy to turn archaic notions on their head, one film at a time. “[When I joined the movies], everyone said, ‘You are in your 20s. Make a lot of money in the next five years because nobody will want you after you’re 25.’ I am 34, and still here,” she asserts.
If it takes a revolution to make the industry realise that talent has little to do with gender and age, Thiruvothu is glad to take charge. “Just making sure I don’t leave the industry is my biggest revolution. Sometimes, the most silent actions can be the [most impactful].”
Her movies — from Bangalore Days (2014) to Take Off (2017) and Uyare (2019) — reflect the impact and change she bats for. Director Anjali Menon’s English film, Wonder Women, is the latest addition to the list. The Sony LIV film tells the story of six pregnant women, finding strength in each other as they navigate confusion and questions regarding pregnancy and childbirth.
“I chose to play Mini because of her personality, her situation, and what happens to her in the end. That transformation was interesting to me, especially as a bit of an introvert.”
Building a strong filmography across languages over the past decade-and-a-half has given her much joy as an artiste. What has added to her satisfaction is that she did so while holding her own in an industry notorious for its rampant sexism.
“When I started, I knew there was a certain power [structure] in the film industry. You get star-struck, and want to keep climbing up. [But] you can’t be happy in a workplace that doesn’t have dignity and fairness. You have to decide there and then if this is how you’re going to lead your life, where you are disrespected over and over again because of your gender.”
Why Parvathy Thiruvothu didn’t do more Hindi films after Qarib Qarib Singlle
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Titas Chowdhury (HINDUSTAN TIMES; October 31, 2021)
Actor Parvathy Thiruvothu marked her foray into Bollywood opposite late actor Irrfan in Qarib Qarib Singlle (2017). However, she hasn’t been seen in more Hindi films after that. While she’s keen on having a career here, she tells us that she’s waiting for the right part.
“I’ve been offered extremely few projects and I believe they were either very similar to the journeys of the characters that I’ve played in other languages or to the character I played in Qarib Qarib Singlle. I’m still waiting for that one project, which would give me a different experience as well as the audience,” she shares.
The Bangalore Days (2014) and Uyare (2019) actor, who has received critical acclaim for her performances, is known to be vocal about issues surrounding gender inequality and sexual harassment at the workplace. While many may assume that playing “a woman with a strong mind and invincible nature” maybe her priority, Thiruvothu differs.
She shares, “I want to be able to play individuals who have never found courage, strength or love, including sadists who intend harm, or those who want to do well for others. I constantly feel a need to explore a person’s psyche. Thereby, exercise empathy, and learn better.”
A while back, Thiruvothu was seen in Navarasa, a project where she worked on a pro-bono basis. Hoping that it sets a precedent amid these trying times, she shares, “Actors and technicians who are in a spot where they are financially secured should put their privilege to good use. It helps crew members who are forced to take up work outside of the film industry to support and sustain themselves. I’m grateful that I’m in that position (to offer help). This should be done often.”
Siddharth has the power to express just through his eyes-Parvathy Thiruvothu
7:46 AM
South star Parvathy on her 'jugalbandi' with Siddharth as they team up for 'Navarasa'
Uma Ramasubramanian (MID-DAY; July 26, 2021)
It’s a rare cinematic treat to see South stars Siddharth and Parvathy — fierce performers on screen and free thinkers off it — share a frame. Their “jugalbandi”, as Parvathy calls it, will soon be evident in Navarasa, Netflix’s anthology that studies nine different human emotions through its nine stories. The actors are set to headline Inmai, directed by Rathindran R Prasad, which has the theme of fear.
“Siddharth has the power to express just through his eyes. He could be still, but I would be able to feel what he is [trying to say]. That made my job much easier,” says Parvathy, recollecting her virtual prep with the Jigarthanda actor that began late last year after the project was announced. “It was a great jugalbandi. Siddharth and I did several Zoom calls before we came on the set. Our shift from the virtual world to the physical world [was seamless]. We slid into the shoot with zero friction.”
From actors Revathy, Vijay Sethupathi and Suriya to filmmakers Karthik Subbaraj and Gautham Vasudev Menon, the brightest talents of the South Indian film industry are attached to the project. Revered filmmakers Mani Ratnam and Jayendra Panchapakesan have brought them together for the project that has a noble cause at its heart — to raise funds for the film industry workers who were hit hard by the pandemic. Happy to do his bit for the fraternity, Siddharth says Prasad has woven an intriguing tale. “People’s curiosity will be [piqued] when they hear the word ‘Inmai’. It means something that is not there.”
How South India is conquering the OTT universe as Hindi content remains dormant
8:07 AM
Releasing on Netflix on June 18 is Dhanush’s Jagame Thandhiram, the story of a clever, carefree gangster. In the freezer since 2020, the Tamil film will now also see dubbed versions in Telugu, Malayalam and Kannada.
Yes, we are talking Malayalam, but so is much of the OTT content universe, where cinema from the South is smashing popularity records among pan-India audiences. And with Hindi content in sleep mode, viewers are saying, subtitles zindabad!
Aastha Atray Banan (MID-DAY; June 6, 2021)
Why is a Malayalam film that released in theatres two years ago, being watched now across India, including by those who can’t make sense of it without subtitles? The makers of Kumbalangi Nights are all but making notes in their gratitude journal. The story of a dysfunctional family of four brothers, the feature looks at their strained relationships with care, and traces their journey to a moment when they realise the importance of family. Lead actor Fahadh Faasil is now part of drawing room conversation in Mumbai and Delhi after the film dropped on Amazon Prime Video last year during the lockdown, with English subtitles. “It’s not even new!” exclaims Shailesh Kapoor, founder and CEO of Ormax Media, a firm that track trends in the Hindi and South Indian film industries. “Urban audiences across the country are getting a taste of South Indian cinema because OTT platforms made it readily available. The language barrier is all but gone. It also helps that Hindi films are not releasing at the same frequency.”
The competition to Hindi cinema post Coronavirus pandemic is not just from Hollywood films, dubbed or otherwise, it’s from content that’s being produced in our backyard. The frightening appetite for regular and new content created by the hours in the day that the pandemic induced lockdown freed up for most viewers who were working from home, and not distracted by leisure options outside, has meant that Indians have gone beyond the comfort of Hindi and English. Korean dramas have been the rage for a while, and Spanish shows like Money Heist have trended over a year. A mind-bending German show like Dark, has also found takers. So, why wouldn’t films made in Tamil, Telugu and Malayalam, attract the viewer? Interestingly, the curiosity perhaps piqued by grand dramas like the Baahubali franchise is now traversing more nuanced terrain as smaller, breakaway films are finding fans. “What works for Malayalam cinema is its realistic portrayal of life. On the other hand, the grander Tamil and Telugu movies are also doing well. We have been tracking social media and doing online reproach and realise that a lot of the good word is being spread between friends. Word of mouth has been critical in the popularity of regional cinema,” he adds.
This, coupled with a generous marketing push by the platforms, has been key.
One of Amazon Prime Video’s most recent popular offerings has been The Great Indian Kitchen, a Malayalam film that follows the monotonous life of a young progressive dancer, who marries into a prestigious traditional family and encounters deep misogyny and patriarchy. Director Joe Baby portrays this, largely through the glorified Indian tradition of cooking. Soorarai Pottru, a story of a young man with lofty dreams of starting his own airline service, has also done well. Netflix has got titles like Ala Vaikunthapurramuloo (Telugu), Kannum Kannum Kollaiyadithaal (Tamil), Kappela (Malayalam), and Uma Maheswara Ugra Roopasya (Telugu), that have made it to the Top 10 list based on viewership across India.
Hotstar has offered its members Tamil blockbusters like Sulthan, and the romance, Thozhanda. It even has it’s own Hotstar special Tamil thriller, November Story, starring Tamannaah Bhatia.
Mumbai-based YouTube movie reviewer Sucharita Tyagi puts it in perspective when she says, “I started watching regional movies firstly, because there hasn’t been a Hindi release for a while, and we have all this time on hand. Secondly, a lot of my audience includes cinephiles, and when they began suggesting that I watch South Indian cinema, I did. The Great Indian Kitchen blew my mind. I have watched many more since then, and even though I had no knowledge of them being around before the lockdown, I am now enjoying the process of watching and reviewing them.”
This flip to South cinema has been helped by the stunning growth of OTT platforms in India in the last two years. In 2021, according to consultancy firm Omdia (which excludes subscriptions from bundled offers), as of December 2020, Disney+ Hotstar had 18.69 million subscribers, a big jump from 5.36 million in 2019. Amazon Prime Video had 5.83 million subscribers—up from 4.34 million in 2019—while Netflix added more than a million paying users to reach 3.08 million subscribers in 2020. The subscriber count of Zee5 and Sony Liv stood at 2.7 million (up from 1.99 million) and 1.81 million (up from 6.5 lakh), respectively, in 2020. With numbers as high as these, if new Hindi content isn’t available to support and pump up viewership, the platforms are only going to look elsewhere.
Pratiksha Rao is Director-Content Acquisition, Netflix India. She tells mid-day that, in addition to Hindi films, the channel has noticed that members have discovered and fallen in love with non-Hindi language features. She specifically mentions Paava Kadhaigal (Tamil), Pitta Kathalu (Telugu), to Nayattu (Malayalam), Mandela (Tamil) and Cinema Bandi (Telugu). “We are excited to bring Dhanush- starrer, Jagame Thandhiram, to our members on June 18, which will be soon followed by the highly anticipated anthology film, Navarasa, helmed by Mani Ratnam and Jayendra Panchapakesan,” she reveals, saying that subtitles and dubbed versions have both helped regional movies find new viewers.
Women centric films are particularly popular, she adds. “This golden age of entertainment in India has opened up lots of opportunities and inspired writers and directors to build stories around female characters. It has also empowered more women creators to bring their unique perspective to the stories they want to tell. Our members have been inspired by complex, strong, layered female characters in the Netflix Tamil anthology Paava Kadhaigal (Tamil), and our Telugu anthology Pitta Kathalu.”
Telugu actress Lakshmi Manchu, who starred in Pitta Kathalu, which got together multiple stories about a variety of brave women, is now working on producing a Telugu movie, directed by a Malayalam director. She says it’s all happening because of the OTT boom. “Everything has become more accessible. It would have been very tough to go watch a regional movie in Mumbai before the pandemic. You would have to find a single screen that was showing it, and that too only for a few days after it released. Now, we [regional talent] are everywhere. It has opened up avenues for actors as well. Tamil and Telugu productions have typically catered to those who like drama, while Malayalam films have appealed to an audience that digs cerebral content. What this new access is also doing is giving the rest of India an entry and insight into our culture.”
Like Manchu, Parvathy Thiruvothu hopes that OTT platforms continue to offer space for regional movies to thrive. Her Malayalam movie Aarkkariyam, released on Amazon Prime during the lockdown, and was about the lockdown. “It was well received. I think good movies are finally getting the viewership they deserve. This movie, which is set against the backdrop of the lockdown, and has a meditative quality in its treatment, released across seven different platforms!”
Entertainment industry tracker Ramesh Bala reveals that platforms are spending big money on advertising regional cinema, using gimmicks like Twitter emojis to go along with the release. “These days, people are watching one movie a day, and they have long moved on from their own mother tongue. As I track social media, I see many reviewers talking about south Indian cinema, and audiences [outsider Southern states] sharing their experiences. People have become brand minded and since moves are freely available in dubbed formats as well, they are experimenting. This will become the norm.”
Along with mainstream platforms, even smaller apps, have seen a rise in subscription. Suriya Narayanan, vice-president, ARHA MEDIA, the firm that owns Aha, a video app for Telugu movies, says they launched in February 2020. “We have also begun dubbing Malayalam movies for our Telugu audience. We have gained subscribers across India, and overseas too.”
Their focus is on acquiring smaller, quirky movies. “For example, we had Colour Photo, which is about a dark man who loves an upper class girl. That specific film got us three-and-a-half lakh subscriptions. We now have one million subscribers. With respect to quality Telugu content, we are now equal to Amazon.”
But does the Hindi entertainment industry really have anything to fear? For Vikram Malhotra, who produced Vidya Balan-starrer Shakuntala Devi and her next, now soon-to-release Sherni, it’s all for the collective good. “Big South Indian films have always done well in cities like Mumbai. That being said, what streaming platforms have done is that they have taught Indian audiences to get used to subtitles. After all, they have been watching so many shows in other languages [through the lockdowns]. I personally see it less as competition, and more as a trend that increases the pie share for everyone. Of course, we should up our game, but now for the first time, even talent is moving seamlessly—be it movies, writers or actors.”
Film exhibitor Akshaye Rathi dispels fears when he says that just like television channels did a decade ago, streaming platforms are now smashing language barriers. “SetMax for instance, did it a long time ago. OTT platforms are taking regional cinema right into urban homes. But the difference between an actor and star defines the divide between OTT platforms and the big screen. A star is still defined by the box office draw, and a big theatrical release. Dhanush tweeted about his upcoming movie but after making sure he had said that he would have preferred a theatrical release. The bigger Hindi production houses are still making movies to give audiences the theatre experience that can’t be replicated at home. So, eventually the big game will be played in theatres alone.”
Colour Photo on Aha app is about a dark man who is in love with an upper class girl
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