Being part of Varanasi has given Prithviraj Sukumaran the chance to experience filmmaking at an extraordinary scale. Through the multiple schedules of the action adventure drama, what has stayed with him is filmmaker S S Rajamouli’s instinct to keep his actors at the heart of the process. The actor shared that the director, who is building a unique cinematic world with his story, encourages an exchange of ideas before every scene is filmed.

“Rajamouli sir will say, ‘This is the scene. How do you want to do this?’ He will first ask me my thoughts, and then give his perspective,” said Sukumaran, who plays the antagonist Kumbha to Mahesh Babu’s Rudhra and Priyanka Chopra’s Mandakini in the adventure drama that went on floors in Hyderabad in 2025.

Such conversations, according to the actor, show how much thought goes into even the smallest performance choices in an ambitious project like Varanasi. “There is a healthy exchange of ideas. He is very clear about what he wants from the scene, but at the same time, he is interested in what the actor is thinking,” he added.

For Sukumaran, who has helmed a few films, including L2: Empuraan (2025), the experience has offered an opportunity to surrender to another director’s instincts. “You have to be willing to surrender to the director’s vision. You can have your ideas and point of view, but eventually you have to trust the person who is making the film.”

Meghna Gulzar has made a career out of walking into complicated, uncomfortable corners of reality and making visceral cinema of them — be it with her debut movie Filhaal, or her recent works like Talvar, Raazi or Chappak. With her new work Daayra, the upcoming investigative drama headlined by Kareena Kapoor Khan and Prithviraj Sukumaran, she finds herself once again dealing with a story rooted in real incidents and expecting strong reactions in all shapes and forms.

In her first conversation about the film, Gulzar sets the record straight on a question that has inevitably followed Daayra since its posters dropped — is it based on the 2019 Hyderabad gangrape and encounter case and subsequent police encounter? Her answer is unequivocal.

“It is based on true events. It is not a fictional story. But it has been researched and taken from many cases that have happened. It’s not one particular case in one particular town or city. Several incidents like this have occurred across the country and we’ve taken a little bit from everywhere to get a more comprehensive perspective.”

That approach also explains one of the film’s most intriguing creative decisions. Rather than locating Daayra in an identifiable Indian city, Gulzar has created an entirely fictional world for the story to unfold in.

“Apart from that, and because it’s not one particular incident, our entire world where Daayra unfolds is a fictional town in India. So I’m not saying it’s based in Pune or Aurangabad or Nagpur or Bombay or whatever.”

The film, in fact, began much earlier than its eventual production. Gulzar reveals that Junglee Pictures first brought her a 34-page story in 2020. “It grabbed me right at those pages, because it was so compelling and it was also extremely scary. And I could see where I could take the story once I got into writing with my co-writers, Yash and Sima.”

Daayra may draw from incidents that have already happened, but the questions at its heart remain painfully current, particularly at a time when police brutality, encounters and questions around the use of state power continue to provoke fierce public debate. For Gulzar, the way through that minefield was not to make a film that simply takes a position on the police, but one that attempts to understand the people inside the uniform.

“Daayra is basically a line. And what me, everyone on the film, and the story itself tries to explore is there is no right or wrong. It depends on where we are standing, on which side of the line. That defines what our perspective is, right? And so that is actually the fulcrum of what Daayra is about. For me, I think the main thing was showing the human being as well as the police officer. Why does that person make the choices that they make? We decide right or wrong later.”

It is a balancing act Gulzar is particularly conscious of because of the responsibility that comes with making films based on real events. She has been exploring institutions; people and events rooted in reality since Talvar, and says the responsibility begins even before the camera rolls.

“I’ve been doing that since Raazi. So you know that there is a tremendous responsibility that comes your way. Even if there is no uniform, the fact that it is based on true incidents already weighs you down with a sense of responsibility that you cannot be frivolous with it.”

The film has an unexpected cast — Kareena Kapoor Khan and Prithviraj Sukumaran, who were not simply cast for their star value; Gulzar had very specific reasons for wanting each of them.

With Kareena, it was almost a case of perfect timing. Gulzar was looking for someone who could break away from the familiar image of a female police officer in Hindi cinema.

“With Kareena, I think it was a moment of serendipity because I was looking at somebody to play this police officer and yet break the mould of the kind of female police officers we have seen in our film industry. I messaged her and she was like, ‘I was also going to message you that I want to work with you’. That timing was that synchronized.”

Prithviraj, meanwhile, was important for an entirely different reason. Gulzar wanted the casting to be geographically and culturally neutral, in keeping with the fictional setting of the film.

“With Prithvi, what happened was that I knew that I wanted an actor who was not from the Hindi film industry. Because, like I said, this is a film that can happen anywhere in our country. So I don’t want it to be a film about a case that happened in North India or a case that happened in South India.”

She had barely begun the conversation with him when he agreed. “I just told him the story in like 45 minutes and he was like, ‘I’m doing it’. I don’t know how, because I have three films back to back. But I will make time, I will do this’.”

For Gulzar, that early conviction from her actors became a responsibility of its own. “When you start off, when your first step is with so much conviction, and you know that you have that faith of your actors in you, it becomes your armour. And it also then becomes a big responsibility that you cannot let their belief down. You have to redeem their faith. What I did was that I made Prithvi and Kareena like the yin and yang of the film. So, where Prithvi has this inherent seething scowl, Kareena is doing everything and dismantling people and situations with a smile.” 

For a filmmaker whose films have often been discussed in terms of their box-office prospects, Daayra also arrives at a time when mainstream Hindi cinema is wrestling with what kind of stories can command a theatrical audience. Raazi made over Rs. 150 crore at the box office. Gulzar, however, refuses to accept that making a film like this is uniquely difficult simply because the theatrical landscape has changed.

“It’s hard to make any film. Whether its budget is Rs 20 crore or its budget is Rs 200 crore. It’s never easy to make a film. The challenges may be different from film to film, but a film is never easy just because it has a big budget. That comes with its own problems.”

She points out that filmmakers have always faced changing commercial realities. “You want it to be successful because it is somebody’s money that has gone into it. Nobody sets out to make a failure of a film. Everybody wants their film to be successful. Every film has a challenge, no matter what the budget of the film is.”

And perhaps that is also why she is unwilling to tell an audience what it should take away from Daayra. Asked what she hopes the film achieves once it reaches theatres, Gulzar declines to prescribe a response.

“I never did that on Talvar also, I never did that on Chhapaak also. If you don’t have an opinion on my film, I have failed as a director because it has not touched you. It has not affected you. The worst thing can be indifference. I would rather that you are opinionated about it, whether that opinion is a positive opinion or a negative opinion. At least you are not indifferent to what we created.”

A day after the trailer of Daayra dropped, Prithviraj Sukumaran says he is already aware of the comparisons being drawn between the Meghna Gulzar directorial and his own 2022 film Jana Gana Mana. But while the similarities may seem apparent from the trailer, the actor insists that the two films are fundamentally different. For him, the distinction lies in what happens after the central incident.

“You know what, for someone who assumes what this film is about from having seen the trailer, it is understandable that they might think these films are similar. But these films are very different from each other. I think the understandable assumption right now is that Daayra is about an incident. Daayra is not about an incident. Daayra is about what follows after the incident. The incident in itself is nearly a catalyst for the series of events that then form the narrative of the film. In one fashion, Daayra is very much a procedural and two different perspectives about the same procedure. Unlike Jana Gana Mana, it's not really about the incident. And even in terms of tonality, what the film speaks about, what the film is about, these two films are very different from each other.”

The film, which sees Prithviraj as police officer Raman Kumar opposite Kareena Kapoor Khan’s Ajooni Kohli, also presented the actor with a character whose morality he did not necessarily have to share. In fact, that was precisely what attracted him to the part.

“That’s what I enjoy most actually. What really excites me as an actor is to be playing people that I do not agree with fully. And having said that, Raman is not somebody who I disagree with fully either. But what is interesting is also, as an actor, you need to be able to step back and look at the film as a whole. What is it that your character serves within the narration? So with Daayra, basically the filmmaker is presenting a debate and she is presenting both sides of the argument to you. And the film and the filmmaker is merely playing the mediator. I should be fully aware that I am an instrument as an actor to prop up one side of the argument. So even if I do not agree with all that Raman thinks and does, or if I completely agree with all that Ajooni thinks and does, I need to go about Raman’s character arc with complete conviction.”

That conviction, however, came with plenty of questions. Prithviraj admits that he had several arguments with Gulzar during the making of the film, particularly when his understanding of Raman came up against his own instincts.

“There were a lot of questions that I kept asking because there was this constant struggle in your mind as to why would he do that? Why would he say that? Why would he react that way? And the fact is that those arguments come about in your mind because you are at loggerheads with the character. And what really helps you at times like that is that you have a filmmaker, you have a director who is so crystal clear with what the character said, what she wants the actor playing the character to do, that she gives you very specific answers to your questions. And that really helped me. I am sure even Kareena will tell you the same thing, that there was never a single question from an actor on sets to which Meghna did not have a proper, clear answer.”

He credits Gulzar’s meticulous preparation for creating that clarity. The actor, who initially did not think he would be able to accommodate the film in his schedule, says the narration changed his mind.

“When I got a call to meet Meghna Gulzar, I told my manager that I will definitely meet Meghna because I am a big fan of her work, but this is most likely going to be me meeting her in person and very sadly telling her that as much as I would love to work with you, I don't think I am going to be able to do what you want to do right now. But Meghna actually didn’t even start off by asking me about when, what, etc. She just said, ‘I would like to tell you a story,’ and she just gave me a narration even before we started talking about when and how. I had no clue this was what she was making. When she told me the story and what she wanted to say and what she wanted to do with the subject matter, I was like, I really would like to do it. And I told her, right now I don’t know, but I am going to somehow find time to do this film because I think it would be a privilege as an artist to be part of something like this.”

That faith in Gulzar’s process was reinforced once he reached the set. Prithviraj describes her as one of the most studious filmmakers he has worked with, with an unusually elaborate pre-production process.

“Meghna’s test shoots, to quote an example, Meghna’s test shoots are more elaborate than some actual shoots I’ve been part of. Just for a test shoot, I remember we put up a set in Mehboob and we got all the actors in costume and we spent the whole day filming an entire sequence and it was just a test shoot. So I asked her why would you do this, because we anyway have to shoot the scene again, and it’s actually a very important scene in the film. And she had this wonderful answer. She said, ‘I don’t want anybody to feel like it’s their first day at shoot on my first day of shoot.’ I didn’t quite get it then, but then I realized when I actually landed up on day one of shoot that we were all just picking up from where we left off. And it’s that process that helps her finish these films in such tight scheduling. She shoots very, very fast. I don’t even remember a single day where we couldn’t finish our dailies. She has a very specific set of shots and she’s already shot the entire scene with her assistants, and she has screengrabs from the test shoot as a storyboard on a file on location. She’s that studious, and it really, really helps.”

Yet for all the preparation, Gulzar also gave her actors room to bring their own interpretations to the material. Prithviraj says that became one of the most rewarding aspects of working on Daayra.

“My agreement with Meghna was that I’ll do it one way that you want me to and I’ll do it one way that I want to, and she’s indulged me so much with this. Usually what Meghna does is before the actors arrive on set, she will actually play out the scene with her cinematographer so that he will have a rough idea about how the general light-up is. Then she’ll call the actors and make them move through these points that she has choreographed. I remember from day two she said, ‘Okay, with your scenes, I’m not going to do it. I’m just going to wait till you come and then you come and tell me how you want to move around, how you want to do the scene.’ When a filmmaker says that to you, immediately what happens to the equation is you start thinking there is a big responsibility on me now. There’s a big responsibility because the filmmaker is telling me, ‘I’m going to give you my text, I’m going to give you my scene and I’m going to ask you, how do you want to play this? How have you seen this?’ And what that does to you is every day when you go back home, you’re thinking of the next day’s scene because I know tomorrow morning when I go, Meghna is going to ask me where do you think Raman is going to be when he says this. And that sort of makes you such an integral part of the process of the character and the film. That was a joy doing that.”

The experience also speaks to how Prithviraj has evolved as an actor since becoming a filmmaker himself. He says directing has actually made it easier for him to surrender control when he is on another director’s set.

“Ever since I became a director, I’m just very easily able to switch off the filmmaker in me. I have to admit it was a bit of a struggle before that. Till I made my first film, I have had many instances where the filmmaker in me would just keep arguing with what is in my mind and what is being done and all that. But somehow I think ever since I have become a director and I’ve started making films, I now am so comfortable walking onto a set and then completely trusting the other person’s process and telling myself, enjoy the surrender. Just completely surrender as an actor to someone else’s vision, method, process, and your job as an actor is to make sure you facilitate that process. And I’m really comfortable doing that now. It is strange that it should happen after I’ve become a filmmaker, but I think the experience of having directed three films has taught me how to switch that on and off.”

For Prithviraj, surrender does not mean suppressing questions or opinions. It means recognizing that his own interpretation is not necessarily the only correct one. “There have been multiple instances where I’m on set and I feel like this is really not how I expected this film to pan out or this is really not how I expected this scene to be conceived. But I’m also experienced enough now to tell myself that just because this is not what you expected does not mean what is happening is wrong. You are here as an actor. You are here to support and facilitate someone else’s vision. Like I said, I have done this long enough to understand that my way is not the only right way. And there have been times I have gone wrong also. There have been times when I have been on sets and I have thought something is going very wrong and it has come out spectacularly right as well. So it’s the free-falling nature of your business and your work that keeps you going.”

That philosophy appears to have extended to his equation with Kareena. Rather than seeing Raman and Ajooni simply as opposites, Prithviraj views them as fundamentally similar people who have arrived at opposite ends of an argument.

“My view of Ajooni and Raman is that they are actually very similar kind of people but on opposite ends of the argument. Their belief system and their ideology might be very different, but the type of people they are, they are actually quite similar. It’s impossible to shake the belief system they have within them. It’s impossible to shake them and they are so steadfast in their belief and their conviction that the system around them, the society within which they exist, their interpersonal relationships, nothing, they are immune to all that as far as their belief is concerned. So it is so interesting that when you realize there is someone opposite you playing somebody very similar, standing for something so different. And of course, it helps that Kareena Kapoor is a brilliant actor. Daayra has a kind of screenplay where you are reading the script and then you are reading the other person’s scenes and you are hoping, I really wish she does it this way because that would make this scene where I am doing it this way so much more valid. And it is such a joy when you finally discover that the interpretations were so similar. I think it is a masterclass by Meghna on how to handle two actors playing two characters like these because I am sure it has happened because she has fed both Kareena and me exactly what she should. One of the greatest facets of Meghna is how she handles actors and makes sure, without you even knowing, that you end up doing exactly what she wants. I keep teasing her even when she says, ‘No, no, with you, you only do what you want.’ She is just pulling my leg. She is actually making me do what she wants, but she will make you do that in a way where you end up thinking, ‘Oh, I got my way.’”

Actor-filmmaker Prithviraj Sukumaran has had two releases this year, first being the pan-India film L2 Empuraan, which he also directed, followed by his recent release Sarzameen. Ask if it becomes difficult to be just an actor on set after directing on another set, Prithviraj says it’s the opposite.

“I was having this conversation with SS Rajamouli (filmmaker) sir just the other day that, for some strange reason, before I turned director, it was sometimes tough for me to switch off the technician in me. I used to land up on locations multiple times and just be very aware of what they are trying to attempt there,” he says, adding, “But after having turned director, I find it very easy to just completely switch off that facet when I’m just acting.”

The 42-year-old elaborates, “Now, I just want to be told by the director what they’d like me to do. That’s what I enjoy the most. I don’t know if it’s a conscious flip that I’ve made, but ever since I’ve done my first film as a director, the easiest thing for me to do is land on a location, switch off the technician mindset, and just be the actor, and I completely enjoy that.”

Sarzameen featured the actor opposite actor Kajol. Interestingly, he started his Hindi film career with her cousin, actor Rani Mukerji in Aiyyaa (2012). Mention this to him and Prithviraj says, “Both of them are fantastic actors, so that makes things a lot easier for anyone working with them. I also think both of them are similar, because they’re very instinctive as performers. Both sort of rely on that momentary instinct when the director calls for action, which is wonderful for a co-actor, because each take seems like there is something fresh in it.”

Although Sarzameen opened to mixed reviews, actor Kayoze Irani is satisfied with the audience’s reaction to his directorial debut. “The reactions have been strong and the numbers good for the platform. I am overwhelmed,” he tells us.

The film stars actor Ibrahim Ali Khan and was originally meant to be his acting debut. Kayoze, who is actor Boman Irani’s son, explains, “I thought it would be nice if Ibrahim had a slightly different debut, I liked the idea of the challenge of launching him. [However,] we had a lot of injuries — Prithviraj sir (Sukumaran, actor) broke his knee, I broke my back, so it got pushed. It was not fair to keep [Ibrahim’s other film, Nadaaniyan] on hold, so that came out first.”

Interestingly, Ibrahim’s character has a speech impediment in the film; since his debut, the actor has opened up about dealing with a speech condition IRL as well. Ask Kayoze if the character was written with this in mind and he clarifies, “The stammer was part of the script even before we cast Ibrahim. When I met him, I realized he suited the character. It’s what we wanted.”

The 31-year-old also admits that he felt the pressure of handling what was supposed to be the newcomer’s debut, along with his own. “I’d decided that Ibrahim’s career was connected to mine; his success is my success, and the same goes for failure,” he ends.

After the 71st National Film Awards were announced on August 1, the expected followed — a discourse on the wins and the snubs. Fans and social media users were shocked that Prithviraj Sukumaran’s critically acclaimed survival thriller Aadujeevitham, an adaptation of Benyamin’s novel of the same name, was ignored at the coveted awards. Many felt that both Sukumaran as well as director Blessy should have won the Best Actor and Best Director awards, respectively.

With the omission sparking strong backlash, National Awards jury member Pradeep Nair, in an interview, revealed that while the film was in contention, jury chairperson Ashutosh Gowariker and others “felt the adaptation lacked naturality and the performances didn’t feel authentic”.

A week before the announcement of the National Film Awards, when mid-day sat down with Sukumaran to discuss his latest release Sarzameen, we had asked him about the memes on social media that claimed he might be the frontrunner for the big win.

The actor said, “No award is a goalpost in my mind. All that I ever wanted from that film, I’ve already got. My number one [criterion] was that I wanted the film to work. I wanted people to like my performance, and most importantly, I wanted the world to know that man’s story. All three happened. There’s nothing else that I want from the film. If I get a National Award, great; if I don’t, congratulations to whoever gets it.”

In Aadujeevitham, Sukumaran played Najeeb, a Malayali migrant labourer trapped in Saudi Arabia.

Prithviraj Sukumaran might have started his career with Malayalam films, but over the years, the actor has worked in films across languages, including Tamil, Hindi and Telugu. The 42-year-old, who was recently seen in the Hindi film Sarzameen, feels that language can be used as a tool for unity through cinema. However, in recent times, language-based violence has been rising, especially in Maharashtra. 

Ask about his take on language being used as a divisive tool, and Prithviraj says, “Maybe I’m just old-fashioned, because I come from a time and generation where we grew up with none of this being a topic for discussion.”

The actor adds, “I am a Sainik School product and I had friends from the North and from different states. We all spoke different languages and it was just a reflection of who we were as a country. I just think that in the heat of all these discussions and conversations, we forget that the ethos of this great nation is unity in diversity, not uniformity despite diversity.”

Prithviraj is among the actors who have managed to strike a balance between films in Hindi and the South languages. However, the success rate of South stars in Hindi has been skewed.

Mention this to him, and he says, “I am not looking for a transition. I am just looking for the next good script. I’ve always said that if the next good script that comes my way is from the Assamese industry, I’ll do it. If tomorrow, a Bhojpuri maker comes and narrates something interesting, I’d love to do it.”

But why do many big South names fail to connect with the audience when starring in a Bollywood film? “I don’t think anybody has an equation that is a foolproof methodology to understand what works and what doesn’t. All of us make a film hoping that it’d resonate with the audience. We might fail, but that’s the only way to go about it. Having done this job for so long, I know that nothing is permanent,” the actor ends.

While recent reports suggest that Prithviraj Sukumaran has called the proposed third instalment to Lucifer, his 2019 directorial, India’s most expensive film with underwater action, his team says he hasn’t made any comment. They took to X to bust the rumours, calling it a hate campaign against him and wrote: “We express our disappointment in major channels for spreading false news, claiming that Prithviraj Sukumaran made statements about the L3 movie. These reports are untrue. It appears this misinformation originated from a fake profile ID as part of a hate campaign.”

Banner and co-stars are hardly ever the criteria for actor and filmmaker Prithviraj Sukumaran when choosing a film. It has always been the script. That’s what drew him to Sarzameen as well — that it stars Kajol and is backed by Karan Johar are a bonus.

The actor shares, “I prefer to keep it straightforward. If a script appeals to me and I mean as a film lover, not as an actor or a filmmaker, that’s the first yes. From there, many things can make me say no. But with Sarzameen, everything was a yes at every step. I read the script in 2022. At that point, Kajol and Ibrahim Ali Khan weren’t attached. After reading it, I immediately called Karan Johar, who suggested that I speak to Kayoze [Irani].”

With his debut feature film, director Kayoze Irani attempts a complex human drama about the troubled relationship between a father and son, set against the backdrop of Kashmir. How does a seasoned actor like Sukumaran place their trust in a first-time filmmaker?

“For me, the number one requirement in a director is clarity — do they know how they want to tell the story they’ve chosen? It might be completely different from how I would tell it, that’s fine. What matters is clear vision. You can judge that quickly in a conversation. Kayoze had a vivid and focused idea of what he wanted to say.”

It’s fascinating how Sukumaran has two films mounted on a big canvas — the upcoming JioHotstar film, followed by S S Rajamouli’s SSMB29, easily among the most ambitious movies of India. He is unperturbed by their scale.

“Scale can never be the story; it’s just the canvas. Rajamouli sir chooses large backdrops because he excels at telling a story through big, visual strokes. Sarzameen has a big canvas; it has Kashmir, the army, and insurgency. But the story is human. The intricate character dynamics — my character’s relationship with his son, with his wife — were nuances [we] discovered as we shot.”

Soon, the actor will move to director Meghna Gulzar’s Daayra. He reveals that the film, which sees him opposite Kareena Kapoor Khan, has been the easiest yes he said. “Usually, you hear a narration and take some time to process it. With Meghna’s film, the narration was three-hour long, and right there in that room, I said, ‘I am doing this’. It’s a cracking script.”

S S Rajamouli’s action adventure, the working title of which is SSMB29, has taken him from Odisha to Hyderabad since it rolled last year. Now, the filmmaker and leading man Mahesh Babu have zeroed in on the next destination. Sources reveal that the director will begin an elaborate three-week schedule in Kenya in July. 

It has been learnt that the Kenya leg will feature some intense action sequences. A unit insider reveals, “Rajamouli sir chose the country because it has everything the film needs — savannahs, highlands, and dense forests.” The portions will be filmed across multiple locations, including the Tsavo National Park, the Aberdare National Park, and on the outskirts of Nairobi.

Also starring Prithviraj Sukumaran and Priyanka Chopra, SSMB29 tells the story of a globe-trotting explorer on the quest for some artefacts. The production team has roped in stunt coordinators of the region to execute the action set-pieces.

The source adds, “Some sequences involve wildlife interaction, and combat in the jungle. Rajamouli sir has envisioned chase sequences in wildlife corridors, and ancient ruins.”

Interestingly, SSMB29 becomes only the second major Indian film after Ranbir Kapoor’s Jagga Jasoos (2017) to be shot extensively in Kenya.

When it comes to S S Rajamouli, spectacles are par for the course. So, it’s not surprising that the filmmaker is setting the stage for what is being described as “one of the most ambitious action sequences attempted in Indian cinema” for his next with Mahesh Babu, the working title of which is SSMB29. mid-day has learnt that Babu, Priyanka Chopra and Prithviraj Sukumaran will kick off intensive prep and action training by the month-end before they face the camera for the elaborate action sequence that is set in a boat.

A source tells us, “The action block involves water, fire, and a whole lot of chaos. It will be mounted on a grand scale with the stunt choreography expected to match international standards. It will be shot throughout May and June. Close to 3000 people, including the leads, will begin the training later this month for it.”

After a two-week prep, the shoot will take place in Hyderabad. We’ve heard that the actors won’t be required to film the portions together.

The insider adds,  “Priyanka will film her parts first. Mahesh will join soon after, and Prithvi will lock a chunk of this before starting Daayra with Kareena [Kapoor Khan].”

Another crew member adds that Rajamouli has roped in international stunt coordinators for the film that has its roots in Indian mythology.

After winning critical acclaim for Sam Bahadur (2023), director Meghna Gulzar has dived into her next, Daayra, a crime-drama thriller starring Kareena Kapoor Khan and Prithviraj Sukumaran in lead roles. For the film, Meghna reunites with Junglee Pictures for the third time, after delivering powerful films such as Raazi and Talvar together. The upcoming film taps into the pulse of the people as it confronts the topical and diabolical realities unfolding in society today. This crime-drama thriller explores the age-old paradox of crime, punishment and justice.

Kareena shares, “As I celebrate 25 incredible years in Hindi cinema, I’m thrilled to announce my next film, Daayra, with the incredible Meghna Gulzar in the director’s chair. I’ve long admired her work and to be directed by her is a dream come true. The opportunity to collaborate with the talented Prithviraj is also a highlight, and I’m drawn to the film’s bold, thought-provoking narrative.”

Fresh off the success of his Malayalam film L2 Empuraan, Prithviraj who is now stepping into this Hindi film, says, “I was thoroughly absorbed by my character in this film and what he brings to the table as the story progresses. It is layered and will definitely connect with the masses. Working with Meghna Gulzar’s vision and an actor like Kareena Kapoor will be a great collaborative experience.”

Filmmaker Meghna Gulzar shares, “Daayra is a story that compels you to reflect on the society we live in and its institutions that pilot us. With co-writers Sima and Yash, unravelling the greys within the black and white, was both challenging and exciting. And as Kareena and Prithviraj bring the lead characters to life, the narrative dynamics are all set to elevate further. It’s always creatively gratifying to collaborate with Junglee Pictures, known for backing compelling stories.”

Talking about the film that is currently in pre-production, a spokesperson for Junglee Pictures added, “We are so proud to be making Daayra. Meghna’s exceptional craft, deep sensitivity, and knack for blending entertainment and substance make her the ideal collaborator to bring this vision to life. We are fortunate to have a dream casting with Kareena and Prithviraj taking on the lead roles.”

Director Prithviraj Sukumaran has become the centre of controversy after the release of his film L2 Empuraan.

While the film undergoes 17 new cuts to remove ‘offensive’ scenes about the 2002 Gujarat riots, Prithviraj’s mother has come to his defence, claiming some people want to make him a “scapegoat”.

On Sunday, Malayalam actor Mallika Sukumaran took to Facebook to share her disappointment over the criticism her son has been facing. She also addressed the claims that Prithviraj had “misled” the film’s lead, actor Mohanlal and its producers.

“This is a mother’s pain. There is no point in someone making fun of me for speaking openly about it. Neither Mohanlal nor the producers have said that Prithviraj cheated them. I don’t think they will ever say that,” she wrote.

“Mohanlal is like my younger brother. I have known Lal since childhood. But it is very sad that some people are trying to make my son a scapegoat without the knowledge of Lal or the producers,” she added.

Mallika also clarified that neither the tone nor the narrative were withheld from the team: “If you feel that there is any problem with the film, then [the entire team] is responsible for it. They all read the script together. They all saw the scenes being shot and everyone agreed... how can Prithviraj be solely responsible?”

The 70-year-old also noted that despite reports that they were “blindsided” by the final version, Mohanlal and the producers were “aware of every shot” of the film. “I want to make it clear that there is nothing in this film that Mohanlal does not know. Neither (him or the producers) would say that they were unaware of anything,” she ended.

Acknowledging the row in a Facebook post on Sunday, Mohanlal wrote in Malayalam, “I have come to know that some of the political and social themes in the film Empuraan, have caused great distress to my loved ones. As an artiste, it is my duty to ensure that none of my films harbours hatred towards any political movement, ideology or sect.”

He added, “The team and I are deeply sorry... and with the realization that the responsibility lies with all of us behind the film, we have decided together to remove such subjects (sic).”

The film’s depiction of the 2002 Gujarat riots, as well as the trajectory of the antagonist Baba Bajrangi (Abhimanyu Singh) from rioter to politician have sparked outrage. Right-wing groups have since slammed the film for ‘distorting facts’, while the Congress party has praised it. Soon after, the production team announced that the film would undergo revisions. As per reports, 17 scenes, including those featuring riots and violence against women will be edited out.

At the launch of L2 Empuraan, when mid-day had asked Prithviraj Sukumaran whether he felt compelled to self-censor the political drama in today’s times, the director had noted that cinema is always “inspired by what is happening in society” and that it’s important for a filmmaker to stay objective (When movies hold up a mirror to society, March 3).

Today, Sukumaran has taken his Mohanlal-starrer back to the editing table, after the March 27 release was criticized by some ring-wing groups for its depiction of the 2002 Gujarat riots. The makers are voluntarily incorporating 17 changes in the political actioner and have sought the Central Board of Film Certification’s (CBFC) approval for the modifications.

An insider reveals, “Many felt that the character of Baba Bajrangi in the film has similarities to Babu Bajrangi, who was convicted for his role in the 2002 Naroda Patiya massacre and is currently out on bail on medical grounds. In response to the backlash, the film’s producers sought approval from the CBFC to make modifications. The 17 edits will include changing Baba Bajrangi’s name, and reducing the riot scenes to half its current runtime. A scene that shows pregnant women being violated will be shortened. Before its release, the CBFC had initially recommended only two edits—one was reducing a scene of sexual violence by half, thus limiting a violent act to a flash; another was removing the national flag in a scene. These adjustments were made in line with the board’s guidelines. With the new set of changes, the runtime will be reduced by just about a minute.”

The source says that the changes will be reviewed by the CBFC after which a fresh certificate will be issued on Monday. The new version of L2 Empuraan will likely be played in theatres from April 2.

Kochi: Central Board of Film Certification has ordered 17 changes to Malayalam movie "L2 Empuraan" starring superstar Mohanlal following backlash over its alleged portrayal of 2002 Gujarat riots.

The movie was released on March 27 and the filmmakers claimed it quickly crossed Rs 100 crore at box office. However, criticism from BJP and RSS members in Kerala erupted soon after its release.

RSS-affiliated publication Organiser accused the film of pushing a divisive narrative, alleging it was "purposefully designed to reinforce image of Hindus as primary aggressors during the 2002 riots".

The article also criticised Mohanlal, claiming that his participation in the project "betrays his loyal fan base".

CBFC's office in Kerala reviewed the film following intervention from central govt, according to sources. The board suggested edits and if the revised version is submitted by Monday, it is expected to be approved for screening in the following days.

The film's producers have agreed to the modifications. Producer Gokulam Gopalan said Saturday he had instructed director Prithviraj Sukumaran to make changes "if any scenes or dialogues in the movie had hurt anyone".

The controversy has sparked political reactions across party lines. Congress praised "Empuraan" for what they described as its depiction of the "reality behind Gujarat riots". Kerala unit of Congress wrote on X: "Like Grok, Empuraan has demolished the Sangh Varsity!"

While BJP state chief Rajeev Chandrasekhar initially wished success for the film on social media, several BJP and RSS functionaries later condemned it.

Sangh-linked organisations like Hindu Aikyavedi and Bharatiya Yuvamorcha criticised the Mohanlal-starrer. But BJP state secretary P Sudheer denied reports that the party's core committee discussed the controversy. Senior BJP politician M T Ramesh said: "Movies can be treated as films and there is no need for the party to oppose a movie".

Earlier this week, pictures of Mahesh Babu and Prithviraj Sukumaran shooting for S S Rajamouli’s next, the working title of which is SSMB29, leaked online (Scene leaked from Rajamouli’s set, March 10). That has come as a blow to the filmmaker, who hopes to depict a novel world in his jungle adventure, also starring Priyanka Chopra. We’ve learnt that to combat any further breaches, the director has beefed up the security in the ongoing Odisha schedule. A three-layer security system has been put into place to man the 500-member crew that is filming at Talamali Hilltop in Koraput.

A senior member from the production, on condition of anonymity, said, “Rajamouli sir wants to maintain secrecy around the world that he is creating. As part of the three-tier security system, guards have been stationed at all entry and exit points to ensure that only authorized personnel can enter the set. The second layer involves the on-site monitoring, where crew members undergo additional checks. Another team mans the core filming location and all electronic devices, except walkie-talkies, are prohibited. Any leak, no matter how small, affects the film’s eventual impact.”

Till the month-end, Rajamouli of RRR (2022) and Baahubali fame will shoot on the outskirts of Bhubaneswar and in the forests of the state. With the open landscape posing challenges in controlling unauthorized access, the production team has stationed additional personnel of 35 around the location perimeter.

“Since the set’s location was leaked, local forest authorities have been roped in to keep intruders at bay. Actors have been requested to not share anything on social media until the official announcement,” the source added.

L2: Empuraan director Prithviraj Sukumaran says the sequel, like the 2017 original Lucifer, objectively reflects modern-day politics, it is set for a March 27 release

Given that films are intensely scrutinized in 2025, was he inclined to tame down the politics in the Mohanlal-starrer?

Sukumaran reflects, “When you write a franchise in 2017 and you’re making the second part in 2025, you have to review the script because the socio-political and economic circumstances around you have changed a lot. You will find a lot of reflections of modern-day politics and society in this film. People say that cinema leads society to darker paths. The fact is that cinema is always inspired by what is happening in society. It’s important to stay objective as a filmmaker, especially when you handle themes like politics. You have to take the stance of a mediator. I don’t propagate my opinion through my films. It’s the same for this film as well.”

While making L2: Empuraan, the director’s other priority was to ensure that it didn’t become derivative. That’s where his process came in handy.

He says, “I tell my assistant directors that every shot they devise should come from the text. If you read a script closely, it gives you your shot division; your inspiration should not be a scene from another film. So, after I get the final draft, I spend six months writing what I call a shoot script. By the time I finish that, I know how to approach each scene.”

A busy 2025 is in store for Kajol, who has three projects lined up. The actor’s first offering of the year, Sarzameen, which also stars Ibrahim Ali Khan and Prithviraj Sukumaran, was to release over the Republic Day weekend. But a change in Khan’s debut plans has had a ripple effect on Kajol’s line-up. Sources say that with Nadaaniyan set to be the youngster’s launch vehicle, Karan Johar’s production Sarzameen has been delayed by a few months.

An insider tells us that Sarzameen, helmed by Kayoze Irani, was wrapped up by the end of 2023. “The film revolves around the sensitive topic of terrorism in Kashmir, with Ibrahim essaying an intense character. Karan, who has backed both Sarzameen and Nadaaniyan, felt it would be better to launch Ibrahim as a romantic hero and lined up director Shauna Gautam’s Netflix rom-com for a summer release. That also gives Kayoze the time to revisit his film, as Karan wants certain tweaks in it. The Kajol and Ibrahim-starrer will release probably in late 2025,” says the insider.

As a result, Kajol’s first release of the year will be Maa. Vishal Furia’s directorial offering is currently in post-production.

The source adds, “It’s backed by Ajay Devgn. The superstar-producer has been involved in the creative process, and is planning to take the psychological horror film to the big screen in June or July. Kajol also has Charan Tej Uppalapati’s Maharagni.”

With franchise films and sequels becoming a dominant force in Indian film industry, the trend is expected to continue this year, too. Prithviraj Sukumaran, who is gearing up for his directorial venture L2: Empuraan, a sequel to his 2019 film Lucifer, says the growing success of sequels is driven largely by numbers.

“The trend is popular because it makes business sense,” says the actor-director, adding, “Let’s say, a director makes a film and it becomes a huge success. If you make your next film and you say it belongs to that universe or it’s a continuation of that story, the interest spikes. Even the streaming platforms think, ‘Oh, we need to have that film because it’s from the same series’.”

However, Prithviraj emphasizes that the business aspect “shouldn’t be the driving force behind doing this (taking a franchise forward). It should only happen if your story needs to be told across so many films”. He credits the trend to the Baahubali franchise. “It was a very honest part one and part two. You realize that the story really needed two films. That should be the driving force,” Prithviraj signs off.