Mumbai: Superstar Rajinikanth-starrer Tamil film Jailer 2 has skipped a Hindi theatrical release in leading multiplex chains PVR Inox and Cinepolis in northern India after its producer refused to extend the theatrical window from four weeks to eight weeks.

This standoff highlights southern producers' growing preference for the certainty of lucrative streaming rights deals over uncertain box-office returns.

With streaming deals increasingly compensating for lost theatrical revenue, a Hindi release for southern films is becoming a calculated commercial decision rather than an automatic part of a pan-India film strategy, producers and trade analysts told ET.

Some said by choosing not to take a financial risk, producers could be harming the overall ecosystem.

Increasingly, southern films have travelled to the hinterland of North India thanks to subtitling, faithful and fairly accurate and evocative dubbing, and social media discussions around them. Today, the northern market can contribute 10-50% to pan-India focused southern films depending on how well they resonate with audiences, they noted.

"When a film runs for eight weeks in theatres, everyone gains in the ecosystem," explained Devang Sampat, managing director of Cinepolis India. "Producers get bigger box office and a new market for their stars that carries into their next films. Also, a film is worth more when it goes to streamers."

South-based veteran film trade analyst Sreedhar Pillai also said, "Jailer 2 could have done extraordinary business if it had been released in national multiplex chains which account for nearly 70% of Hindi films' box-office collections."

Of its total India collection of Rs. 145 crore, Jailer 2 earned Rs. 10.9 crores from Hindi dubbed, which has been released in stand-alone theatres and smaller, regional multiplex chains. Interestingly, its Hindi dubbed collection jumped to Rs. 4.5 crores on the third day from Rs. 2.9 crores on the second day, indicating rising interest from Hindi audiences.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Actor Jatin Sarna, best known for the web series The Sacred Games and film Sikandar (2025) is set to star opposite Rajinikanth in the upcoming film Jailer 2. The actor says he feels blessed to be working with the superstar for the second time after Darbar (2020).

Calling it “a manifestation that played 2x,” Jatin says, “Many won’t believe but it’s true that for years, I have had Rajinikanth sir’s framed photo from the movie Kaala (2018) above the door in my living room where it’s written ‘Kya Re’. For me, he has been an inspiration.”

Speaking about how it felt to work with his childhood dream actor, the 41-year-old shares, “I grew up watching him and have so many memories attached to Rajini sir. The bright side is, I got great exposure in the South Indian industry. I learnt and spoke Tamil. Much to my surprise, I got a compliment that I was able to adapt to it.”

When asked whether he will also be sharing screen space with Shah Rukh Khan, who is rumoured to have a role in the film, Jatin says, “I have wrapped my shoot and I am not aware of any such development.”

After Mithun Chakraborty recently confirmed actor Shah Rukh Khan’s cameo in Rajinikanth’s Jailer 2, HT City has learnt some exclusive details about the film.

A source tells us, “Shah Rukh’s character steps in the film when Rajinikanth’s character calls him in a situation of dire need. Both actors will be seen together in the frame and deliver a powerful performance. Shah Rukh plays the role of Rajinikanth’s close friend and confidante, whom he trusts with his life.”

The film is in its last leg of shooting and will wrap up the schedule this week in Chennai. However, SRK’s cameo hasn’t been shot yet. “They have got a separate date to shoot Shah Rukh’s part. It will happen sometime later this month,” another source reveals. The production is ensuring that every look is kept under wraps with heavy scrutiny over cameras on sets.

The Nelson Dilipkumar directorial will also mark Vidya Balan’s Tamil debut.

We suspect Priyadarshan has 30 hours in a day. In 2025, the filmmaker wrapped up two movies, Bhooth Bangla and Haiwaan. Now, he has revealed to mid-day that he also squeezed in the time to write his autobiography. The filmmaker plans to release his memoir in 2027, coinciding with a career landmark. 

“I am writing, shooting, and writing again. I have completed my 97th movie, Haiwaan, starring Saif Ali Khan and Akshay Kumar. The 98th will be with Pankaj Tripathi, Annu Kapoor, and Saurabh Shukla. I want to complete my memoir by 2027 as I should wrap up my 100th film by then,” he told us over a call.

The star of the yet-untitled autobiography will obviously be Priyadarshan and his rich career spanning over four decades. That said, another superstar, Mohanlal, will take pride of place in the book. After all, the Malayalam actor had fronted his directorial debut, Poochakkoru Mookkuthi (1984), and in a serendipitous turn of events, he will lead the director’s 100th outing too. The decades in between have seen the two friends collaborate multiple times.

Priyadarshan elaborated, “Mohanlal was the hero of my first film. I want to end my book with the last chapter on him. I think it’s the first time in the history of Indian cinema that an actor, who did a director’s first film, is also the hero of his 100th.”

Looking back at his life, the memoir will span his childhood, his entry into films as a screenwriter, and his rise as a director with three National Film Awards and multiple hits to credit. “I started my career at 19; I wrote my first Malayalam movie Kuyiline Thedi [1983]. Before that, I was a ghost writer for a couple of films,” he recalled.

“The book will also cover everyone I have worked with or met — from R D Burman to Rajesh Khanna, from Dev Anand to Akshay Kumar and Rajinikanth. I have met so many legends in the last 40 years.”

A poster of Hum Mein Shahenshah Koun and (right) producer Raja Roy

Producer Raja Roy, brother of actress Reena Roy, has revived his long-delayed Hindi film Hum Mein Shahenshah Koun, starring Shatrughan Sinha, Rajinikanth, Hema Malini, Anita Raaj, Prem Chopra, the late Jagdeep and Amrish Puri. Shot in 1989, the film remained unreleased for 37 years and is now finally set for a theatrical release.

After principal photography was completed, Raja moved to London, leaving the project unfinished. Although there were attempts to revive the film over the years, a series of personal setbacks, including the untimely loss of his son and later the death of director Harmesh Malhotra, pushed it further into limbo. Eventually, Raja returned to India with the resolve to complete the project.

Reflecting on the film’s long and difficult journey, Raja said, “We never lost hope for this film. Many tragic events have unfolded over the decades, both personally and professionally. Today, I feel grateful that we are finally able to release it in cinemas. This film has endured grief, setbacks, and silence, yet it has survived. This is not just a movie for me; it is my child.”

Speaking about the technical upgrade, Raja explained, “It is an action film driven by Vendetta. We have used the latest technology to enhance the viewing experience. AI tools were employed for visual smoothing, audio mastering, and to bridge gaps in certain scenes, ensuring continuity without compromising the original performances or narrative structure. I have embraced new-generation techniques while retaining the soul of the film. The final result is now in the audience’s hands.”

Shabana and Aslam Mirza, associate producers of the film, played a key role in restoring and completing the project using modern technology.

Aslam said, “For nearly five years, I have been working to revive this film. Many people advised me to release it with minimal corrections, but I felt that would be unfair to the film, especially considering Raja Roy ji’s passion and the years of waiting behind this project. The film deserved to be completed properly and presented in a digitally refreshed, modern format on the big screen. We have also added a new song with a contemporary feel to complement the film.”

Addressing the legal clearances required for the revival, Raja shares that the necessary permissions were secured decades ago. He said, “We obtained NOCs from all the actors back in the 90s.”

Speaking about the cast’s response to the film finally seeing the light of day, Raja shared, “I share a very warm relationship with Shatrughan Sinha ji. When I informed him about the release, he congratulated the entire team and expressed his willingness to actively participate in the promotions. I am in discussions with Rajinikanth ji and will be meeting him soon to talk about promoting the film in the South.”

When we reached out to Hema Malini, she chose not to speak about the film but wished the team the very best.

Rajinikanth and Prem Chopra in a still from the film

Following the massive success of Jailer (2023), director Nelson Dilipkumar moved swiftly to develop a sequel, with Rajinikanth confirmed to reprise his role as Muthuvel Pandian in Jailer 2. The latest addition to the star-studded cast is Vijay Sethupathi, who has now confirmed his cameo in the upcoming action-comedy. The Tamil film will once again feature Rajinikanth in the lead, with several high-profile actors set to make special appearances. Among them is Sethupathi, who revealed his involvement in a recent interview with The Hollywood Reporter India.

The actor, known for films such as Vikram Vedha (2017), said that he had earlier decided to avoid cameo appearances and villainous roles. However, working with Rajinikanth prompted him to make an exception. “I have done a cameo in Jailer 2 because I love Rajinikanth sir. To be with him, I get to learn a lot. Superstars have survived in this industry for decades, there is so much to learn,” Sethupathi said.

In the same interaction, the actor explained why he has become selective about playing antagonists on screen. Sethupathi said he often faced emotional pressure from filmmakers to take up villain roles, which eventually began affecting his career as a leading man. “Now, I’m doing villain roles only if the script excites me,” he underlined.

He added that many scripts he receives portray antagonists as conventional characters designed solely to elevate the hero, leaving little room for novelty. “Since most of them are very normal and nothing extraordinary, I’ve chosen not to do such roles,” Sethupathi said.

Jailer 2 is currently in development, with further casting details expected to be announced soon.

Bollywood has long been a dominant force in India’s film landscape, but the growing pan-India appeal of south cinema in recent years has challenged its supremacy. With the exception of a few Hindi releases, many films struggled at the box office, fuelling the narrative that Bollywood was losing ground. However, the massive success of Dhurandhar, which has entered the Rs. 1000 cr club, appears to have shifted the conversation – something filmmaker Ram Gopal Varma strongly believes.

In a post on X recently, RGV wrote, “The fireball of the southies’ invasion into Bolly wood has been kicked back by Aditya Dhar. From what I saw of Dhurandhar 2, if the first scared them, the second will terrify them.”

Known for his blunt opinions, Ram Gopal Varma clarified that his comment was not intended to undermine South cinema or create a divide. Speaking to Bombay Times, he said, “I referred to South cinema because their potboilers follow a certain template. Korean cinema is known for its unique style, and so is South cinema. Aditya Dhar took the same masala template, but elevated it aesthetically. That’s what has shaken everyone.”

According to him, the success of Dhurandhar will force South filmmakers to reassess their approach to scripts and storytelling. “The film is far more mature and nuanced in its execution,” he said, adding, “What makes the difference is the detailing. Instead of exaggerated action where people fly or bounce unrealistically, the action here feels believable. That level of maturity and character clarity is rarely found in traditional masala cinema, which often veers toward the tacky.”

Discussing Dhurandhar’s grounded storytelling, Varma highlighted the film’s decision to move away from the concept of hero worship, “When audiences embrace something as intense as Dhurandhar, how will over-the-top pan-India films survive? When Ranveer Singh makes his entry, the intention isn’t to make people clap. He’s treated purely as a character who disappears into the story. Every character matters equally. You don’t just remember Ranveer – you remember everyone. Giving each character their due is extremely rare.”

Addressing the claims that Bollywood is ‘finished,’ Varma remarked, “People say Bollywood is done because it stopped making films people enjoy. South masala films dominated during that phase. But would those films work the same way if they released after Dhurandhar? South cinema often strives for a perfection that ends up looking unreal – be it overly glamorous heroines or questionable relationship dynamics. That disconnect matters.”

Reflecting on history, the filmmaker added, “Many South stars – Rajinikanth, N T Rama Rao in the ’70s and ’80s – rose to superstardom through remakes of Hindi films, especially Amitabh Bachchan’s. In the ’90s, Bollywood shifted from masala to musicals, driven by music companies turning producers. Then came a generation of foreign-educated filmmakers focused on slice-of-life cinema. The South, barring Malayalam cinema, never stopped making masala films, which is why their stars became nationally popular. But the storytelling sensibility often didn’t connect with North Indian audiences.”

He continued, “Dhurandhar uses the same action-masala template but grounds it in realism. It’s being discussed for its music, dialogues, cinematography and action. South films may generate huge numbers and entertain theatre audiences, but there’s often little to discuss afterwards – excluding period epics.”

Comparisons between Dhurandhar and Varma’s own films, like Satya (1998) and Sarkar (2005), have been inevitable. Responding to that, he said, “Human conflict is universal – whether it’s the American mafia, Mumbai’s underworld, or any other setting. What matters is how the conflict is portrayed. The Godfather (1972) became a global benchmark because of how it was made. That’s what great cinema does.”

Recent reports had suggested that Vidya Balan will be sharing the screen with Rajinikanth (74) in Jailer 2. HT City has now confirmed the news; the 46-year-old will indeed be a part of the film, marking her full-fledged Tamil debut after a brief appearance in Nerkonda Paarvai (2019). The film has reportedly completed more than half of its shoot.

A reliable source from the production reveals, “Vidya plays the role of (actor) Mithun Chakraborty’s eldest daughter. Mithun is the leading antagonist in the film and will be seen alongside (actor) Rajinikanth sir.”

The source further adds, “The film is currently being shot in Chennai and will move into post-production by January.” After wrapping up the Chennai schedule, the team will reportedly move to Goa for the remaining two months of shooting starting late October.

The makers of the Nelson Dilipkumar directorial are aiming for an August 2026 release. Attempts to reach Vidya and her team went unanswered but a representative from the film shared, “It’s too early to say anything.”

In an industry driven by vanity and youth, R Madhavan stands out for his honesty and quiet confidence. Whether it’s embracing his salt-and-pepper hair, stepping away from gym-culture aesthetics, or choosing roles that defy the norm, Madhavan remains unapologetically himself. In this candid conversation, he opens up about ageing gracefully, the joy of playing unexpected characters, and finding love in life’s simplest moments.

Madhavan, who is often referred to as Maddy by industry folks and fans, remains refreshingly real, sporting his grey strands with grace. “I am not good at carrying baggage, nor am I good at carrying lies. Ab safed baal aa gaye toh aa gaye. I have never dyed my hair, unless it is required for a role. I have learnt that from Rajinikanth sir. He doesn’t care about how he looks off screen, but on-screen, he is magic. Just like my friend Ajith (Kumar). I’ve learnt from my peers and seniors that it really doesn’t matter what your off-screen image is. I am very comfortable in my shoes, so I’m not going to project that I’m younger than anybody. I’m not competing with someone who’s younger than me. I’m competing with my own ability and my ability to bring out the best in me. There’s an acceptance of who I am.”

While actors across age groups are seen flaunting chiselled abs, Madhavan isn’t one who hits the gym and posts workout images on social media. “I did build up a certain kind of body for Saala Khadoos (2016), where I played a boxing coach, because it was required. If a script demands, I’m ready to do what it takes,” he says.

So, has he ever lost out on roles for not fitting the “alpha male” mould? “I wouldn’t know because probably such roles wouldn’t have come to me. They wouldn’t have probably imagined me playing an alpha male part with a six-pack. But I have done roles in movies where they didn’t expect me to say ‘yes’ and I have said yes and it has worked for me,” he adds.

Work aside, Madhavan’s personal life remains rooted. He’s been married to Sarita since 1999, years before he shot to fame. They met when he was teaching public speaking and she was one of his students. He shares, “We have our own set of challenges. But I think the respect and love that one has for each other helps you redefine love as you go along. Like, once your child is born, it’s a different sort of love. Once the child becomes a teenager, it’s a different sort of love. Twenty-five years does seem like a long time, and the relationship has gone through multiple metamorphoses. But even now, one of the best emotions for me is when we hold hands and walk quietly.”

Mumbai: Film director Chandra Barot, best known for the blockbuster classic, Don (1978), which prompted multiple remakes in southern languages and spawned a series of sequels decades later, passed away due to medical complications at Guru Nanak Hospital in Bandra (east) on Sunday. He was 86.

“My husband was suffering from pulmonary fibrosis for the past seven years. He died due to a cardiac arrest at 6.30 am,'' his wife Deepa Barot told TOI.

Barot also directed the Bengali superhit, ‘Ashrita’ (1990), starring Mithu Mukherjee. Barot's family lived in Tanzania, but was forced to come back to India following racial conflicts in the East African country in the 1960s. His sister, Kamal Barot, was a playback singer in Bollywood. He assisted Bollywood biggie Manoj Kumar in films such as 'Purab Aur Pachhim', 'Shor' and 'Roti Kapada Aur Makaan'.

The making of the original ‘Don’ is a legendary Bollywood tale. Barot's cinematographer-producer friend, Nariman Irani, was reeling under a debt of nearly Rs 12 lakh after his first film as producer, 'Zindagi Zindagi', had flopped. Barot offered to help. He was friendly with Amitabh Bachchan and Zeenat Aman having worked with them in 'Roti Kapada Aur Makaan'. They all decided to work in ‘Don’ to help Irani. Tragically, Irani passed away in 1977, before Don could hit the screen. Amitabh Bachchan, who won the Best Actor Filmfare award, dedicated the award to Irani and his wife.

In the 1970s, 'Don' was an unusual title for Hindi films. Barot's mentor, Manoj Kumar, had asked him with a quizzical tone if he was making some film called "Down''! Barot explained that it was a Spanish word 'Don' which actually meant 'gentleman'. Kumar understood and suggested that the pacy second-half needed a song. The advice led to the birth of the chartbuster, ‘Khai ke paan Benaraswala.’

Don, which celebrated platinum jubilee, was remade in Tamil as Billa (1980) with Rajinikanth as hero. A year earlier, N T Rama Rao was the lead in Yugandhar, the film’s Telugu version. In Malayalam, the film was remade as Shobharaj (1986) with Mohanlal in lead. Later director Farhan Akhtar reinterpreted the movie in Don: The Chase Begins Again (2006) and Don 2: The Chase Continues.

Several Bollywood personalities such as Farhan and Kunal Kohli mourned his passing on social media. “Saddened to learn that the director of the OG Don is no more. RIP Chandra Barot-ji. Deepest condolences to the family,'' posted Farhan.

On a rainy Sunday, Barot's last rites were carried out at the Kherwadi based Hindu crematorium in Bandra (east). It was a low-key affair attended by his family members and some relatives. As the final rites took place, one could not help but recall a Barot remark he made years ago: "I will be remembered as the man who made Don".

We’re halfway into 2025, and the past six months have given us varied films — some memorable, others lacklustre. As we enter the year’s second half, IMDb’s mid-year data has revealed Rajinikanth’s Coolie as the most anticipated film among the Indian audience. The lists, set to be released officially on July 10, are based on the page views of over 250 million monthly visitors to the site.

The anticipation around Coolie is natural — it brings together superstars Rajinikanth, Nagarjuna, and Aamir Khan under the direction of Lokesh Kanagaraj. The director believes there is another reason why the actioner is awaited.

“The reunion of legends Rajinikanth and Sathyaraj after 38 years has created magic on screen. This recognition reflects the excitement our fans have shown worldwide,” he said. In the list of anticipated films, Coolie is followed by Hrithik Roshan and Jr NTR’s War 2, and Prabhas’s The Raja Saab.

The data also reveals that Chhaava, led by Vicky Kaushal, has been the most popular film of 2025 so far, as determined by votes. Laxman Utekar, who directed Chhatrapati Sambhaji Maharaj’s biopic, is elated to have his film at the top spot. “What makes this recognition special is that it comes directly from the fans,” he shared. Tamil dramedy Dragon, Shahid Kapoor’s Deva, Ajay Devgn’s Raid 2, and Suriya’s gangster drama Retro round off the top five.

What does it take to bring Rajinikanth, Nagarjuna, and Aamir Khan together on screen? A powerful script, and Lokesh Kanagaraj at the helm. Ahead of the August 14 release of Coolie, the makers dropped Khan’s first look from the actioner last week. The image of a bulked up Khan blowing a cigar has left fans intrigued. Nagarjuna, who plays the antagonist in the film, says that the actor’s performance in his cameo will shock the audience.

“Aamir and I don’t have scenes together. We have two different chapters in the film. But I saw his work afterwards; his performance is brilliant. You’ll see a new Aamir and be shocked,” says the South superstar. 

Coolie is among the most anticipated Indian films of 2025, courtesy not only the cast, but also Kanagaraj who is known for his gritty storytelling. Nagarjuna is thrilled about his maiden collaboration with the director.

“This was a fun experience because of how different it is from what I’ve done so far. Being the main antagonist, I had many scenes with Rajini sir. It’s him against me!”

Lately, the actor has been busy with post-release promotions for Kuberaa, which released alongside Sitaare Zameen Par. Asked whether he has watched the acclaimed film, he says, “It’s not coming on OTT, so I have to take the effort to go and see it! I have known Aamir personally for years. I like his work. In fact, I loved Taare Zameen Par [2007], and I hope I will enjoy Sitaare as much.”

As a mom of three who is married to a businessman, life is so different. In the movie field, we’re like princes and princesses; we’re pampered and spoon-fed. But the outside world is entirely different,” begins Rambha, who is planning a return to films after a 15-year-gap. As the first step, the actress is now a judge on the TV reality dance show Jodi Are U Ready Season 2.

In an interview, the dream girl of the ’90s, who had settled down in Canada post marriage but is now back in India, opens up to us about her break from cinema, her family and why she’s decided to get back to acting. Excerpts:

“As a mom, I felt that kids needed at least one parent beside them up to a certain age and stayed away from films. But my husband knew of my interest in acting. Our son is six now, and my husband felt since our daughters are also older — 14 and 10 — he’d be able to handle them. It was at this time that the TV channel reached out to me to be part of their show. I was hesitant as I’d have to shift my son’s schooling. But my family literally forced me to take it up,” she says.

About her return, the actress reminisces, “It felt like a dream until the first day of the show’s shoot. And on that day, I was terribly nervous. I was scared to step out of the van. And the first shot I had to do was the Azhagiya Laila song. Sandy Master, who I’ve known since Manada Mayilada, gave me the confidence. And when I finished the first shot, everyone clapped, and said I recreated what I’d done 30 years ago! From there on, I slowly gained confidence.”

“After our marriage, we settled in Canada, where my husband runs an interiors business. There, we hardly went out for movies, except for big ones like Rajini sir’s films. Even with outings, we’d go to places nearby, and those that had something for kids. We had a home theatre set-up, so we’d sit together and watch films at home. Every Friday night was Tamil movie night. I was a bit out of touch with films. In fact, I didn’t know Yogi Babu sir. Only when watching Beast, I realized he is currently the top comedian, like Vivekh sir during my time.”

“When I got into films, I wanted to focus on one thing at a time, and gave acting my complete attention. But after marriage, I wanted to take a break from films. I’m also a foodie, and wanted to indulge myself. But that was also where I made a mistake. I started eating quite a bit after my first delivery. I was putting on weight, but it was all OK until my kid started going to school. There, my daughter was seeing moms of other kids dressed stylishly. ‘Why can’t you be like them and wear such stylish clothes?’ she asked me, and that’s when it hit me. I was a movie star, and here, my daughter was saying I was not a pretty mom! I broke down. That comment spurred me to get back in shape. My husband, too, encouraged, saying that it would be good for me health-wise, and also to show people that I was still a movie star.

“My husband had opened his business here in India, and though it was not planned, thanks to Kala master’s insistence, I, too, came down for the inauguration. Putting on makeup, getting on to the stage and seeing the response from the crowd… they all kindled an interest in me to return to films. My kids, too, were thrilled by the reception that I received. I may have not done films for 15 years, but cinema is in my blood. And I’m seeing a lot of colleagues from my time still acting now. So, I, too, got that desire. But I wanted to ensure I kept my reputation intact, and didn’t want to return just for the sake of it.”

“Even today, only a handful of actresses are surviving after 10 years in the industry. Now, who apart from Nayanthara ma’am and Trisha ma’am has managed to survive for long? Maybe Rashmika Mandanna, because her films have become huge hits in the north. In every era, heroines have faced such problems. The world is like that. A woman undergoes physical changes once she has a baby. Take Deepika Padukone. She had such a craze during the time of Padmaavat, but once she became a mom, that seems to have come down. Women undergo changes physically and mentally after delivery, and it becomes hard to fit ourselves into younger characters. At the same time, we, women, should feel proud of ourselves.

“Back then, we’d start in Telugu and after becoming popular, we’d enter Tamil, then go to Kannada, Hindi, and so on. We got a different type of recognition in each language. But now, you can become world famous with one pan-Indian film. I appreciate this change because you have recognition coming in from everywhere. The industries have become one.”

Actor Rajinikanth’s next, action thriller Coolie, is already creating buzz, as it will bring together some of the biggest names in Indian cinema. Apart from Rajinikanth, the film also features Tamil superstar Nagarjuna Akkineni and Kannada star Upendra Rao. And now, it has been revealed that Aamir Khan too will have a cameo in the Lokesh Kanagaraj film.

Upendra confirmed the news during an event. In a video circulating on X, he said, “I did not ask Lokesh (Kanagaraj) garu anything, but when he told me the story, I said it was enough even if I it means just standing next to him (Rajinikanth) for a few minutes. If I’m Ekalavya, he’s my Dronacharya. If he gave everyone entertainment, he gave me enlightenment.”

When asked if he shot with Nagarjuna and Aamir also, he said, “Yeah yeah, we have combination scenes together. (sic)”

Vettaiyan is one of those rare films that have brought Amitabh Bachchan and Rajinikanth together on screen. Fans are not the only ones excited to see the two legends together 33 years after Hum (1991). Actor-producer Harman Baweja says their reunion was a big reason why he came on board to distribute the film’s Hindi version.

“It’s a once-in-three-decade phenomenon. It’s one for generations to watch,” exclaims Baweja. T J Gnanavel’s directorial prowess assured Baweja that the action drama, also starring Fahadh Faasil and Manju Warrier, would be a solid cinematic experience

 “I had watched T J Gnanavel’s Jai Bhim [2021] and knew this director was special. He is a solid storyteller,” he says.

After making his acting debut with Love Story 2050 (2008) and starring in a few forgettable films, Baweja made an acclaimed comeback to the screen with Scoop last year. But he is clear that acting isn’t his top priority now.

“The focus is Baweja Studios. That is where I am at, for the next few months,” says the producer, who is collaborating with Richie Mehta on his next film, Boy From Andaman. “Collaborating with Richie has been brilliant. He has one of the strongest visions as a filmmaker. I remember watching Delhi Crime [2019] and going, ‘Wow! Who’s this guy?’ The idea is to make a film that’s Indian at heart, but with a creator like Richie, it has the legs to travel internationally.”

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

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

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

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

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

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

The Hema Committee report, which has highlighted issues like sexual harassment, lack of basic facilities, gender bias, and pay disparities in the Malayalam film industry, is still making waves.

On Sunday, Rajinikanth was asked to comment on it. In a video shared by Polimer News, the Tamil superstar was asked if a similar committee should be set up to explore exploitation in the Tamil film industry. The actor first asked the reporter to repeat the question; when she said, “Hema Committee, Malayalam,” he replied, “I don’t know anything about that. Sorry,” with a smile.

Actor Samantha and the Women in Cinema Collective (WCC) have asked the Telangana government to publish a similar report on the Telugu film industry. WCC had submitted findings two years ago but the government is yet to respond.

Filmmaker B Unnikrishnan, general secretary, Film Employees Federation of Kerala, has said that it’s undeniable that “strong alliances” exist between production houses with certain directors, writers and actors but they “are based on commercial interests”.

He added that denying the existence of casting couch in the Malayalam film industry would be “denying reality”. “This issue exists in every industry. We should take a stand against this practice in Malayalam cinema. While we might wish for a perfect, utopian future, achieving that ideal is very challenging,” he told Matrubhumi.

Actor Sreelekha Mitra has withdrawn from a seminar in Kochi (Kerala) which has now been cancelled. This comes after her allegations of sexual harassment against Malayalam director Ranjith.

She wrote on Instagram, “I had been hounded by press media across country narrating the said incident over n over n over again which took a heavy toll on me as it did back here when I took names of #bengalifilmindustry who’s who ..REMEMBER?”

Mitra added that she was “done giving any justification to anyone for my said act”, and concluded, “I needed a breather as I have my right to live My Life according to My Choice... I HAVE DONE MY BIT NOW LET ME BE.”

Actor Jiiva got into a scuffle with a reporter after being asked to comment on the report. When prodded about sexual harassment in the Tamil film industry, he said, ”Such issues don’t happen in the Tamil industry; they only happen in Kerala.”

Singer Chinmayi Sripada, who has alleged abuse at the hands of lyricist Vairamuthu in the past, shared Jiiva’s clip on X, writing, “I really do not understand how they are saying sexual harassment does not exist in Tamil Industry. HOW?! (sic)”