Last week was all about applause for filmmaker S S Rajamouli as he showed the first glimpse of Varanasi at La Cinémathèque Française in Paris on June 27, marking its first presentation to the European audience. Now, the filmmaker is set to dive again into the shoot of the Mahesh Babu, Priyanka Chopra, and Prithviraj-starrer. mid-day has learnt that beginning July 7, the leading man and the director will film one of the movie’s biggest war set-pieces, involving 3500 junior artistes, in Hyderabad.

A production insider revealed, “Preparations have been going on for weeks ahead of shooting the war sequence. The scale is unprecedented, even by Rajamouli’s standards.”

According to another insider, the shoot with 3500 junior artistes will only be the starting point. The sequence’s scale will be magnified at the VFX table.

The insider shared, “Thousands of performers will later be expanded digitally through VFX, resulting in an army that is several times larger on screen. The ambition is to create one of the biggest battle spectacles attempted in Indian cinema. We will see 50,000 vanars on screen.”

Varanasi is said to be a mythological action epic that follows the protagonist’s adventures across timelines.

Priyanka Chopra Jonas has always been driven by a hunger—an insatiable curiosity to explore new stories, new roles, and new ways to connect with the world and her audience. She once again follows that instinct with the documentary she has produced, Born Hungry, which traces the heart-wrenching but inspiring story of Sash Simpson, an abandoned young boy living on the streets of Chennai, who is adopted by a Canadian couple and his journey thereon, of becoming a globally celebrated chef. In a conversation with us, Priyanka reflects on why this story spoke to her so deeply, why its themes of identity, belonging, hunger and purpose echo her own experiences, and how this story “reminds you that — whether that hunger is real or metaphorical, it pushes you to find a purpose”. Excerpts…

Everything about this movie resonated with me. My production company, Purple Pebble Pictures, has been built on wanting to tell stories that deserve recognition, that deserve wings and be able to give stories that are inspiring to the world and from our diaspora. Having grown up in India and travelled the world and worked with children around the world, I’ve met so many young children whose futures don’t change, whose lives don’t change, who live in the cyclical nature of wondering whether they were abandoned, what their past was, what their future will be, and there are so many missing pieces of their stories. I was moved by Sash’s story and his journey back to India, trying to find his family. He’s still not found his family. And we’re really hoping that through this movie, we can get some more information about his birth parents, and that can give him some sort of peace & solace.

I feel very nomadic as well. And in the way my life has taken me around the world, I make a home wherever my work and family take me. My home is where my family is. There are mysterious pieces that make me wonder what forces pushed me towards the life that I have today. Sash and my backgrounds are completely different, but the one thing I really resonate with him on is resilience – being able to adapt and find the best version of yourself wherever you are. I constantly think about his younger self on those railway platforms, trying to look for food and not having grown-ups with him. It brings me to tears just thinking about how many children around the world still go through that. Having grown up in India, we get desensitized to such realities. It’s something that I’ve always been affected by, and now as a mother, I feel it even more.

I can’t speak for everyone, but I have a soft spot for true stories, whether that’s in books, films or dramas, which are the narrative versions of real-life stories. In my career, I’ve had the good fortune to portray and be a part of some films which are inspired by real stories. I feel there’s something so incredible about humanity and human beings. As much as I love human stories, I love stories of resilience. And I might be whoever I am, but I still think about my younger self when I was in boarding school and had no grown-ups around me. I remember that feeling in the second, third and fourth grade, and just looking around and thinking… who am I? So, we all have our versions. And I look for inspiration in human beings more than anything else, not just for my profession, but also my life. And one of the greatest sources of joy is meeting humans that have persevered, survived and thrived.

I think Indian cinema is also evolving and trying to figure out what this evolving landscape looks like – between theatrical films and content on the web. There are so many different avenues for people to consume entertainment now. So, I think cinema all around the world is going through the growing pains of figuring out where it will land. Again, if you throw AI in the process, that landscape is changing further. Some incredible work has been coming out, and what is working (whether it is comedy, action, drama or documentaries) is what’s coming from a place of authenticity. Gone are the days when you can say, ‘Oh, leave your brains at home’. People don’t want to do that anymore. There was a time when I think people were looking for escapism, but now, with so much information overload coming our way, we’re looking for honesty and truth. It’s an evolving process.

Yes, maybe. However, sometimes I like to escape when I’m watching my entertainment. You’ll see me watching multiple seasons of Love Is Blind or something like that when I want escapism. And then there are times when I want to watch something like Born Hungry that will bring me to reality. So, I think we shouldn’t put our consumption or creation of entertainment in a box. We’re living in a wonderful time where we can dip into genres, we can make any kind of subject matter, and there will be an audience for it because there’s a curiosity for almost everything.

I think all of us do. You know, just because we see one side of a human being’s personality, we say, ‘Oh, this person’s set or they’ve made it.’ There are so many layers and facets to every human being and each one of us has an inner hunger and longing for something. Whatever might be the deepest, darkest secret of humans, I think it’s your hunger that pushes you to want something better and gives you a sense of purpose. And this documentary reminds you that - whether that hunger is real or metaphorical, it pushes you to find a purpose. Sash is a successful restaurant owner and has built an amazing life with his wife and children – and that came from his hunger to prove something, he found a purpose. I feel it’s that purpose we all need to seek as that’s the only thing which makes us move forward.

It’s a tough question. I think we’re all trying to play catch-up with how not just the entertainment industry is changing, but just the overall landscape around us. Yes, technology has become such a massive part of all our lives, and our children are going to grow up in a world that is vastly different from the one you and I grew up in. So now, there is no hard and fast rule about what kind of subject matter resonates, but one thing I think resonates with the audience is authenticity – whether it’s content creators on social media, filmmakers, directors or producers. If you’re telling a story for the right reasons and not trying to make people feel something that doesn’t exist, they will resonate with you. I love all kinds of storytelling and from my limited understanding of where the world is going, I just think that authenticity is going to be what comes out on top.

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When asked if she misses the chaos, madness and energy of a Bollywood movie set, the actress who was recently on an Indian movie set after a long time for S S Rajamouli’s Varanasi said, “What I miss is the language. I really miss Hindi and saying my filmy dialogues in Hindi. I really enjoyed doing my dialogues in Telugu. I’ve always been fascinated with languages and whether I understand the language or not, I really love different cultures. I am very excited to be a part of something which is going to be culturally so evolved. Rajamouli sir has such an incredible vision and amazing discipline. That’s how I like to work, as I, too, have tremendous discipline. Also, coming back to India and working on an Indian film after such a long time was so much fun.”

On November 15, S S Rajamouli finally let the audience into the grand world that he has been quietly building, as he unveiled the title of his next, Varanasi, at an event in Hyderabad. While the three-minute-plus teaser of the Mahesh Babu, Priyanka Chopra Jonas, and Prithviraj Sukumaran-starrer has expectedly made headlines, the filmmaker is already focusing on the film’s next leg.

mid-day has learnt that a month-long schedule will kick off at Ramoji Film City in Hyderabad next week. Heightened security measures and caution will drive the stint as the unit will film the climax.

Insiders say that Babu’s look being leaked hours before the official reveal left Rajamouli disappointed. It has made him bullish about keeping further details tightly under wraps. An insider from the production unit says, “The film will release in 2027 and all details will have to be guarded until then.”

As a result, the makers are tightening on-ground protocols in the next leg. A source reveals, “Many departments, including costume and hair, won’t be allowed near the core shooting area. Only 100 people of the 400-member team will be allowed. A no-phone policy for the crew is in place. Rajamouli sir wants absolute secrecy.”

Baahubali is a cinematic gift that keeps on giving. After Baahubali: The Epic opened in theatres this October, 2027 will bring Baahubali: The Eternal War Part 1. The animated epic will take off from S S Rajamouli’s Baahubali: The Beginning’s climax (2015) and follow Prabhas’s Amarendra into the afterlife.

Ishan Shukla, who is helming the two-part animated feature that will have Prabhas and Ramya Krishnan voice the two primary characters, says the idea came from Rajamouli and producer Shobu Yarlagadda almost two years ago. At the time, Shukla was doing festival rounds with his animation film, Schirkoa: In Lies We Trust (2024).

“The Star Wars episode that I had done had also come out. Shobu got in touch with me and wanted to explore if we could do something together on Baahubali. At that time, I wasn’t sure if I was capable of doing something huge like that,” he recounts.

Shukla found the confidence to lead this ambitious project in the most unlikely place — in his eight-year-old self. “I had the largest collection of Amar Chitra Katha in my community. I thought maybe I could do something for that eight-year-old self,” smiles the director.

The Amar Chitra Katha stories and their grammar gave him the foundation for the feature. “I wanted to justify the use of animation. So, I came up with the idea of the afterlife, and included Vedic cosmology.”

For world-building and characters, he also found inspiration from Telugu cinema of the 1960s and 70s. “We referred to the mythological film Maya Bazaar [1957]. The idea was to start from a point of authenticity, and then layer it with contemporary stylization, something like the series, Arcane, or the Spider-Verse.”

In the course of making The Eternal War, Shukla met Rajamouli many times over. Ask him his biggest learning from the ace director, and he says, “As visual artists, we think that we can make something look cool with action, music, production design. All that is secondary to him. He always focuses on the drama, the emotions, and the internal conflicts of the characters.”

While work on Aamir Khan and filmmaker Rajkumar Hirani’s biopic on Dadasaheb Phalke is underway, uncertainty seems to be looming on S S Rajamouli’s production on the Father of Indian cinema. The buzz is that Rajamouli’s project, to be helmed by Nitin Kakkar of Filmistaan (2012) fame, is on hold for the foreseeable future. Khan’s project is understandably a deterrent to it. But the bigger cause for the hold-up is said to be its potential leading men — Jr NTR and Prabhas.

Reportedly titled Made In India, it was to star RRR (2022) hero Jr NTR. However, his slate quickly filled up, with the actor currently shooting his action drama with director Prashanth Neel. It was then rumoured that Prabhas would headline the biopic. 

A source says, “He is busy for the remainder of 2025 and through early 2026. Prabhas begins shooting for Sandeep Reddy Vanga’s Spirit later this year, and will move to Nag Ashwin’s Kalki 2898 AD Part 2 when that goes on floors.”

As a result, director Kakkar has shifted his focus to Awarapan 2, which is currently being shot in Thailand with Emraan Hashmi. “Kakkar didn’t want to sit idle waiting for the Phalke project to clear its hurdles. It made sense to move ahead with Awarapan 2,” adds the source.

Industry insiders indicate that the project will be revived when the right star is available.

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.”

Filmmaker S S Rajamouli’s next project — tentatively titled SSMB29 — has been making waves since it was first announced.

As anticipation grows, we have got our hands on the first pictures from the sets of the film, which features Priyanka Chopra Jonas and Mahesh Babu.

Mahesh was recently seen in Kenya, seemingly shooting a pivotal scene.

A close source to the production reveals, “Rajamouli has begun the shooting in Nairobi, Kenya with Mahesh Babu and Priyanka. The actors are currently shooting at hidden locations across the city, under strict surveillance. The crew isn’t allowed to bring their phones to the sets.”

The filmmaker is leaving no stone unturned to keep the details of the film under wraps, the insider says. “Even the actors’ vanities are parked around a kilometre away from the actual shoot location. Their entourages aren’t allowed outside the vanities. The atmosphere on set is very tightly guarded and quiet,” the source adds.

While our source tried to capture clearer photographs from the shooting floor, they were unsuccessful.

Announced earlier this year, the film went on floors in April, with parts of the film being shot in Odisha and Hyderabad. It also marks Priyanka’s return to Indian cinema after 2019’s The Sky Is Pink.

With a reported budget of Rs. 1,200 crore, the makers seem to be eyeing a 120-country release. As of now, a premiere date has not been set.

The Telugu Film Industry Employees’ Federation called for a strike on Monday, August 4, bringing film and web series shoots across Tollywood to a standstill. The federation is demanding a 30% wage hike for its members and has instructed workers not to report to sets unless producers agree to the revised rates.

In an official statement, the federation said, “Wages will be paid with a 30% hike starting Monday. Only those with written confirmation from producers will be permitted to shoot. Members cannot attend any shoots or events without federation approval, irrespective of location or language.”

In response, the Telugu Film Chamber of Commerce issued a statement condemning the unilateral action. “We’ve already been paying workers above minimum wage,” it noted, warning that the disruption could cause “heavy damages” to ongoing productions.

The Chamber added, “We condemn this action taken by the Federation as we have worked together with their members of decades. The Chamber is in talks with relevant authorities to secure a sustainable resolution. Producers are informed to follow the Chamber’s guidance strictly and avoid independent action or separate agreements with union until resolution. Let’s all stand together for lasting reform, for a better future.”

Tollywood has numerous films under production now, including Chiranjeevi’s yet-to-be-titled film with Anil Ravipudi, Ram Charan’s Peddi with Buchi Babu Sana, Balakrishna’s Akhanda 2 with Boyapati Srinu, Teja Sajja’s Mirai, Siddhu Jonnalagadda’s Telusu Kada and more. Also, Priyanka Chopra Jonas is in Hyderabad for S S Rajamouli’s SSMB 29, co-starring Mahesh Babu. Additionally, the pooja ceremony for Allari Naresh’s upcoming film was also postponed. With the new diktat that workers will only work with producers who will agree to the 30%, it remains to be seen if their demands are met.

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.”

In June, mid-day reported that filmmaker S S Rajamouli would take his Mahesh Babu-led action adventure, the working title of which is SSMB29, to Kenya for a month-long schedule (Kenya calling, June 24). But in the latest development, the plan has hit a roadblock amid the ongoing protests in Kenya. 

“Our team had done the recce, locations were finalized, but just weeks before the mid-July shoot, unrest began brewing in the region. We couldn’t risk the crew’s safety,” reveals a source associated with the film that also stars Priyanka Chopra and Prithviraj Sukumaran.

So, where will Babu’s character — a globe-trotting explorer on a quest for some rare artefacts, à la Indiana Jones — head to, with Kenya off the table? We’ve heard that Rajamouli and his team, keen to not waste time, are now planning to head to South Africa and Tanzania, locations that promise similar visual appeal. 

A unit member says, “Rajamouli sir was clear that he wanted terrains that have rarely been seen on Indian screens. Tanzania’s highlands and parts of South Africa ticked those boxes.”

The production team is currently in the process of securing permits. If things work out, the cast and crew will head to South Africa by the third week of July. “We’re hoping to lock everything in the next 10 days,” adds the insider.

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.

Before we became movie buffs, did we ever wonder who made the first Indian film — and how? Filmmakers S S Rajamouli and Rajkumar Hirani are answering that overlooked question with their respective takes on the life of Dadasaheb Phalke, the Father of Indian Cinema. Last week, Aamir Khan announced his reunion with Hirani — after 3 Idiots (2009) and PK (2014) — to make a biopic on Phalke with writer Abhijat Joshi and two others. Meanwhile, reports suggest Rajamouli has approached Jr NTR to play Phalke in a parallel project.

Though both films draw from Phalke’s life, they offer sharply different interpretations. A source reveals that Khan has the backing of the Phalke family and has been in discussion for over three years. “Aamir’s film is about the man behind the myth — his dreams, struggles, and absolute belief in cinema. It’s deeply human, emotional, and character-driven,” the source shares.

In contrast, the Rajamouli-backed version, directed by Filmistaan (2012) filmmaker Nitin Kakkar, presents a wider lens. “This is more about the world Phalke built. Nitin’s version is about how a cultural movement began, with Phalke as the catalyst,” another insider explains.

Industry watchers say the two films will coexist harmoniously, much like the varied takes on Gandhi. “Both can complement each other. While release timelines remain unclear, it seems Aamir’s film will come first. There is also ample excitement for the other film, which will be a multilingual project,” notes the source.

Dhundiraj Govind Phalke, widely known as Dadasaheb Phalke, was an Indian producer, director, and screenwriter, hailed as the Father of Indian Cinema. He released India’s first full-length feature film, Raja Harishchandra, in 1913. Over a 19-year career until 1937, he made 94 feature films and 27 shorts. The Indian government later honoured him by instituting the Dadasaheb Phalke Award, the highest accolade in Indian cinema.

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.

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.

What comes after roti, kapda aur makaan? It should be entertainment if one asks Sushil Chaudhary, the man who aims to take cinemas to every nook and corner of the country. Chaudhary is the founder and CEO of the mobile theatre company PictureTime that screens films at inflatable theatres across the country.

“Everybody was talking about it but we took the cinema literally to people,” says Chaudhary, who is currently in Panjim, Goa as PictureTime is the screening partner of the 55th edition of International Film Festival of India (IFFI). 

It’s a sweet home coming for PictureTime. Eight years ago, the company began their association with IFFI with the screening of S S Rajamouli’s Baahubali: The Beginning. It continued for the next three years until pandemic played a spoilsport. In the last two years, Chaudhary says, the company was regrouping and missed coming to IFFI.

“So, when NFDC and Ministry of Information and Broadcasting approached us, we immediately said yes. The number one problem for IFFI was the number of screens. It only has INOX. This year, we have put two inflatable theatres.”

If one happened to be in or around Panjim over the last week, it’s impossible to miss the IFF hype— the posters, standees and signboards won’t let it happen anyway. And once entered the primary IFFI venue of Kala Academy, one could spot the red coloured PictureTime inflatable theatre anyone could walk in to catch a film. The playlist at this theatre ranges from Pa Ranjit’s latest work, Thangalaan, Rajamouli’s blockbuster RRR (2022), Ranbir Kapoor’s much-loved 2011 romance Rockstar to Hindi film classics like Guide (1965), Bobby (1973) and Jane Bhi Do Yaaro (1983).

 

Unlike the rest of the festival, which needs a prior approved accreditation, PictureTime theatre makes no distinction. So, at a given time, the theatre is filled with festival attendees and non-delegates. Another such inflatable theatre is operating in Sanquelim. Not just that, PictureTime has also set up a mobile open-air screen that has been travelling across North and South Goa. Chaudhary is confident that PictureTime will grow bigger by the next edition of IFFI. We wanted to put five theatres time but couldn’t due to budget constraints. But next year we will do it in a bigger manner,” he says.

 

Chaudhary’s self-belief is not without a reason. From the inception of his company till now, he and his team have put inflatable theatres in more than 600 locations across the country. “These many locations in 18 states. In a state like Orissa, which has very less screen density, I have screened films in all its 29 districts. More than 70 percent of the districts in Orissa have no cinema penetration,” he shares.

It’s rather unfortunate that for a cinema-obsessed country, the magic of movies continues to elude a large population. “India not only has poor theatre density but also doesn’t have a clean entertainment option. For filmmakers to make movies and for movies to make money, the only answer are the cinemas, not OTT,” Chaudhary asserts. Trade experts say that India has around 9,000 screens. For context, let’s look at China, Chaudhary points out. “In 2007, it had more than 3000 screens and in 2015, it had around 55000 screens. Aamir Khan’s Dangal, which released in 2016, made Rs 400 crores in India but Rs 1800 crores in China,” he says. 

 

Chaudhary is singularly focused on making films available to the country's remotest areas. “The government recognises 117 districts as having below-poverty line issues. And in all those districts, we are setting up theatres.” The purpose is to ensure a safe, enjoyable recreational experiences for the youth and families in small towns. 

 

"You hear the stories of couples in small towns being harassed for going out and spending time together. People in the interiors want to go out in quiet, peace and safety but they do not have any place because if you go to the single screens, you are labelled. We managed to convince state governments and the centre government that entertainment zones are very important," Chaudhary mentions.

 

A 150-seater inflatable theatre takes a couple of days to set up. Five to six people can set up the full screen, and another such team can run full operation, we are told. "The idea is to make the theatre at a very efficient cost and keep the monthly operational cost below Rs 2 lakhs but do not compromise on the quality," he shares. So people get an air-conditioned theatre with Dolby 5.1 big screen and stories that are both Indian and foreign. 

 

And because at the heart of PictureTime is to make cinema available to low-income areas, the ticket pricing is accordingly.

 

"Rs. 100 is our standard ticket price. Add Rs 50 for popcorn. The pricing depends on the expenditure power of a place as well on the film's producer and distributor. Like in Chhattisgarh, we have kept the ticket price to Rs 70, in Rajasthan it’s Rs 150-200. Normally, when a family of four goes out to watch a movie, it ends up spending Rs five-six thousand. We want it to all fall under Rs 1000," Chaudhary says.

 

Providing a wholesome experience to families has been another big pursuit of Chaudhary and his team at PictureTime. "We are creating family plexes. The first one will be in Bharatpur, Rajasthan. December 24 is the inauguration. The family plex will have nine retail stores, including food court, and live performances. Cinema theatre should anchor this arrangement and it’s a lifestyle we are taking to these places. Post the ’90s revolution, when the multiplex culture entered India, theatres went inside the malls. What we are trying to do is take malls to the theatres. So, imagine a theatre and a Dilli Haat type set up around it. So, I am creating a rural mall. We have tried this arrangement in Goa and other places and it has worked."

 

Chaudhary has found patrons in Indian filmmakers. "During our first IFFI association, we could show the theatre to filmmaker Kabir Khan and other senior people in the industry. Kabir Khan called the experience brilliant. Every filmmaker I met, from S S Rajamouli to Siddharth Roy Kapur, loved the idea and they all asked me to keep adding as many screens as possible."

At this stage in his career, Ram Charan feels like “a kid in a candy store”. He considers himself fortunate to be collaborating with such talented filmmakers—be it S S Rajamouli, who gave him the blockbuster RRR (2022), or S Shankar, who is helming his next, Game Changer. In the upcoming political action thriller, the actor plays an IAS officer determined to combat corruption and promote fair elections. Charan says it was Shankar’s vision that drew him to the role.

“This film is special not only because of the story, but also because of the opportunity to work with Shankar sir, who brings a unique vision to everything he does. It’s a story that resonates with the current socio-political environment. I feel like a kid in a candy store because I am surrounded by people I have looked up to all my life. Today, I am sitting in the same room as A R Rahman; I’m grateful that I am starting a project with him in a month or two,” he says.

Life after RRR has been a joyride for the Telugu star. He says that the Oscar-winning film not only earned him fame beyond India, but also put Indian cinema firmly on the global stage.

“Films are a powerful medium through which we tell our stories, [show our] heritage, culture and emotions. Our struggles too are showcased, as are our victories—all done in an entertaining manner. The torchbearers for every film industry are the directors. Our stories are no longer just watched by the people from the diaspora, but by everyone across cultures! Our narratives are connecting with the world audience because we are keeping our stories rooted.”

Cherukuri Ramoji Rao, who straddled the media and film industry in Andhra Pradesh and Telangana for half a century, passed away in the city on Saturday. He was 87. Ramoji Rao had been ailing for some time, was admitted to hospital on Friday and put on ventilator support. His last rites will be performed with state honours at Ramoji Film City on Sunday, reports Ch Sushil Rao.

A recipient of the Padma Vibhushan, Ramoji Rao put Hyderabad on the world map with Ramoji Film City Launched in 1996 as a onestop shop for movie-making, it is the world’s largest film studio and spread over 1,600 acres.

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Hyderabad: The man who straddled the media and film industry in AP and Telangana for half a century, Cherukuri Ramoji Rao, passed away at the age of 87 in the city.

Ramoji Rao, who had been ailing for some time, was admitted to a hospital on Friday and put on ventilator support. He passed away on Saturday.

Prime Minister elect Narendra Modi and President Droupadi Murmu have condoled his death. His last rites will be performed with state honours at Ramoji Film City on Sunday.

A recipient of the Padma Vibhushan, Ramoji Rao put Hyderabad on the world map by launching Ramoji Film City, which was dubbed as a onestop shop for movie making.

Launched in 1996, it is the world’s largest film studio. Bollywood shot films here and some international movies were also made on its sprawling grounds.

Ramoji Rao hailed from Pedaparupudu village in Krishna district of Andhra Pradesh. Always dressed in white, he was known to be meticulous at work building his business empire, including a chit fund company, and a pickle brand among others. It was Ramoji Rao who brought Tollywood super star N T Rama Rao into politics.

“He was a visionary who revolutionized Indian media. His rich contributions have left an indelible mark on journalism and the world of films. Ramoji Rao Garu was extremely passionate about India’s development. I am fortunate to have got several opportunities to interact with him and benefit from his wisdom,” Modi said on X.

TDP chief N Chandraba bu Naidu also paid his last respects on Saturday. Telangana chief minister A Revanth Reddy, former Andhra Pradesh chief minister Y S Jaganmohan Reddy, and a host of political leaders and film personalities have condoled his passing away.

Filmmaker S S Rajamouli said on social media: “One man with his 50 years of resilience, hard work and innova tion provided employment, livelihood and hope for millions. The only way we can pay tribute to Ramoji Rao garu is conferring him with ‘Bharat Ratna’. As a mark of respect to Ramoji Rao, the Telugu film industry has cancelled shootings on Sunday.”

BJP leader G Kishan Reddy has been deputed by Modi to represent the central govt at the last rites of Ramoji Rao.

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Filmmaker SS Rajamouli introduced the Indian audience to the kingdom of Mahishmati with his Baahubali franchise. Two blockbusters later, the kingdom continues to harbour many more stories as seen in Baahubali: Crown Of Blood. The animation series has been designed as a prequel, which shows Baahubali and Bhallaladeva unite to defend the kingdom against the warlord, Raktadeva. Rajesh Khattar, who has lent his voice to Raktadeva in the Disney+ Hotstar offering, says his character adds intrigue to the story.

He explains, “He doesn’t want to conquer Mahishmati, he wants to destroy it. The strongest aspect here is the story. There is something way more intriguing than ‘Katappa ne Baahubali ko kyun maara?’”

Many may wonder whether animation will do justice to the franchise’s larger-than-life experience. Why wasn’t this designed as a web series instead of an animated feature? “The idea is to expand the formats in which Baahubali exists. [A web series] needs an exhaustive shoot and Rajamouli sir was busy with RRR [2022]. This was the right thing to do,” states Khattar.

The series’ voice cast includes Sharad Kelkar as Baahubali, Manoj Pande as Bhallaladeva and Mausam as Sivagami. Khattar rues that voiceover artistes are not given their due.

“When the voices of top stars are used, there is a certain billing and the studios pay big money. But due credit must be given for the voice that suits a character, and not for a star’s face. Voice actors are never given their due. I started getting my due when Ram Gopal Varma credited me for Sudeep’s voice [in Phoonk]. With movies like Pushpa: The Rise - Part 01 [2021] doing well in Hindi, I got recognition when I dubbed for Fahadh [Faasil] or Shreyas did for Allu [Arjun]. Dubbing artistes shouldn’t remain faceless and nameless entities.”

Yes, 2023 has turned out to be a great year for Hindi films, with multiple hits coming in. But a crucial aspect related to films also underwent a sea change — we saw biggies turning to the south states for mega events, some deciding not to promote their film at all (we are looking at you, Shah Rukh, for Pathaan), and some (again, SRK) heavily promoting the film abroad. But the most significant evolution observed was the industry’s pivot towards engaging with the lucrative Southern markets. 

Considering the tough competition regional language films give to Hindi films, it was only a natural step for us to explore the South markets. Makers of Shah Rukh’s Jawan realized that for a film to be called pan-Indian, it definitely needs to be accepted in those states. And hence, they organized a live show at Sai Ram Engineering College in Chennai, with the entire cast in attendance.

Varun Gupta, the founder of Max Marketing and the brain behind the promotions of almost all big films in the northern belt, including Animal and Adipurush, explains, “Actors like SRK and Ranbir (Kapoor) need no introduction, but they need to grow an audience base in the South. The idea with Animal was that the Hindi-speaking audience loves Ranbir; they would love to watch him in a never-before-seen avatar. But audiences in different languages might not have seen all their films.”

A monumental shift was witnessed with the film Animal introducing an unprecedented pre-teaser marketing strategy previously unseen in Hindi cinema. The film gained support from renowned personalities like (filmmaker) S S Rajamouli and (actor) Mahesh Babu, indicating a collective industry effort towards extending its influence beyond conventional boundaries.

But Gupta feels not every film needs to practice this: “For me, as a marketing person, my job is limited till the opening weekend; I need to market the film in a way that people come in the first three days; after that, the content has to work. I am very proud that despite Adipurush not doing well ultimately, it still opened at around Rs. 37 crore.”

G Srinivas Rao, Managing Director of Shreyas Media (which is responsible for almost all promotions done in the Southern states), echoes Gupta’s sentiments, emphasizing the immense untapped potential of the Southern markets for Hindi filmmakers. He highlights the impact of localized promotions, citing instances like Brahmāstra: Part One – Shiva (2022), which ventured into Vizag, Andhra Pradesh with large-scale events, targeting diverse audience segments.

Producer Ramesh Taurani, whose film Merry Christmas is set for release, also has plans for an event in Chennai. “We have made two films: one in Hindi, and the same in Tamil. In the both versions, only (actors) Katrina Kaif and Vijay Sethupathi are the same; the rest of the cast is from the respective film industries. We have a big event planned for the first week of January,” he tells us.

To Prabhas’ Hindi audience, Sharad Kelkar has grown to be his cinematic voice. The actor first dubbed for Prabhas in Baahubali (2015). Since then, he has lent voice to Hindi versions of several Prabhas-led films, including the recent, Salaar. Thrilled with the response to Prashanth Neel’s directed venture, Kelkar says he enjoys dubbing for Prabhas because of his gracious nature.

“Despite being such a big star, he never had any hangups about someone else lending a voice to his character. Prabhas always looks at the bigger picture; he wants the final product to look and sound good. That’s such an admirable quality,” says the actor, who was also the voice of Telugu star Nani in Dasara’s Hindi version.

This was the first time that Kelkar was working on a project with the KGF franchise director. Crediting the precision of the director, he says, “Prashanth is hardworking. He observes every detail of the film and has clarity in his work. He communicates exactly what he wants from his actors, [even if they think otherwise]. I love that about him. I have seen the same thing in S S Rajamouli sir.”

Having much experience in lending voice to south actors, Kelkar says that several makers undermine the importance of good dubbing. “The dubbed version should sound authentic; it can’t exist for the sake of it. People watching dubbed versions deserve a quality experience,” expresses the actor, who had initially rejected the offer to dub for Nani as he believed his voice wouldn’t suit the actor.

“I agreed because the makers told me that his character would be drunk throughout the film, and usually when you are inebriated, you sound huskier than usual. I always maintain that kind of discretion,” he explains.