Actor-screenwriter Aditya Rawal, the son of actor Paresh Rawal and theatre performer Swaroop Sampat, is currently riding high on the recognition coming his way after the release of the web series Daldal, where he plays Sajid and the film Subedaar, where he plays the antagonist, Prince. The 32-year-old shares his perspective on success, family legacy, and the effort required to carve his own path.

“The feeling has been overwhelming. I have never been part of something this big; seeing my work being discussed like this is surreal,” Aditya says of the positive response to his roles.

Speaking of his father’s reaction, Aditya says, “He enjoyed my performance and praised my work. But as it’s said, you have never arrived, so I feel abhi bhi bahut time hain. This character of Prince was my small ode to my father and the antagonistic roles he played back in the ‘90s.”

Addressing the topic of nepotism early on, Aditya adds, “I am my father’s son, and privilege remains. This fact surely gives us access to the industry that other people will not have in the same space.” However, he quickly clarifies his family’s approach to his career. “In our family, we never expected our parents to create a path for us, or for my father to go to town trying to find me work. So I knew I had to put my head down and keep walking.”

Aditya, who co-wrote films like Panipat (2017) with Ashutosh Gowarikar, reveals that he intentionally maintained a low profile early in his career. “I always knew I could write and act both. People always say I made a silent entry in the industry, maine aapne jab tak koi kaam nahin kiya toh uss level ka dhindhora kya pitna,” he adds.

Sharing details of his upcoming works, Aditya also mentions that he is eager to collaborate with his father. “Other than Hansal Mehta’s Gandhi, there are two more projects, one is a film opposite Sanya Malhotra and the other a series. There are also two scripts that I am working on. If all goes well with the first one, I have my father in mind, and we can share the screen for the first time.”

Aditya had written several films before debuting as an actor in Bamfaad (2020).

Pratibha Ranta, who made a splash with her debut film ‘Laapataa Ladies’ (2024), is now said to be the frontrunner to play the female lead in Kartik Aaryan’s ‘Naagzilla: Naag Lok Ka Pehla Kaand’. Director Mrigdeep Singh Lamba’s creature comedy went on floors this week, even as the makers are simultaneously finalizing the female lead.

A source reveals, “Sanya Malhotra was the makers’ first choice and everyone on the team had assumed she would be signed long ago. But recent developments suggest that the team has widened their search and is now considering Pratibha.”

‘Naagzilla’, said to be the first instalment in the serpent trilogy, is produced by Dharma Productions and Mahaveer Jain Films. Considering Ranta recently wrapped up Anubhuti Kashyap’s directorial venture that is produced under Karan Johar’s banner, she has caught the attention of the makers for their next as well.

Insiders say that the only possible hitch may be her dates. The source adds, “Pratibha has a movie lined up with Maddock Films, which is expected to roll in early 2026. If there are no date clashes, she will headline ‘Naagzilla’ opposite Kartik. Mrighdeep and the makers are keen to have her on board as they feel she isn’t over-exposed on screen yet.”

One would expect Keith Gomes to helm another mainstream entertainer after Badass Ravi Kumar, the spoof film led by Himesh Reshammiya. Instead, the director is returning to his roots of independent cinema. That is what he is inclined towards, insists Gomes, as his short film Dear Men — that shines a spotlight on child trafficking in India — releases today.

“I wanted to make a documentary on a community in North India, where they [give away] their daughters to the highest bidder. So, it’s a kind of prostitution, but parents do it to their own children. Then I met a friend, who told me a rescue story [involving] him.”

Dear Men is inspired by the true story of Dipesh Tank, who risked his life to save minor girls from trafficking. The director adds, “I got greedy to make it. So, that became the film.”

Set in Bihar, the short film stars Sayani Gupta, Gyan Prakash, and Mayukh Ray. Considering human trafficking continues to be a rampant social evil, Gomes, at one point, considered making a feature film on the same story. Noting that this was before he made Badass Ravi Kumar, the director reveals that he pitched the idea to several actors.

“I narrated it to Sanya [Malhotra] and Rashmika [Mandanna]. But the film just couldn’t happen. I gave up and prayed to God to give me a way back to Bollywood. He gave me Badass Ravi Kumar.”

Known for his intense and unconventional performances last few years in projects such as Fighter, Illegal 3, Broken News 2, Ghuspaithiya, and Kisko Tha Pata, Akshay Oberoi now embraces a lighter, more family-friendly character in the much-anticipated film, Sunny Sanskari Ki Tulsi Kumari. Produced by Karan Johar and directed by Shashank Khaitan, the film sees Oberoi portray a realistic boy-next-door role, unlike his previous dark and gritty characters.

Reflecting on this transition, the actor says stepping into the Varun Dhawan, Janhvi Kapoor, Sanya Malhotra, and Rohit Saraf-starrer has been an incredibly refreshing experience for him.

“Over the last few years, I have explored intense, layered characters—roles that were dark, complex, and psychologically demanding. But this film allowed me to tap into a completely different energy. I play a warm, charming, and family-oriented character, which is a delightful change, but it also comes with a twist. I’m excited for audiences to see this side of me. This has been such a clutter breaker. The kind of roles that I am getting now are so different from the gritty ones before.”

Oberoi credits the cast for making his journey special. He shares, “The energy on set has been electric. Collaborating with Varun, Janhvi, Sanya, and Rohit has been an absolute joy. Of course, Karan and Shashank have ensured that the film is filled with heart, laughter, and entertainment.”

“There is no exaggeration,” says director Arati Kadav about her film Mrs, adding that the casualness of misogyny and patriarchy – not just from men but also other women – is shown in the film exactly as it is. The film, starring Sanya Malhotra in the lead role, highlights the story of an average Indian family that doesn’t realise the burden of invisible labour women carry every single day. From ‘ghar ka khana’ to ‘silbatte ki chutney’ – phrases used casually, and even fondly – Arati points out how loaded they actually are.

Both Sanya and Arati say that working on the film made them realise how they also have taken their mothers’ invisible workload for granted. “I told my mom, if I calculate the labour you put in making chips at home, instead of buying chips, suddenly that Rs. 200 will seem like nothing. But this labour is invisible because we’re conditioned not to see it,” Arati says.

Since its release, the film has sparked a debate, as many women have found the casual misogyny shown in the film very real and triggering. Arati says that women from all age groups have told her how deeply they related to the story, but it wasn’t a surprise to her – because this was a film where the research started from her own home.

With Mrs, an adaptation of Malayalam film The Great Indian Kitchen, Arati’s thought was simple: Society and families need to stop treating women like a ‘function’ – homemaker, cook, caretaker – and start seeing them as individuals with their own dreams, their own identities.

Arati says that the research for this film started from her own home before speaking to other women. “When Sanya and I came to Delhi, we had conversations with many women. It was such a cathartic experience. There was one woman who was from an extremely privileged household. She was a housewife, same age as Sanya’s character, going through the same journey. When I heard her story, I got goosebumps. I realized then that this story had to be told with honesty, sincerity, and love, because it is the story of so many women. You can’t be casual about it. Mujhe lagta hai ye bahut important story hai kyunki ye ghar-ghar ki kahani hai. In the entire film, the camera is only in the kitchen and rarely anywhere else.”

The director says that she wanted to make it a very personal story of a girl who has ambitions, which are being crushed. “In the film, she actually makes an effort to impress. She has the excitement of a fresh-faced girl in a new job. Gradually, her morale deflates. My idea was that if a woman is respected for who she is, she will also be a good provider in the house.”

Sanya adds that Arati and she interviewed many women for the film, which is why many find it so relatable. “A friend of mine, who has faced similar challenges, was gracious enough to share her therapy notes with me. Arati and Anu (Anu Singh Choudhary, writer of the film) worked on this script for almost a year, bringing their own personal experiences to it. That’s why the story resonates with so many women. I have heard people say to my mother, ‘Pura din toh ghar pe hi baithe rehti ho. Kya hi hota hai kaam ghar ka?’ I have seen Richa in my mother, my sister, and my married friends. I have not personally experienced her struggles, but of course, when you’re playing such a character, you have to have empathy. I think I have a natural empathy for women going through similar struggles. It breaks my heart, but at the same time, I’m hopeful that a film like this will bring some change. People will become more aware of these everyday struggles that often go unnoticed.”

Sanya says how serving the family is an “everyday reality for so many women – waking up early, cooking for the entire family, going to work, and then coming home to cook again.” “Our mothers have been doing everything selflessly for so long. Now, when I see my mother, she’s tired of stepping into the kitchen. And she feels bad about it because we put our mothers on a pedestal – ‘Maa ke khaane ki toh baat hi kuch aur hoti hai.’ In the film, Richa’s husband tells her mother, ‘Agar aapne nahi sikhaya toh meri maa ise khana banana sikha degi.’ This is such a common thing to hear – not just in the film, I have heard it around me. ‘Ladki ko khana banana nahi aata? Aapne sikhaya nahi?’ Yes, cooking is a life skill – but everyone should know it. Not just women.”

Arati adds, “Even I am guilty of treating my mother like a function. We grew up without understanding this invisible workload our mothers carried day in and day out, quietly, with no day off. It is important that we don’t look at women as a function – doing laundry, keeping the home in order. We see the father as someone bringing value to society and not the mother. But the truth is, women bring immense value – to those fathers, to the families and the society. Women also need to realize that they are individuals who deserve their own passions, hobbies, and dreams – and not just keep serving others. We can’t change everything with one film, but at least we can start a conversation through Mrs.”

“The broken kitchen pipeline in the film is a metaphor for how broken the whole system is. The helper says that ‘puri pipeline badalni padegi, ye leakage local nahi hai.’ It was a metaphor for ye patriarchy puri badalni padegi. It’s not an individual problem where just fixing her husband will solve everything. A much bigger change is needed. You can introduce policy changes, a token Women’s Day celebration, but all of that is superficial. The real change has to be in attitude and mindset. Everyone has to sit together, break the system, and remake it,” says Arati

Arati says that when she was discussing the film with a friend, he spoke about how “marriage is sometimes a series of subtle heartbreaks.”

Arati wanted to map these heartbreaks throughout the story. “I thought, let me start it with chai. On the first day after their wedding, the husband pours half of his tea into another cup and offers it to her. The next day, she takes out a teacup for herself (hoping for the same treatment), but he just leaves with his own cup. We have mapped such small moments across the film – the moments that turn Richa from a young, new bride into a person who has lost her smile.”

“It’s like a horror show in a dollhouse. Everything looks pretty from the outside. People say, ‘Ye toh kitna perfect hai. Kya problem hai meri beti ko?’ Even the mother (in the film) says, ‘Tumhare saath jaake sorry bol dete hain, itna achha ghar hai.’ She also moves from a smaller house to a bigger house, to the man of her dreams. So, what is the problem? The problem is so internal and so psychological that no one can see it, no one can understand it,” says Arati

The film triggered an intense discussion on social media – from some accusing it of damaging ‘family values’ to others praising it for holding up a mirror to the society and the deep conditioning that normalizes inequality in homes

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People associate pride with women doing free labour. They try to give scientific reasons jo humne iss film mein daalne ki koshish ki hai. Silbatte se chutney nahi hai toh enzymes nahi hote, masala ghar mein grind hota hai toh chemical free hai - Arati Kadav

Four weeks of dancing may sound like fun to some. But for others, it spells hard work. Varun Dhawan, Janhvi Kapoor, Sanya Malhotra, Rohit Saraf and Akshay Oberoi are in the midst of shooting four songs back-to-back in the last schedule of Sunny Sanskari Ki Tulsi Kumari. With two dance numbers already shot at a set in Madh Island, Oberoi admits that matching steps with seasoned dancers like Dhawan, Kapoor and Malhotra has been challenging.

Actor Akshay Oberoi, who plays a pivotal role in the film, shared exclusive details about the intense shoot and his own challenges while matching steps with seasoned dancers like Varun, Janhvi, and Sanya.

"It’s been an incredible learning experience. I had to really step up my game because these three are natural dancers, and their energy is infectious. I went through rigorous dance training before the shoot to make sure I could keep up," he says.

The songs, choreographed by some of the best names in the industry including Ganesh Acharya, are all different high-energy dance numbers, including an elaborate wedding dance party. The shoot has been an exhilarating ride for the team, with each day bringing in a new set of challenges—from intricate footwork to maintaining stamina for long rehearsals and back-to-back takes. Two of the songs have already been shot at a set in Madh and the team is shooting for two more tracks over the next two weeks. 

While Varun is known for his effortless moves and Janhvi has showcased her flair for dance in multiple projects, Sanya, too, brings her flair as a gracious dancer to the table. Akshay adds, "I’ve always enjoyed dancing, but this is the first time I’ll be seen grooving to 4 songs in a single film. Dancing with Hrithik Roshan in Sher Khul Gaye was an incredible experience, but that was just one song. We have Varun, Sanya and Janhvi. They all are great dancers and with Sunny Sanskari Ki Tulsi Kumari, I get to truly explore this side of me, and it’s such an exhilarating feeling. The script demanded that there be that many peppy numbers. I have never had this opportunity to be part of a role that demanded to display so much dancing on the big screen. Until now. So excited to see how this shapes out. I for one have had a blast shooting for these numbers”.

Actor Patralekhaa, who marked her 35th birthday on Thursday in Shillong (Meghalaya), shares how good it felt to be home. “Being home always brings a sense of comfort and nostalgia, and this year feels even more meaningful because I get to share it with my loved ones in a place that has shaped so much of who I am,”she says.

Last year, the actor had one of her busiest years in Bollywood with Wild Wild Punjab and IC 814: The Kandahar Hijack, and while she is grateful for that, she is looking forward with excitement to this year as she steps into a new role — that of a producer of an upcoming film titled Toaster.

Reflecting on this new journey with the production house which she co-founded with her husband, actor Rajkummar Rao, she shares, “Stepping into production is an organic extension of my love for storytelling. I wanted to create a space where inspiring stories could thrive. Raj and I have always been passionate about cinema, and through production we hope to champion stories we genuinely believe in,” and continues, “One of my motivations was to bring to life the kind of stories I want to see on screen.”

However, donning this new hat comes with its own set of challenges. “As an actor, you’re focused on your performance, but as a producer, you’re responsible for everything from script development to execution,” she says.

In her first production, Toaster, Patralekhaa did not step in as an actor. Instead, she cast Sanya Malhotra opposite Rajkummar. Ask her why and she responds, “I was very sure from the beginning that the first film that we will produce for our production house, I won’t act in it. I wanted to learn how production works, and Sanya is so talented that I am so glad I took this decision.”

But how is it like being a producer to her husband? “Raj and I have always had a great professional understanding, and this project only reinforced that. He has been incredibly supportive of my transition into production,” she ends.

Actor Kanwaljit Singh’s one of the latest projects, Mrs, where he played the patriarchal father-in-law to actor Sanya Malhotra, has become a huge talking point.

Talking about this sudden moment of spotlight, he shares, “Never before have I got so many responses and feedback — both praise and hate. Meri zindagi mein pehli baar hua aisa! There is a string of memes on my character. One Punjabi woman said to me, ‘Usey ‘betaji’ lafz se hi nafrat ho gai hai’. And in fact, ‘betaji’ word was my addition to the script.”

Opening about his character and the role-reversal viral clip, where he can be seen serving dishes instead, the 72-year-old shares, “My character in Mrs is not really a villain and one of those people, we see in our families. But maine bhi meme bana dala role-reversal karke and it went viral with multi-millions (8M) views. Yeh mera prayaschit hai!”

He continues, “Rishika Mishra (the girl in the viral clip) is the granddaughter of [legendary kathak dancer] Sitara Devi. Since she is a kathak artiste, she has no stage fear. So, she agreed to do the role. It came out so well ki viral ho gaya...”

But the actor’s prayaschit doesn’t just end here. He also recalls saying sorry to Sanya herself: “After the film was over, I went to Sanya and said, ‘Sorry, for being so cruel to you’. Mujhe bura laga ki women ko humare samaj mein yeh jhelna padta hai.”

He adds, “However, I come from a very liberal family and mere father meri mummy ko roz do (two) cup chai bana kar dete the, and Saturday ko motorcycle pe Saharanpur mein cinema bhi dikhate the.”

While Fatima Sana Shaikh had a very busy 2024, the audience didn’t see her on the big screen or on OTT all through last year. However, the Dangal actress is unperturbed by the waiting game.

She explains, “When you are shooting, your mind stays focused on the work, so you don’t stress. But when you’re sitting at home with no shooting schedule, that’s when the panic sets in. The release of a project isn’t in the actor’s hands—it depends on so many factors. We can only keep shooting and moving forward. I worked a lot in 2024, and I want to see how people perceive me when my projects release this year.”

Talking about the kind of work that inspires her, Fatima says, “With the kind of work I am doing now, I want to see if there’s a shift or a change in the way I’m positioned. I have bigger dreams for myself, but it’s not about stardom. I want to do films that transcend borders and leave a deep impact, not just emotionally, but also in a way that a film like Andaz Apna Apna had on people.”

Apart from Metro… In Dino, she will also be seen in the romantic comedy Aap Jaisa Koi with R Madhavan, among other projects.

Fatima also believes that actors like Anushka Sharma and Konkona Sen Sharma made a smart move by branching into production, and she hopes to follow suit in the future. “Ali Fazal and Richa Chadha are also producing some amazing projects. Actors need to think this way because sometimes we don’t get the opportunities we want. So, we have to create our own,” she says.

Fatima doesn’t hesitate to approach producers if the project excites her. “I am trying to collaborate with people, but the market is tough right now. There are a lot of projects out there, but they’re not the ones that attract me. I’m realistic about myself, my talent, and my positioning. I know what I can offer to a producer. I can’t expect them to invest Rs. 100 crore in me. I sometimes chase projects I’m passionate about.”

Dangal was a breakout film for both Fatima and Sanya Malhotra, and the two became good friends after working together. However, as their careers grew, they both went down different paths.

When asked if there’s ever been a sense of rivalry, jealousy or competition between them, Fatima says, “There is always some level of competition and insecurity in life. I understand that people feel jealous, but how you handle that jealousy defines you. Of course, if a role I want goes to her, I could feel jealous or insecure. But I don’t let my insecurities take over. I’m genuinely happy for Sanya.”

“When I read the script of Mrs, I could see myself in it,” said actor Sanya Malhotra, during a recent edition of HT City’s Stars In The City.

As she gears up for the upcoming release of Mrs on Zee5, the actor opened up about what drew her to the films and its themes of gender equality and patriarchy. In a candid conversation with Sonal Kalra, Chief Managing Editor, Entertainment and Lifestyle, Hindustan Times, Sanya explained, “I haven’t faced the same challenges as my character Richa, but I have seen her in my mother, my sister, and in women around me. I’m hoping after watching it, people will realise that some things need to change.”

Would the film’s message then be unfair to men who are supportive of the women in their lives? Sanya asserted, “People keep forgetting that feminism includes both men and women. Patriarchy also puts a lot of pressure on men. When we were prepping for Mrs, my co-actor Nishant Dahiya was empathizing with his character Diwakar (Richa’s husband in the film) — that irritated me. But I realized we are all products of our conditioning and patriarchy. I could understand aadmiyon pe kitna pressure hota hai; uss chakkar mein apne emotions bhi baahar nahin la sakte.”

On a lighter note, how could we not ask the actor about her recent song Aankh with singer Sunidhi Chauhan?

As the audience cheered at the mention of the viral track, Sanya replied, “I am very keen on pursuing this glamorous side along with acting. As an actor, I like doing character-driven movies like Mrs, Pagglait (2021) and Kathal (2023). But bachpan se toh maine yahi dekha hai, actors ko dance karte huye, woh bhi bada pasand hai.”

The actor, who is a trained dancer, added, “For this song, I practised a lot for two weeks. I have never looked like this on screen, so it was a big step for me. The song was incredible, and the choreography was insane!”

Taking the energy up a notch, Sanya also shook a leg with fans and participated in a hook step challenge, busting out some flawless moves as she danced to chartbusters such as Chikni Chameli (Agneepath, 2011) and What is Mobile Number (Haseena Maan Jayegi, 1999).

As the actor talked about drawing inspiration for her character from women around her, we asked, what about becoming a ‘Mrs’ in real life? However, Sanya, who has been rumoured to be dating sitarist Rishabh Sharma, played it coy: “Nahin, I don’t have the time. Yahaan chhutti lene ka time nahin hai!”

On the work front, some of Sanya’s films, Ludo (2020), Love Hostel (2022) and now Mrs, have headed straight to OTT. She shared: “My films have done really well on OTT, so there is no concern whatsoever.”

December marks the year-end, but to Rajkummar Rao and Patralekhaa, it marks a new beginning. mid-day had already reported that the actor couple is taking the plunge into production (Acting ke aage, November 7). Now, it has been heard that the duo will take their maiden production, a yet-untitled film directed by Vivek Daschaudhary, on floors from December 2.

Led by Rao, the movie will also star Sanya Malhotra, Abhishek Banerjee and Seema Pahwa. It marks the lead actors’ second film together after Hit: The First Case (2022). Sources tell us that Daschaudhary will begin a two-month straight schedule in Mumbai that will run on till the end of January 2025.

“The shoot will kick off on December 2, with the director filming the introductory scenes of Rajkummar and Sanya’s characters. Last week, the lead pair did a look test with stylist Sheetal Sharma, who is designing the look for the film’s characters. The movie will be shot on sets in and around Mumbai,” says the source.

While little is known about the plot, an insider tells us that  Mumbai forms an important part of the film, which will première on Netflix.

The source elaborates, “The story revolves around a Mumbai-based couple and all the quirky, loving characters that form a part of their journey. The dark comedy focuses on the hard life in Mumbai. Rajkummar liked how Vivek had offered a quirky and cool take on the story.”

When she watched The Great Indian Kitchen (2021), Sanya Malhotra could see Jeo Baby’s film doing what good cinema does—asking questions that haven’t been raised before. So, when the actor was offered its Hindi adaptation, Mrs, she took no time to say yes to it.

“My yes to the film was both as an actor and a woman,” she tells us, at the movie’s Asia première at the ongoing International Film Festival of India (IFFI).

Nimisha Sajayan was widely praised for her performance in the Malayalam original, which told the story of a young dancer whose life becomes restricted to the kitchen after marriage. Did Malhotra feel the pressure of stepping into her shoes?

“I never compare myself with anyone. If I put myself in this mindset, I will be leading with fear, which I don’t want to do,” she explains, adding that director Arati Kadav and writer Anu Singh Choudhary made Mrs personal and novel.

“We have made this personal and palatable to the north Indian audience. Arati and Anu have brought their own lived-in experiences to the script. All I thought about was I have to do it in a way that it travels far and wide, and people take away something from it.”

If the acclaim and love from various festivals is any indication, Malhotra’s efforts have already paid off. As she awaits the film’s release in January, she says Mrs has already brought a change in her. “The process of interviewing women for the character opened up a lot of things in me, and I’m constantly questioning and correcting myself,” she says, sharing a personal anecdote about how her view on gender roles has changed.

“Whenever I used to go back home, my mother felt pressured to cook for me. Having worked in the kitchen all these years, she has an aversion to it now. [At the same time] she’d be apologetic about it, saying, ‘I didn’t cook anything good for you.’ To date, I tell her that cooking is not a way of proving her love to me. Everyone around us says maa ke haath ka khana is ultimate love. That’s there. But no one should feel pressured to do it.”

It’s time for Sanya Malhotra’s Mrs to come home. After doing the rounds of international film festivals, including Tallinn Black Nights Film Festival and Palm Springs International Film Festival, director Arati Kadav’s feminist drama is said to be gearing up for a January 2025 release in India.

A source says, “Baweja Studios and Jio Studios have locked January for the release. The idea was always to establish a global buzz before bringing the film home. Though rooted in a traditional Indian setting, Mrs questions the universal theme of patriarchy, and that is one of the reasons it resonated with audiences the world over. Arati and Sanya are excited to finally bring the important story to the screen for the Indian audience.”

An official adaptation of the acclaimed Malayalam movie, The Great Indian Kitchen (2021), Mrs tells the story of a classical dancer, whose life gets confined to the kitchen after marriage. Sources tell us that Mrs, also starring Kanwaljit Singh and Nishant Dahiya, was initially planned as a direct-to-digital offering. However, the plans underwent a change for a couple of reasons.

Another insider explains, “The OTT giant was keen that the film have a theatrical release before it streams online. This also worked in the makers’ favour as Mrs had garnered acclaim at multiple film galas. Plus, the success of small, high-concept movies like Laapataa Ladies and Munjya this year gave them confidence about Mrs’ box-office prospects.”

The joy of an ensemble film is that it feels less like work and more like fun. The cast of Sunny Sanskari Ki Tulsi Kumari would agree. After kicking off Shashank Khaitan’s directorial venture in May in Mumbai, Varun Dhawan and Janhvi Kapoor have now headed to Udaipur.

Akshay Oberoi, who is part of the romantic comedy that also features Sanya Malhotra and Rohit Saraf, says the ongoing schedule has been delightful. “Anyone can imagine the scenario on the set—the laughter, the bonding, and all the fun behind the scenes. I’m enjoying every bit of it,” he shares.

We hear Khaitan has charted out a three-week schedule in Rajasthan during which most combination scenes will be canned. The unit will follow it up with another stint in Mumbai. Oberoi says being part of Sunny Sanskari Ki Tulsi Kumari has only reinforced his faith in ensemble films.

“I remember those ’80s films that had all the stars— from Vinod Khanna to Jackie Shroff and Anil Kapoor. The audiences used to love those movies because they would see so many different characters on screen. [Another advantage is] that the weight of the entire film does not rest on one person. Ensemble films bring your favourite heroes together on screen; we should be doing more of them.”

As a Delhi girl in Mumbai, actor Sanya Malhotra’s style has been influenced by the two cities. “[In Delhi], I like to dress up, do my makeup and be proper, even if I am stepping out for five minutes. In Mumbai, my style is more relaxed,” she tells us, adding that her Delhi friends “get a huge shock” upon seeing her Mumbai outfits: “They’d say, ‘You look very simple’... I committed the biggest sin when I wore chappals to Khan Market in Delhi! (laughs)”

Noting that fashion lets her express herself “in a different way,” she shares, “Now, I know what I like to wear, but I am still trying to find my personal style.”

Does this reflect on her on-screen personas as well? “I used to take my own clothes on set for Badhaai Ho (2018) and I [still] do it whenever I want to add a personal touch to my characters’ [looks],” the 32-year-old reveals, adding, “At the start of my career, I didn’t have money to afford a stylist. I wore something out of my closet for an event once and got good reviews. I look the best when I style myself.”

Much has changed since Malhotra’s Bollywood debut in 2016. Ask about her journey and she replies, “I always wanted to be an actor, but my intention was never to be a star.” But it was the chance to lead films such as Pagglait (2021) and Kathal (2023) that gave her confidence.

“I didn’t believe in myself when I signed Pagglait... But with the kind of confidence Guneet (Monga, producer) and Umesh sir (Bisht, director) had in me, I decided to give it a try. That success gave me the confidence to pick films like Kathal and [the upcoming] Mrs,” she ends.

What does a big film on your résumé do? Gets you a bigger movie. Fighter did just that for Akshay Oberoi. Soon after he featured in director Siddharth Anand’s aerial action thriller, the actor bagged Sunny Sanskari Ki Tulsi Kumari, which is led by Varun Dhawan and Janhvi Kapoor.

“Working on Fighter has been a transformative experience for me. Its success has landed me a substantial role in Sunny Sanskari Ki Tulsi Kumari, directed by Shashank Khaitan. Additionally, the recognition from Fighter has [opened me up to] the southern film industry, and I will be part of a yet-unannounced south project,” shares Oberoi.

Sunny Sanskari Ki Tulsi Kumari, also starring Sanya Malhotra and Rohit Saraf, is set against the backdrop of a wedding and went on floors in May. While working in a Dharma production is a dream come true for Oberoi, the joy of collaborating with Khaitan and Dhawan stands out for him.

“Shashank understands an actor’s language. He knows how to bring out the best, because he knows exactly what to say to you. I have already worked with Sanya [on Love Hostel]; she is a great talent. Janhvi is wonderful. Varun never brings his stardom to set, and his fun energy keeps the set lively.”

Over the past nine months, it has been one film festival after another for Sanya Malhotra’s Mrs. Last November, Arati Kadav’s directorial venture premièred at the Tallinn Black Nights Film Festival, followed by screenings at the Palm Springs International Film Festival and the New York Indian Film Festival.

Now, the Indian Film Festival of Melbourne 2024 (IFFM) has chosen it as one of its centre-piece movies. The drama will be screened on August 23, with both the leading lady and director Kadav in attendance.

An adaptation of the Malayalam film, The Great Indian Kitchen (2021), Mrs delves into the life of Richa, a dance teacher whose life is suddenly confined to the kitchen when she marries into a conservative family.

Malhotra, who has earned the Best Actress nomination at IFFM 2024 for the film, says, “Mrs is special to me as it explores the complex journey of a woman trying to find her own voice amid society’s expectations. Working with Arati Kadav and the entire team has been a profound experience. The IFFM has always celebrated diverse narratives, and I am grateful for the opportunity to be a part of it.”

While the Jio Studios offering—also starring Kanwaljit Singh and Nishant Dahiya— delves into the emotional intricacies of a woman’s life, Kadav credits her leading lady for enriching the material further. She says, “Sanya’s performance brings depth to the character, making it a powerful narrative.”

For Rohit Saraf, the past few weeks have been straight out of a dream. Late last month, the actor was launched as a mainstream hero with Ishq Vishk Rebound, and now, he finds himself on the set of a Karan Johar production.

“It’s a surreal moment to be cast as a Dharma hero,” he tells us. Saraf has been cast in director Shashank Khaitan’s Sunny Sanskari Ki Tulsi Kumari, which stars Varun Dhawan, Janhvi Kapoor and Sanya Malhotra. It certainly is an opportunity that most youngsters hope for, and few get.

“To be directed by Shashank Khaitan is a huge deal. Varun, Janhvi and Sanya are not merely stars, but talented actors. I am not at all nonchalant; I am freaking out about this film. I love the story, the script and am so grateful for this opportunity. We’ve shot for a few days,” he says.

Saraf became something of a Gen-Z darling with his hit series, Mismatched. But it has taken him 12 years to make the journey from YA television shows to supporting roles in films, and now, big-ticket projects.

“I count myself lucky to be part of this storytelling community. Yet, success doesn’t diminish my ambition. I’m driven by a desire for personal growth and continuous improvement, rather than external validation.”

Happy as he is to have ticked a Johar film off his wish-list so early on in the movies, he is eager to see what lies ahead. “I’m satisfied with how far I have come, yet an insatiable curiosity drives me forward. There is scope for improvement, and I’ll be able to do that on sets like these.”

Sanya Malhotra’s Mrs appears to be something of a festival favourite. Last year, Arati Kadav’s directorial venture had its world première at the Tallinn Black Nights Film Festival, after which it was screened at the Palm Springs International Film Festival. Now, the drama—an adaptation of the acclaimed Malayalam movie, The Great Indian Kitchen (2021)—has been chosen as the closing film of the New York Indian Film Festival (NYIFF) 2024 that kicks off tomorrow.

Kadav says that the cinephile in her would always catch up on screenings at the NYIFF. Having her movie screened at the same festival on June 2 then is a surreal moment. “I look forward to the films screened at the NYIFF every year. So, I feel privileged that we’ve been chosen as the closing film. With this film, our aim is to connect with Indian audiences living not just in India, but also abroad, and this platform helps us reach the diaspora,” she says.

Mrs tells the story of Richa, a dancer whose life is suddenly confined to the kitchen after she marries into a conservative family. To Malhotra, the Jio Studios drama—also starring Nishant Dahiya and Kanwaljit Singh—stands for a woman’s strength and resilience, while questioning patriarchy.

The actor shares, “Playing Richa, a character grappling with the delicate balance between tradition and ambition, was an immense responsibility, given that it embodies the struggles of so many Indian women.”