Theatrical window — the period for which a film is exhibited in a theatre before its release on streaming platforms — has once again emerged as a point of friction between exhibitors and producers.

In Tamil Nadu, in the past few days, producers and exhibitors are on opposite sides about increasing the theatrical window of Tamil films to eight weeks from four. Consequently, producers have said that no new Tamil film will be released in theatres in Tamil Nadu from September 1. They also said film shootings and post-production works for existing films will stop from September 1.

But film trade analysts and industry veterans in the state are hopeful that an amicable solution is likely to emerge in the next week.

A consensus is steadily developing within the state that producers and exhibitors may agree for an eight-week theatrical window for new Tamil films that have not locked streaming deals, Chennai-based film trade analysts and industry veterans said.

"I am hopeful that this issue will be resolved. There are more than 30,000 daily film workers working in the state. So, there is a labour issue also. I am hoping that both parties agree to an eight-week window for fresh films which have not locked OTT deals," said Ramesh Bala, a Chennai-based entertainment sector analyst.

According to box office research firm Ormax Media, between January and July 2026, Tamil films contributed 13% to India’s box office collection.

In the past five years, southern film industries have been following a four-week theatrical window. In contrast with this, the theatrical window in the Hindi film industry has been eight weeks.

Of late, exhibitors in Tamil Nadu have been demanding assurance from producers to increase their theatrical window to eight weeks from four. They argued that their business was being impacted on two counts. One is a lower theatrical window reduces the business potential of a film to only four weeks. And the other is the pre-release streaming platforms deals of producers. Since audiences know before a film’s theatrical release its streaming release, they postpone their visit to theatres, exhibitors said.

But producers pointed out that increasing theatrical window impacts prices at which they sell digital rights to streamers. "A long theatrical window means streamers pay lower prices for films and producers lose money in the bargain," said film producer S R Prabhu. Producers have been recovering either full or a large part of their investments from the sale of digital rights of their films to streamers.

Producers also said exhibitors cannot guarantee them a full eight week run for films in theatres if their films do not perform well.

The discrepancy in the practice of theatrical window for southern and Hindi films has been another concern for producers who make pan-India films.

"The wider issue is that holdback periods are not uniform across languages. A pan-India film can end up with two different holdback windows. One is around 28 days for the original southern language. And the other is 56 days for the dubbed Hindi version under the understanding between the multiplex association and Hindi producer bodies," pointed out Anushree Rauta, equity partner, head, media & entertainment practice, at law firm ANM Global.

To deal with this challenge, producers skip the Hindi theatrical release entirely. So, they give up box office revenue to protect a streaming platform deal.

An industry veteran shared that in a meeting with exhibitors a proposal was made for making the eight-week rule effective from January 1, 2027, for films that begin production after that date. But the suggestion was rejected.

As the comedy classic Malamaal Weekly completed 20 years since its release, actor Rajpal Yadav marked the milestone on March 10 by sharing a video compilation of his comic moments from the film on social media. Along with the clip, he wrote, “Yakeen nahi ho raha ki 20 saal ho gaye! Bajey ko aur film ko itna pyar dene ke liye aap sabka dil se shukriya.”

Looking back, the actor describes the film as one of the most memorable experiences of his career. He shares, “Malamaal Weekly hamare jeevan ki ek bahut yaadgaar film hai. We shot the film in Karaikudi, Tamil Nadu, and the whole experience there was wonderful. Wahaan jogging, shooting, shirting, sab hoti thi (laughs!). My character was offbeat and humorous, and the film carried elements of black comedy as well as a comedy of errors. Through this role, I could explore many dimensions of performance. Since I am also a common man and represent the common man, I feel a natural connection with such roles. I’m very happy that even after 20 years, MW continues to hold its place.”

He also recalls how his distinctive look in the film came about. He says, “During Malamaal Weekly, my hair had grown quite long, but Priyan ji didn’t want that look. Toh Chennai ke jo makeup dada the, maine unka get-up dekha aur ussi se inspire hoke ek look bana kar Priyan ji ke paas gaya. He approved it, so my hair was saved from being cut. The look eventually turned out quite different. Mentally bhi woh character kaafi alag tha, isliye woh experience mere liye bohot yaadgaar raha.”

One particular scene still stands out for the laughter it created on set. He shares, “There is a scene where Riteish Deshmukh and I get into an argument, after which I go to my sister and say I want to get married. She asks, ‘Kisse?’ and I say, ‘Ladki se.’ Then she asks, ‘Pyaar kab hua?’ and I reply, ‘Abhi aadha ghanta pehle.’ ‘Aadha ghanta pehle’ wali line par sabko hassi aa gayi thi, and the whole set had a very lively atmosphere.”

Working with director Priyadarshan has always been a learning experience for him. He says, “Priyan ji khud bhi ek actor hain, isliye woh har actor ki capability ko bahut achhi tarah samajhte hain aur timing ko bhi bahut clearly explain karte hain. Chahe role chhota ho ya bada, he makes sure it is properly shaped on screen, because har moment ek learning moment ban jaata hai. Hamari association kaafi purani hai. It started with Hungama and continues even today. Woh alag-alag situations create karke actors ko surprise bhi karte hain, aur humein bhi honesty ke saath dhamaal karne ka mauka milta hai.”

On the film’s timeless appeal, he says, “Some films like Malamaal Weekly, Jaane Bhi Do Yaaro, or Angoor are special. Inse achhi ya alag filmein ban sakti hain, lekin waisi filmein dobara nahi ban sakti. They are as enjoyable to watch as they are to be a part of.”

Actor-turned politician Vijay’s farewell film, Jana Nayagan, originally scheduled for a January 9 theatrical release, remains stuck in a legal dispute with the Central Board of Film Certification (CBFC). With the Madras High Court reserving orders in the ongoing case, the film has officially missed the lucrative Republic Day, January 26, window too.

On Tuesday, the Madras High Court heard arguments from both the CBFC and the makers, eventually reserving its order without specifying a date for the verdict. Many, including the producers, had anticipated an early pronouncement this week, hoping to capitalise on the Republic Day holiday.

With the case not listed at the Madras High Court for tomorrow, all eyes are now on the next possible hearing date, which is January 27. The delay has left the makers in limbo. During the hearing, KVN Productions highlighted the massive financial risk, citing an investment of Rs 500 crore. They further revealed that Amazon Prime Video had threatened legal action on December 31, 2025 due to the continued uncertainty surrounding the film’s release date.

Now that a Republic Day release is off the table, the makers are eyeing February 6 or 13, a window with no major releases scheduled. However, with the Tamil Nadu Assembly Elections likely to be announced in the third week of February, the film faces urgency. Once the Model Code of Conduct comes into force, Jana Nayagan could face scrutiny due to Vijay’s political involvement, making an early February release crucial.

The Karnataka government's proposal to cap movie ticket price at Rs 200 on single screens and at multiplexes has made film exhibitors concerned amid a slump in footfall at theatres nationwide, and they fear this may prompt other states also to take similar steps.

Karnataka chief minister Siddaramaiah's statement during his budget presentation Friday has raised uncertainty and concern within the industry.

PVR INOX, which operates 215 screens in Karnataka out of its total 1,728, will wait for a government order and assess its conditions before evaluating its position, said chief executive Pramod Arora. He also cautioned that implementation of such a cap would also hurt the state’s tax revenue.

“The rule may also vary depending on the different formats in which movies are screened. We are confident that the exchequer is prudent and would not want to hinder the revenue generated by the industry,” he said. “Despite Tamil Nadu’s regulations (capping prices), dynamic pricing for screening in different formats exists. If this rule is implemented in Karnataka, it would be a short- and long-term setback for revenues and a regressive move. No government wants to discourage any industry be it cinema or aerospace,” he added.

According to industry analysts, Karnataka has 719 screens, accounting for nearly 20% of the 3,674 screens across the southern region. Multiplexes control 90% of the market, with the state's growing cosmopolitan culture making it the most profitable multiplex market in southern India, they said.

"We are still reviewing the matter," said Multiplex Association of India president Kamal Gianchandani.

Meanwhile, Karnataka Film Exhibitors Association president K V Chandrashekar welcomed the proposal, saying that it would encourage more people to watch movies on the big screen. “This move will attract more audiences to theatres, benefiting the industry and helping us compete with OTT platforms. Tamil Nadu has successfully adopted this model, and Karnataka can do the same,” he said.

Karnataka home minister G Parameshwara told the state legislative council Thursday that the government was aware that watching films in multiplexes was beyond the reach of the middle class and that the government’s earlier decision to allow movie watchers to carry food and water into multiplexes was not being followed.

“We will soon put in place a comprehensive system to regulate and bring uniformity in cinema ticket prices,” Parameshwara said.

A veteran trade analyst, who wished to remain anonymous, said: “Bengaluru is the best market for multiplexes as films in almost all languages perform well here, making Karnataka the most lucrative market in the South.”

There is a huge cost in running multiplexes and capping of ticket prices at Rs 200 is impractical and financially unviable for exhibitors, said south-based independent trade analyst Sreedhar Pillai. “One has to understand that watching films in theatres is not an essential service. So, the government has to consider this.”

In the southern region, exhibitors currently operate under flexible arrangements with state governments. In Andhra Pradesh and Telangana, ticket prices are capped between Rs 175 and 200 Monday to Friday, with flexible pricing on weekends, allowing exhibitors to hike rates for big-budget releases. Tamil Nadu maintains a Rs 175 cap, while in Kerala, cinema owners coordinate ticket rates with local bodies and associations, establishing a regulated price range.

"Such orders impact the entire ecosystem nationally. It’s a vicious cycle. Producers will be discouraged from making big-budget films as they won’t recover costs through higher ticket prices, and exhibitors will lose business since multiplexes today are largely driven by big-budget films," said the head of content programming & strategic initiatives at a Mumbai-based multiplex.

Chandrashekar of the Karnataka Film Exhibitors Association said in his view only first-day revenues may see an impact, but footfalls in theatres will increase in the long run.

Analysts say that if other states follow suit in capping ticket prices, it could affect the quality of services offered by exhibitors and restrict their ability to invest in technological upgrades, ultimately impacting the overall movie-going experience. Additionally, multiplexes may hesitate to expand due to the revenue constraints imposed by price caps, they said.

‘I work on myself. I am a liver.’ These lines by Orhan Awatramani aka Orry in his earlier interviews became quite famous. And they continue to define his personality. A social media sensation, a global fashion influencer and Bollywood’s Gen-Z BFF, Orry just came, smiled, posed, got papped and became the most talked-about person on social media. So, it’d be right to say that 2023 saw him everywhere — from parties, events and award shows to pap pages and all over Instagram. As we settle down for a chat during Orry’s recent visit to Delhi on a chilly afternoon, he reflects on the year.

Ask if he agrees that he got more than what he expected in terms of all the love and fandom that came his way, and the 24-year-old says, “I wouldn’t say the year has been more than what I expected. I wouldn’t say less either. I had no expectations. And when you expect nothing, anything you get is something. I didn’t go out and give that ‘Work on myself interview’ thinking that, ‘Oh, I’ve to say it and it’ll go viral’. And then that ‘liver’ interview happened. But that was just me being me and talking the way I talk.”

But Orry had become a pap favourite even before those interviews happened. While many celebs tip off the paparazzi about their whereabouts these days and then act surprised on spotting them at the airport or outside the gym, Orry feels there’s nothing wrong in calling them. He admits having done that so many times.

“Firstly, I have a giant blue Mercedes G Wagon, which is really hard to miss,” he says, adding, “I don’t need to call the paps if I’m at a restaurant or if I’m pulling up. But I’m not going to lie. Have I called them before? Of course I have.”

He continues, “If I like my outfit, I’m looking great and I want to get pictured, I’d call them. Also, whether you call them or not, at some point, you’re going to get clicked. So, I don’t feel any shame in calling them. If I’m going for a party, I’d rather get photographed entering when I’m looking lovely, rather than when I’m exiting — sweaty, wasted or drunk like a troll walking out of the restaurant. Having said that, 99% of the time, I haven’t called them.”

“When you make a public profile, you make yourself a personality; you’ve given up the right to privacy. You can’t then complain that people are making fun of you. So, when I see young guys making videos and content on me, it’s hilarious, I find it very creative, and I often meet them for pictures.”

Nothing reflects India’s polarized polity better than the conflicting reactions to ‘The Kerala Story’, a film that recounts the ordeal of three girls — two Hindu and one Christian — who suffer in different ways at the hands of a bunch of radicalized Muslims. One of them ends up accompanying an ISIS terrorist.

On Thursday, the Supreme Court stayed a ban on the film imposed by Trinamool-run West Bengal. The film is not banned in DMK-ruled Tamil Nadu but theatres in the southern state are not showing it; just like cinema halls in Gujarat had once bypassed ‘Parzania’ (2005) and ‘Fanaa’ (2006). ‘Parzania’ was based on the 2002 Gujarat riots. ‘Fanaa’ landed in trouble after its lead actor Aamir Khan spoke up for those displaced by the Narmada dam project.

On the other hand, several BJP-ruled states such as Uttar Pradesh, Madhya Pradesh, Haryana and Uttarakhand have declared ‘The Kerala Story’ tax-free. Similarly, ‘The Kashmir Files’, which focused on the impact of terrorism on the lives of Pandits in the Valley, earned a tax-holiday in at least eight BJP-governed states last year. Assam even granted a half-day leave to its government employees to watch the film.

Granting tax exemption or banning a film is a state government’s prerogative. However, the privilege was meant to be given to award-winning films and to movies that helped forge a more progressive social order. But as recent events show, banning a film or declaring it tax-free is part of a new playbook where support or opposition depends on the ruling party’s ideological moorings and vote base. In this running battle, ‘ban’ is the other of ‘tax-free’.

It wasn’t always like this. To understand how the sands have shifted in the politics of tax exemptions and bans, one must look at the past. Since Independence, dozens of films have been banned temporarily (like ‘Aandhi’ during the Emergency) or permanently in India. Hundreds have been declared tax-free, many for dubious reasons.

In June 1970, TOI reported that many big daddies of Bombay cinema were rushing to Bhopal for tax exemptions. In a short period of 10 months, as many as eight films were declared tax-free in then Congress-ruled Madhya Pradesh.

“Some ministers and ex-ministers are alleged to have specialized in exerting pressure on reluctant officials, who see no point in sanctioning such requests at the cost of the state exchequer. One such official who refused to attend a special show of a third-rate film and be a party to the exemption business incurred the wrath of a prominent ex-minister,” the report said.

In 1980, Feroz Khan’s guns-and-glamour yarn, ‘Qurbani’, which began with a panegyric to the late Sanjay Gandhi, was declared tax-free by the Congress government in Maharashtra. “The controversial award…was widely discussed in the media,” noted Ashish Rajadhyaksha and Paul Willemen in ‘Encyclopaedia of Indian Cinema’.

According to the Bombay Entertainment Duty Rules, 1958, exemption could be granted to films winning the President’s Gold medal (later National Award winners) or to films which fulfilled criteria of educational, cultural or social purpose of a high order, following the recommendation of an advisory committee appointed by the state government.

But the Maharashtra government routinely flouted rules announcing tax-holidays for 55 films over a period of seven years in the 1990s, a CAG report said. The report, which did not mention these films by name, estimated that the government had lost at least Rs 19 crore. Congress (1990-95) and BJP-Shiv Sena (1995-99) were at the helm then.

Several of the tax-exempted films were routine formula films. ‘Agni Sakshi’ (1996), a remake of the Julia Roberts thriller, ‘Sleeping With The Enemy’ (1991) produced by Binda (Bindumadhav) Thackeray, the eldest son of Shiv Sena supremo Bal Thackeray, received tax exemption. That apart, regular commercial films got a no-tax run.

Producer Pooja Bhatt’s film, ‘Dushman’ (1998) starring Kajol and Sanjay Dutt, was given a 40% tax exemption by the BJP-Shiv Sena government after a special committee endorsed its “social and educational value”. The same year, letters to TOI raised questions over the tax-free status of films like ‘Major Saab’ and ‘Satya’.

The trend continued in the new millennium. In 2005, ‘Fareb’, an extra-marital thriller with Manoj Bajpayee and Shilpa Shetty in lead roles, was granted tax exemption in UP, then governed by Samajwadi Party (2003-07).

Evidently either proximity to power or corruption were key to earning tax exemption to undeserving films. The reasoning is different in the case of ‘The Kashmir Files’ and ‘The Kerala Story’, both major box-office winners. In these cases, it seems, tax concessions are being weaponized to boost ideologically aligned films in an effort to capture cine-goers’ minds and hearts.

On the other hand, banning the same film reveals the hollowness and the cynical side of those claiming to offer an alternative, discourse-driven politics.

Ironically last year, director Nagraj Manjule’s ‘Jhund’, a sledgehammer film on caste, class and the transformative power of sports, was denied the concession. Art and film lovers were the losers.

Sudipto Sen directorial The Kerala Story has been embroiled in controversy ever since its release. From bans on its theatrical release in some states to backlash from a section of the audience, including celebs, the film — which has amassed Rs. 200 crore — has seen it all. Now, actor Kamal Haasan has reacted to the controversy surrounding the film, which deals with religious and ideological conversions at its core.

“Propaganda films I am against,” Haasan said at a presser in Abu Dhabi, adding, “It’s not enough if you just write ‘true story’ at the bottom as a logo. It has to really be true, and that (the film) is not true.”

When asked what kind of stories he’d like to see on the big screen, he said, “I think you have to hit the true chord with the audience. That kind of cinema is not [any] one kind of cinema... All kinds of cinema should come over. And, I am a great fan of smaller movies. [They are] like babies that grow up to be something really big. I also became a star through these kind of smaller films, which made it big with the audience.”

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As his film continues to get branded as ‘propaganda’, director Sudipto Sen prefers to not react. “Earlier, I used to try and explain. But today, I don’t do that. Those who didn’t see it (the film) are criticizing it; just the way it was not released in West Bengal and Tamil Nadu. These guys didn’t see the film, so they think it is propaganda. There are very stupid stereotypes in our country. Life has to be black or white; people don’t know life exists in the grey,” he tells us, on the remark by actor Kamal Haasan.

Currently hospitalized due to dehydration and infection, Sen says he isn’t averse to criticism. But, one needs to watch the film and then speak, he feels.

“In 37 countries, people are liking the film. Even if they have criticism, they are calling and discussing it with me. A person is indulging in propaganda by calling it a propaganda film, without watching it. What else would the words be than hypocrisy or petty! I have stopped explaining,” he adds.

New Delhi: Tamil Nadu told the apex court on Tuesday that it had made adequate security arrangements to prevent violent protests by Muslim organizations led by Indian National League against The Kerala Story, but theatre owners withdrew the film due to poor response and lack of popular stars in the cast. The SC will hear on Wednesday a plea by the film’s producer against the ban in West Bengal and ‘shadow ban’ in Tamil Nadu.

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New Delhi: On the eve of the Supreme Court’s scheduled hearing of a plea filed by the producer of ‘The Kerala Story’ challenging the ban in West Bengal and ‘shadow ban’ in TN, the DMK government, in an affidavit by the additional DGP (law and order), said theatre owners had withdrawn the film on their own despite adequate security arrangements by the police.

Two days before the film’s release in Tamil Nadu on May 5, the intelligence department of the police had sent out a message to police stations, saying “there is every possibility that radical elements and members of religious organizations may resort to violent agitation/protest in front of theatres where the said film is released”, urging a ban on the movie.

It had asked all the police stations to take adequate precautions to “avert any untoward incident, and to maintain law and order and communal amity”.

The state said in its affidavit, “After its release, it appears that multiplex owners took the decision to stop screening the film on May 7 in view of the criticism received by it—lack of well-known actors, poor performances and poor audience response. The state exercises no control over theatre owners’ decision.”

It added, “Despite objections and protests from a few Muslim organizations, the film was released in 19 multiplexes throughout the state on May 5. It was heavily criticized, with some Muslim organizations alleging that it spread ‘anti-Muslim hate’ and ‘Islamophobia’ among the common public and has been produced solely with the intent to polarize other religions against Muslims.”

The state also said that it had made adequate security arrangements for the safe screening of the film and added, “There is no evidence of the state government’s involvement in the decision of theatre owners to discontinue screening of the film.”

Sitting at the centre of a nationwide debate storm is The Kerala Story. While Uttar Pradesh and Madhya Pradesh have made the film tax-free, it has been banned in West Bengal and it’s screening has been stopped in theatres of Tamil Nadu.

Filmmaker Anurag Kashyap tweeted, “You agree with the film or not, be it propaganda, counter propaganda, offensive or not, to ban it is just wrong (sic).” Producers Guild of India, too, issued a statement that read: “We are distressed by, and would like to record its strong objection to, the state-enforced bans on The Kerala Story.”

Filmmaker Madhur Bhandarkar says, “I supported Udta Punjab and Ae Dil Hai Mushkil (both 2016). But when Indu Sarkar (2017) was targeted by political parties, no one supported me. I feel once a film is passed by the Central Board of Film Certification (CBFC), it should be released, whether you agree with it or not.”

The film has been doing well at the box office. Trade analyst Joginder Tuteja says, “I am not saying what’s happening in West Bengal is right or wrong. But if the CBFC has allowed something, why should any state go against it? There should be creative liberty.”

Atul Mohan, trade expert: “CBFC is a government organisation, so by banning a film, you are challenging the government. People have watched it and approved it.”

Pritish Nandy, producer: “Once passed by the CBFC, a film is officially cleared for exhibition. But, if certain states feel it could create a law and order situation, it’s their right to decide whether it should be screened or not. They understand the local circumstances.”

The Kerala Story hit headlines days before its May 5 release, with many sections of the population questioning its controversial theme. The box office, however, is telling a different story. The Adah Sharma-starrer has reportedly earned Rs 45.75 crore in four days. This has left the trade jubilant as Bollywood has not witnessed a big hit this year since Shah Rukh Khan’s January release, Pathaan. 

Trade analyst Taran Adarsh says, “The Kerala Story has been made on an approximate budget of Rs. 28-30 crores. It’s not fair to compare it with Pathaan, or any other star project. It has made humongous money despite not having a massive star cast. The collections are growing rapidly because of positive word of mouth.”

Sudipto Sen’s directorial venture, which claims to be based on true stories, narrates the ordeal of three women from Kerala who are converted to Islam and trafficked to the ISIS camps. The movie received pushback from Kerala and Tamil Nadu, with Kerala Chief Minister Pinarayi Vijayan saying that the trailer positioned “an uncompromisingly secular land like Kerala as a hotbed of terrorists”. On Monday, the West Bengal government banned its screening to avoid “any incident of hatred and violence”.

Ramesh Bala, trade analyst in the south, says, “In Tamil Nadu, the movie played only on Saturday and Sunday, after which the state’s multiplex association withdrew it. The first two days’ response was average. In Bengaluru and Hyderabad multiplexes, the film did well, while the performance was muted in Kerala. The reason why it is not catching on more strongly in the south is because it’s essentially a Hindi film. If it were dubbed in local languages, there was more scope of it doing well.”

Meanwhile, Adarsh notes that the heartland has lapped up the offering. Yesterday, the Uttar Pradesh government made it tax free, the second state to do so after Madhya Pradesh. Adarsh says that The Kerala Story is doing brisk business in Maharashtra and Rajasthan as well.

“A film of this budget usually does a lifetime business of Rs. 7-10 crores. But its lifetime collection will easily touch Rs. 100 crores. This is a ray of hope for distributors because Bholaa, Kisi Ka Bhai Kisi Ki Jaan, Selfiee and Shehzada were all under-performers.”

Ashoke Pandit, president, Indian Film & Television Directors’ Association (IFTDA), expressed disapproval of the West Bengal government’s decision to ban The Kerala Story.

The IFTDA released a statement that read, “We stand by the filmmaker and his film the way we stood by films like Udta Punjab and Padmaavat. The film, which has been passed by the Central Board of Film Certification, cannot be banned. We, therefore, appeal to the state government to revert their decision of banning the film.”

The makers have moved the Supreme Court, seeking the removal of the movie’s ban in West Bengal.

You won’t be able to watch ‘The Kerala Story’ in West Bengal as it has been banned across the state in a bid to maintain “peace and harmony”. In Tamil Nadu, the film has been taken out of almost all theatres as “a precautionary measure”. However, in Madhya Pradesh and Uttar Pradesh, you can watch it at a discount with the BJP governments in these states making it tax free.

Such widespread polarization on films, rarely seen before, is set to dominate the political discourse in the year which will witness assembly polls in five states in a few months, followed by the general elections next year.

The success of the film amidst the ongoing controversy over its storyline which has given boost to BJP and other saffron organisations’ claims of forced conversions, love jihad and radicalization of the Muslim youth under Islamic State (IS) influence.

Since the controversy erupted, BJP has been vocal about the issues depicted in the film and even PM Narendra Modi made it a major poll issue in Karnataka saying the movie has exposed the consequences of terrorism in a society, especially in a state like Kerala, a beautiful land of hardworking, talented and intellectual people.

His reference to the movie at a rally in Ballari set the tone for other party functionaries as they highlighted the “menace” in Kerala which has a long boundary with Karnataka. Law minister Kiren Rijiju called the ban in some states an “absolutely intolerant act.”

The SC on Tuesday agreed to hear on May 15 a plea challenging an order of the Kerala HC refusing to stall the screening of ‘The Kerala Story’. Accepting the request of senior advocate Kapil Sibal, a bench of CJI D Y Chandrachud and Justice P S Narasimha slotted the special leave petition for hearing on Monday. The Kerala HC had last Friday said it didn’t find anything offensive in the film’s trailer.

NCP leader and former Maharashtra minister Jitendra Awhad has said ‘The Kerala Story’ producer should be hanged in public. “They have not only tarnished the image of Kerala but have also insulted the women of the state,” he said. “They had said 32,000 women from Kerala had gone missing and joined the terrorist group ISIS, but the real figure is three,” he told a news channel.

Filmmaker Vivek Ranjan Agnihotri on Tuesday said he has sent a legal notice to West Bengal CM Mamata Banerjee for defaming his movie “The Kashmir Files”. Banerjee on Monday banned the screening of “The Kerala Story” and criticized “The Kashmir Files” as a movie made to humiliate one section of society.

The director of “The Kerala Story”, Sudipto Sen, said he hoped West Bengal CM Mamata Banerjee would “reconsider” her decision to ban it. “It is more unfortunate that it is coming from the state which is the champion of human rights, free spirit, free souls,” Sen said.

Chennai: Theatres in Tamil Nadu stopped screening ‘The Kerala Story’ as “a precautionary measure” on Sunday, two days after the controversial film that has been declared tax-free in BJP-governed MP opened in 16 multiplexes of the state amid protests by several organizations.

The TN Theatre and Multiplex Owners’ Association denied bowing to alleged pressure from the DMK government, saying the decision to withdraw the Sudipto Sen-directed film was taken to “maintain law and order” and “protect our properties” from potential trouble triggered by those opposed to the theme.

Association joint secretary S Sridhar claimed footfall had dwindled by Saturday anyway, blaming it on police frisking those visiting theatres screening the film. “We replaced it with ‘Ponniyin Selvan’ and other releases.”

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Chennai: Citing protests and the fear of damage to properties, theatres in TN have stopped screening ‘The Kerala Story’. They also claimed police frisking was putting off people. People visit theatres to get entertained, but there's a question mark over whether they will put up with so much trouble to watch a movie, said a member of the TN Theatre and Multiplex Owners Association, reports Venkadesan S.

In Chennai and Coimbatore, only two cities in TN where select multiplexes had been showing the film, the Naam Tamilar Katchi and Tamil Nadu Thowheed Jamaath organized protests, saying the film portrays Muslims in poor light.

The film is purportedly based on the “true story” of three women from Kerala who allegedly joined terror outfit IS. The makers had initially claimed 32,000 women from Kerala had been radicalized only to retract the statement and assure the Kerala HC that they would remove it from posters and promos.

The newborn elephants, made famous by the Oscar-winning Indian documentary, The Elephant Whisperers, are attracting a large crowd of tourists at the Mudumalai Theppakadu elephant camp. The film revolves around a family adopting two infant orphan elephants in Tamil Nadu.

Ranjitha, a guard from the camp who monitors and takes care of the elephants at Theppakadu, says that Raghu and Ammu have been getting many visitors in the last two days. “No special arrangements have been made for the public, but people visit them in the mornings and evenings. People who know about The Elephant Whisperers winning an Oscar click pictures from a distance. Occasionally, I even inform visitors about the film’s achievement,” she says.

The camp doesn’t allow people too close to the elephants. “But there is a spot from which they can view and interact with them safely,” she says.

However, Bomman, the caretaker who features in the film, says that Mudhumalai Camp has always been a major tourist attraction, with visitors frequenting it throughout the year.

There are many poignant accounts of orphaned elephant calves being rehabilitated by tribal mahouts in the Theppakadu Camp at Mudumalai Tiger Reserve in the Nilgiris, a hill district in Tamil Nadu. One such tale is that of Raghu and Bommi, calves orphaned in the years 2017 and 2019, respectively, who were assigned to K Bomman, a tribal mahout, and Bellie, a tribal assistant in the elephant camp. The Oscar-winning documentary short film, ‘The Elephant Whisperers’ celebrates the dedication of the mahouts and the calves and the subsequent human-animal bonding.

It was a joyous moment for India when Kartiki Gonsalves and Guneet Monga’s ‘The Elephant Whisperers’ bagged the award for Best Documentary Short Film at the 95th Academy Awards.

Film director Kartiki Gonsalves thanked the Academy, producer Guneet Monga, her family, and dedicated the award to her motherland. She said, “I stand here today to speak for the sacred bond between us and our natural world, for the respect of indigenous communities, and empathy towards other living beings we share space with, and finally, for co-existence.”

She thanked the Academy and video-streaming giant Netflix for believing in the power of the concept, and Bomman and Bellie for “sharing their sacred tribal wisdom”.

It is not an easy task to take care of elephants when they enter the camp as a wild adult or a calf. “It was, however, easier for me when I took charge of Raghu in 2017 and Bommi in 2019 because I had grown up with elephants,” said K Bomman, the hero of the film.

Normally, when an abandoned calf is brought to the camp in the nursing stage, the forest department assigns a mahout couple to rear it. In 2017, Raghu, an abandoned one-and-a-half-month-old calf from Hosur Forest, was handed over to Bomman for caretaking. His wife Bellie was roped in by the forest department to help Bomman as the calf had to be fed milk.

Thus began the journey of Gonsalves and Monga’s ‘The Elephant Whisperers’. They hadn’t imagined winning an Oscar when they started the short film inspired by the native wisdom of the mahout couple taking care of the two abandoned calves. The short film was produced by Netflix and it was widely watched and applauded.

Tamil Nadu additional chief secretary and environment, climate change and forest secretary Supriya Sahu told TOI, “The film brought the spotlight on the state government’s conservation efforts and on the unsung heroes. In wildlife conservation we need to recognize our foot soldiers. In this connection, the Tamil Nadu government took the initiative to send a group of 13 mahouts and assistants to Thailand as part of an exchange programme to imbibe conservation skills.”

She said the conservation process should become bigger because it is directly linked to climate change. “Winning an Oscar for this kind of short film is an incredible feat,” said Sahu. She earlier tweeted, “As ‘The Elephant Whisperers’ wins the Best Documentary Short Film, it also tells the world of the great strides being made in India and in Tamil Nadu in elephant conservation. It’s also a celebration of our unsung heroes.”

All the 28 mahouts in Theppakadu Camp are capable of training wild elephants and taking care of abandoned calves, MTR field director D Venkatesh told TOI. Bomman yet again proved himself, a few months ago, in the exercise of reuniting a baby calf with its herd by displaying his own special and gentle approach, said Venkatesh.

“Now, Bomman has been assigned to take care of an abandoned calf in the process of joining the baby elephant with some herds in Dharmapuri Forest,” he said.

Asked about the Oscar win, Bomman said matter-of-factly, “I’m happy to hear about the award the film fetched. I was informed by forest officials.”

Sharad Kelkar’s latest Marathi film, Har Har Mahadev, did well in Maharashtra and surpassed the box-office numbers of some Hindi releases, too. But the actor feels, like other regional films, the movie had the potential to do well across the country, but it didn’t due to lack of marketing and distribution. “There’s still scope for Marathi cinema [to do better],” says the actor.

He adds, “Har Har Mahadev didn’t get the kind of reach that was anticipated. We could have done better in the Hindi belts, because people across India would want to know about Chhatrapati Shivaji Maharaj.”

The 46-year-old, who has been a part of Bollywood films such as Tanhaji: The Unsung Warrior and Laxmii (both 2020), feels that it’s important for Marathi films to get better distribution. “We should try and make films that are on a par with Hindi or south cinema as far as the quality is concerned. Going forward, we will make sure that the distribution and marketing is done well in every state. Everyone was aware of the film and the trailer got great reviews, but when it released across India, it didn’t do well because it didn’t reach everywhere,” Kelkar says.

However, the silver lining was that the film found acceptance in Tamil Nadu. “When you work hard and the audience pours love, it feels great. I am happy that we got a fantastic response in Tamil Nadu. We were surprised that a Marathi film did so well there. Earlier, Lai Bhaari (2014) did well in Andhra Pradesh,” he ends.

The Versova police have arrested a 31-year-old software engineer from Tamil Nadu who had allegedly sought photographs from up-and-coming actresses and models while posing as acclaimed director Sriram Raghavan on social media. The accused, Shanmuga Vadivel Thangavel, allegedly created fake Instagram and Facebook accounts to this end.

According to the police, the matter came to light when some models and actresses approached people close to the actual filmmaker and told them about their conversations on social media and the promises ‘he’ had made to them. When Sriram was informed about this, he was taken aback as he did not have an Instagram account and had not been active on Facebook. He then approached the Versova police and filed a complaint in April, an officer said.

“We registered the case under Section 419 of the Indian Penal Code (cheating by personation) and 66 of the IT Act (computer-related offences), under the guidance of DCP Manjunath Shinge of Zone 9 and under the supervision of senior inspector Siraj Inamdar, API Javed Shaikh began the investigation. “After months, we managed to trace the IP address of the accused and finally caught him on September 26 in Tamil Nadu. He was brought to Mumbai a day later,” a police officer said.

Shanmuga used to do graphic designing and software-related work at a Xerox centre in his home state. He is unmarried and allegedly impersonated the filmmaker for kicks, according to the police. “He created three fake Instagram accounts under Sriram’s name. Looking at his modus operandi, we suspect that he has posed as other celebrities but we have not received any complaint in this regard from others,” the officer said. On Wednesday, Shanmuga was produced before the court and he was remanded in police custody.

Sriram Raghavan, 59, is a director and screenwriter who is renowned for his neo-noir thrillers. He has received two National Film Awards and two Filmfare Awards. He has written and helmed Hindi classics such as Ek Hasina Thi (2004), Johnny Gaddaar (2007) and Andhadhun (2018).

This month marks actor Sanya Malhotra’s five years in Bollywood. In 2016, she made her debut with Dangal, and over the years, she has carved a niche for herself with slice-of-life films. So, what has changed in five years? “The film (Dangal) did exceptionally well. It paved the way for my career. I had a sense of belonging to the film industry from the beginning, but there’s a sense of comfort now,” Malhotra says.

She adds, “I have had the opportunity to work with some great directors and actors. I feel grateful and blessed.”

The 29-year-old had two releases this year — Pagglait, which saw her playing a young widow, and Meenakshi Sundareshwar, where she essayed the role of a wife in a long-distance marriage. Ask her if the success of Pagglait put faith in her own choices and she admits, “I never lost confidence in myself and I’ve always believed that I was going the right way. But this film came to me at the right time. I was given a lot of freedom to play my part. I learnt a lot about myself throughout the process of filming.”

Meenakshi Sundareshwar, on the other hand, received mixed responses for what many believed was a skewed representation of Tamilians. “I was prepared for it. I think people began judging the film right from the beginning, without even watching it. And at one point, I had to convince myself that the reaction I’d get wasn’t in my control,” she shares.

Focusing on the silver lining, Malhotra adds, “We began shooting for it right after the first lockdown, when I was dying to be on a set. I loved travelling to Karaikudi (Tamil Nadu) to shoot the film. The memories are still vivid in my mind. I choose to focus on the love we got after the first song was released.”

Every musician has a different source of inspiration for making music. For Amit Trivedi, it’s travel. The composer-singer usually travels across the world to make music and to add essence of different places to his work. In the latest instance, Trivedi travelled to various places in India to connect with earthy Indian voices, traditions and stories to create songs for his new independent project, Songs Of Soil.

“Travel has always been my main source of inspiration and that has helped me create some of my best songs. I visited five states: Gujarat, Rajasthan, West Bengal, Tamil Nadu and Maharashtra. I ended up visiting Rajasthan twice, because there was so much to cover from that region. It was fun. I got to meet some of the best folk artistes of the country,” says Trivedi, who took around a year to work on the project, given the ongoing pandemic.

The National Award-winning composer wanted the songs to have an earthy touch. “The idea was to get some of the best folk artistes of the country together to create something different and original, which the audience has never heard before,” says Trivedi.

This travel experience was a huge learning for the Dear Zindagi (2016) composer. “I had to understand the culture and folklore of every region and jam with the local artistes. One of the songs features me with an instrument called parai, which I am still learning to play. It was gifted to me by Anthony Daasan (folk singer from Tamil Nadu),” Trivedi ends.