In 2026, a film which has debunked many myths around Hindi cinema is Hanuman Ansh. Myths such as increasing aversion among audiences to watch films in theatres, only stars can pull audiences to theatres and small films can not get space in theatres have been broken by the film. Made on a modest budget of less than Rs. 3 crore, the film collected close to Rs. 340 crore (net collection) at the box office (the film is still running in theatres).

ET spoke with one of the producers of the film Namrata G Singh tounderstand the story behind the making of this great blockbuster.

One of the favourite expressions of Singh is Intellectual Property (IP). This expression does not seem out of context or radical. It is in sync with times. IP does not just mean business control. It means creative control. It means preserving the purity of a vision and achieving it. The underlying current throughout the conversation is she is particularly focused on preserving the purity and sanctity of her approach to her creative ventures.

Singh is one of the biggest proponents of adapting, sharing and spreading the Indian experience to the world. This is because this is where lies the foundation of her personality. She wants to share Indian stories rooted in spirituality and the wisdom contained in it. In this interview, Singh also explains how the Genz audiences view spirituality in today’s uncertain times. She also shares how she along with her collaborators overcame the challenges involved in making Hanuman Ansh. Edited excerpts:

SacredIP Trans Media Tech aims to take Indian cultural stories to audiences around the world. I grew up reading Amar Chitra Katha comics and spiritual books published by Gita Press. I also once ran a comic-book company called Division 91. My inspiration comes less from the West and more from our own stories, cultural milieu and emotional vocabulary. All of these are reflected in the Navarasas.

The question for me has always been how to take these stories to a global audience. A story can be told through cinema, animation or any other format. Since 2017, I have been actively exploring how to build and reimagine businesses around Indian stories for the global market. My role is to protect intellectual properties (IPs), nurture them, and keep them relevant across formats and generations. I believe Indian stories are global assets. We have a responsibility to keep them alive for successive generations.

Some of the early IPs I developed included The Sufi Route. I collaborated with music director A R Rahman and Shital Bhatia of Friday Filmworks on the IP. Launched in 2017, these were music and event-based IPs. Building intellectual property has been a key thing for me. I worked in various capacities in big media and entertainment companies such as YRF (Yash Raj Films) and Sony. These experiences taught me how to develop and own an IP.

My approach is rooted in the belief that creative works require an understanding of emotion and psychology. Owning IP allows you to carry a particular sensibility to audiences across generations. Regardless of a consumer’s age, you must think long-term. You must consider how a story can evolve across different formats. This is an approach found greater visibility in the success of Hanuman Ansh.

I have been a devotee of Neem Karoli Maharaj. Even our film’s director Vishal Chaturvedi is Neem Karoli Maharaj’s devotee. So, our shared devotion to Maharaj ji was the driving force behind the film. Vishal has been Maharaj ji’s devotee for twenty years. I have been a devotee for fourteen years. On my birthday last year, we realized that Maharaj Ji was a common thread between us. We simply asked ourselves what we could do. Then, we mutually decided to tell Maharaj ji’s story. We did not initially decide to make a film.

As we explored the idea, we realized that Maharaj Ji was such a cosmic, larger-than-life figure that cinema was a natural medium for telling his story. We also felt that his story was, in essence, a Ram Katha. It should first reach devotees who could experience it together in groups. These were instinctive and deeply human decisions. At every stage, our intention was to do justice to the story and share it with people. We were guided by that purpose and not by an industry report, an Excel sheet or a numerical model.

We intended to tell a small story and take it to people who love Maharaj ji. In our minds, it was a relatively modest undertaking. However, the process of bringing it to life was extremely difficult. One of the biggest challenges was the production and financing structure. We received what I would call ‘slave contracts’ from prospective co-producers. We were looking for funding. Contracts offered to us were structured as co-production agreements rather than intellectual property (IP) agreements. The industry people do not have sufficient understanding of IP ownership in the way we were trying to approach it. So, I kept asserting that I was an IP owner and that my co-founder, Swambu, owned the IP associated with Hanuman Ansh. This included authorship, ownership and the broader structure required to protect the property. We were offered co-production agreements in which we were expected to effectively give away our rights for a relatively small amount.

These arrangements did not consider the sensitivity of our story, the need to protect its creative integrity, or the emotional and psychological connection to the lived reality of Maharaj ji. I realized that although we often describe ourselves as creative people, we are essentially operating in a trading environment. For authentic storytellers, this transactional mentality can be deeply disappointing. It takes a toll because you are trying to tell a story in a particular way but the people negotiating with you do not necessarily understand or respect that intention.

Vishal and I, as co-founders, understood the film and its sensibilities best. However, our understanding was not given the required importance. This is because Vishal had not directed a film before. Even I had no experience in producing a film. We secured financing through two individuals who also came on board as producers. Ragini Sona supported the production. Anupriya A Nagar, the daughter of the UK-based financier Anshul Nagar, financed the post-production. Their support was important. Today, the film’s IP is fully secured by us.

Yes, we are now expanding the property into other formats. We are working with influencer-investor Vishal Gondal, who built fitness technology company GOQii, on a game called Hanuman Kavach. Vishal is also a Hanuman bhakt. We are developing accessibility features so that the film can be experienced by people who are deaf or hard of hearing. We are also working on different language versions. We do not yet have an English version. We would also like to develop a Sanskrit version of the film. There are also discussions around the animated version of the film. We are also thinking about the live music of the film. These things were possible because we never approached the film as a project. We saw it as an intellectual property through which Maharaj ji’s energy could be carried across formats and age groups. Our responsibility is to preserve that essence. If we can keep it intact, everything else will take care of itself.

Holy Cow Home Productions is Vishal's (the film’s director Vishal Chaturvedi) company. It is one of the production companies which produced Hanuman Ansh apart from Swambhu Media Network. Swambhu Media Network was founded by Vishal and I. Swambhu Media Network owns the Hanuman Ansh IP. The ownership and authorship of Hanuman Ansh reside within a private limited company because we always envisioned this as a long-term undertaking.

We created this film because we believed there was no other story in the world that explored Maharaj ji's childhood in this way. We understood that it would be a slow burn. We knew audiences will discover the film over time. Even if the film were made available on YouTube across many languages, it could generate revenue over a lifetime. Most people do not think that far ahead. However, for us, this film enterprise was never simply about money. If I want someone in Korea to watch the film, they should be able to watch it dubbed in Korean. Since we did not have the resources upfront, we had to plan for the long term. Many of our decisions were shaped by those constraints.

So far, most of the revenues have gone to distributors and exhibitors. We have yet to explore OTT, satellite television and other distribution avenues. But we were always clear that this was a timeless film that people would continue to watch digitally for generations, across languages and cultural contexts. Our responsibility is to make it accessible to them. Theatrical release was the first step. The non-theatrical distribution will be the second. We also intend to explore different language versions. Besides this, we also intend to explore digital distribution through subscription-based and transactional video-on-demand models.

Yes. Today, a fundamental question for us is: Why should content creators always depend on platforms and intermediaries rather than develop direct-to-audience models?

Therefore, group viewing is another possibility we are exploring for a film like this. All these possibilities were part of the film's DNA because we approached it through the lens of intellectual property (IPs) and not merely as a film. The film was the first step.

We also want to collaborate with some of the best talent in the world. We intend to collaborate with best animators, game designers, non-theatrical technology specialists and direct-to-audience experts. Each of these represents a distinct area of work. For instance, artificial intelligence has not yet been developed with an understanding of the Navarasas and their application to Indian storytelling. Much of the existing AI ecosystem has been shaped by Western perspectives. We lack sufficiently Indianized AI systems that can understand and work with these emotional frameworks. We want to explore this in the context of our film.

If we are talking about an Indian film rooted in our identity and taking stories of our saints to audiences around the world, we should be thinking on a much larger scale and for the long-term. Traders tend to look at a five-to-ten-year horizon rather than in terms of perpetuity, legacy and long-term value of intellectual property.

One of the film’s producers Ragini Sona is Vishal’s friend. They have known each for a long time. They used to recite the Hanuman Chalisa together as part of a Hanuman club they ran. So, when we needed funding, Vishal approached her. She is an experienced producer. Her insights were valuable. When nobody else was willing to invest, Ragini offered to contribute Rs. 50 lakh on the condition that someone else matched the amount. When no one came forward, I invested Rs. 50 lakh from my mutual fund savings. That is how we managed to complete production.

We needed additional funding for post-production. That is when Anupriya Nagar came on board as an investor.

We had a shareholders' agreement. The arrangement was structured around the four of us with each holding a 25% share in the IP along with a three-year lock-in period and other agreed terms.

The film was made at a total cost of Rs 1.7 crore. Haldiram provided Rs 1.25 crore towards prints and advertising (P&A) as part of the co-production arrangement. Of the P&A budget, we spent approximately Rs. 65–70 lakh on marketing with the remaining amount going towards the release. We wanted to ensure that the film remained in theatres for three weeks, which involved an additional expenditure of over Rs. 40 lakh. The overall expenditure, including production and P&A, was approximately Rs. 2.95 crore or close to Rs. 3 crore.

One of the biggest challenges in telling Maharaj ji’s story is how to portray his leelas. How do you represent these experiences without reducing them to miracles? We wanted to avoid presenting the story simply through the lens of miracles. For us, it is fundamentally about faith. The film has clearly been made with conviction, faith and good intentions. It does not feel as though it was created to cash in on or exploit someone else’s faith. That sincerity comes through.

When we set out to make the film, we had one simple principle: Maharaj ji’s story could only be told through the experiences of his devotees. The nine stories in the film are real. We brought them together within a particular narrative structure and gave the film a central idea.

The film’s central idea is an exploration of the Hanuman Chalisa and its Ashta Siddhis (eight powers). We were telling the story of a man who became a saint over time while remaining a grihastha saint. These were our guiding principles: the Ashta Siddhis, the interpretation of the Hanuman Chalisa, his identity as a householder saint, and his journey from the age of 11 until 1942. We had conceived the project as a trilogy from the beginning. The first film tells this part of his journey, the second was intended to explore Kainchi, and the third would focus on a foreign devotee. Ultimately, you are telling a story that you have lived. I could not make a compelling film about Guru’s love if I did not have personal experiences.

Our primary focus was the bhaav or the underlying emotion and essence. His personality emerged well through the storytelling. He is not portrayed to be a perfect man. He is as flawed as any of us. He left home after his mother’s death. He discovered his sanskaras. He became a saint. And then, he married, had children, served as the mukhiya of his village, and built 108 temples during his lifetime. He undertook significant work in the external world. In his internal world, his life remained centred on the constant chant of “Ram Ram,” Ultimately, we wanted to draw attention to that inner experience—to what is happening within him as a person.

For me, storytelling is an act of transferring empathy. That transfer becomes difficult when you have not experienced or understood the reality you are trying to portray. This is also why I see the film as an intellectual property rather than merely a film. I cannot sell my sensibility. I can curate it, protect it and bring it into the world through different forms of storytelling.

Vishal and I are fortunate that we lead relatively simple lives and do not place too much importance on status or material possessions. That gives us the freedom to make certain choices. Once you become preoccupied with money and status, your cost of living rises, and you may begin making compromises that are not true to your work or your larger body of work.

What people may not fully recognize when they assess the film is how the film beautifully marries emotional quality with artistic and technical elements. The bhaava (rasa or emotion) we have drawn upon is Shanta Rasa (the film’s dominant emotional experience: Peace). One experiences peace and tranquillity when one watches the film. These qualities are increasingly absent from today’s world. The feeling of peace that the film evokes can be powerful precisely because it is so uncommon. People have experienced Shanti (peace) through the film.

Our response and approach naturally reflect our devotion towards Maharaj ji. Even though I am excited about the possibility of making a trilogy around Maharaj ji, it is not the sentiment that governs our intentions. We made this film with a particular vow and intention. I want to preserve that spirit. Ultimately, we cannot allow these conversations to become transactional or exploitative. Figures such as Maharaj Ji and other saints are not commodities. These are matters of values and responsibility. As storytellers, we are not merely creating content. We are also infusing values through the stories we choose to tell.

I didn't convince them. We showed the film to only two people before its release: Anil Thadani (one of the biggest film distributors in India) and Mayank Shroff (head, film programming from Cinepolis). Ultimately, we chose Cinepolis because the terms they offered made the most sense for us.

Vishal and I had initially imagined it as a small film intended primarily for tier-2 and tier-3 cities and rural India. We were not looking to release it exclusively in expensive cinemas. We wanted people to be able to watch it in smaller theatres with tickets priced at around Rs. 100 without feeling that they needed to belong to a particular economic class or dress a certain way to enter a cinema.

Cinepolis had a presence in the kinds of locations we wanted to reach. This was an important consideration. Our devotees come from different economic backgrounds. We did not want the cost of a ticket or the environment of a cinema to become a barrier in their experience of the film. We wanted to create a space where they could recite the Hanuman Chalisa and keep Maharaj Ji on a seat as a mark of devotion. We felt that Cinepolis understood and respected that sensibility.

Even PVR has been one of our strongest supporters. PVR's CSR division subsequently supported us by providing discounted tickets and food for underprivileged children, including children with cancer. We remain grateful for that support.

Apart from the film’s merits, we also benefited from the fact that Mayank is a fellow devotee of Maharaj ji. We didn't really have to sell it.

I do not necessarily see this as a return to our roots. We need to understand that today there are three generations living alongside one another. Also, nearly 70% of India’s population is below the age of 30. Today, we are consuming spirituality through our phones. Earlier, one would get spiritual knowledge or understanding primarily through a temple visit, a book, a religious scholar or the wisdom passed down by our grandparents.

For younger people, this accessibility can spark curiosity and encourage them to explore these subjects more deeply. They do not necessarily accept every subjective experience at face value. They look for objectivity within subjectivity. Spirituality is inherently subjective. The sheer volume of information now available allows people to explore the relationship between science and spirituality.

I often describe the three generations in this way: our parents were thinkers and doers; we are thinker-doers; and the generation after us is a generation of imagination. I believe this younger generation is increasingly drawn to India's eternal beings: deities, spiritual teachers, gurus or saints.

Yes. Today, I think the pursuit of external markers of success—whether becoming a CEO, a footballer or achieving fame and wealth—is not necessarily bringing people peace. Many are experiencing anxiety, depression and other mental health challenges. They are beginning to question whether these conventional aspirations can provide the fulfilment they seek. This generation is therefore realigning itself with fundamental human values. The stories that resonate with them increasingly revolve around human endeavours. Cinema, which once focused on narratives at the scale of entire population, is now also exploring stories at a deeply human level.

Maharaj ji's story is an example of this kind of connection. It allows people to engage with his life and experiences at a personal level. The story has a global relevance because its appeal is human rather than geographically or culturally restricted. Not everyone can travel to Vrindavan or live in a temple town, so people are looking for other ways to experience spirituality and connect with these traditions.

I believe this generation is increasingly interested in contributing to society rather than pursuing only individual success. They have grown up with relatively greater access to basic needs such as food, clothing and shelter. Many are now asking what they can do with the opportunities available to them. If they choose to pursue something, they want it to have meaning. Today’s young generation is a generation of imagination. They are increasingly drawn to human endeavour and fundamental values. There is a common thread that connects us all: we are looking for peace of mind, meaning and purpose. I think this explains the growing interest among younger people in practices such as bhajan clubbing. We have grown up listening to kirtans and attending Satsangs, but this generation is finding its own way of engaging with these traditions.

I disagree with the idea that people turn to spirituality only when they are broken or looking for solace or an escape from their problems. I think that is a limited understanding of spirituality. Spiritual practices and rituals offer us a moment to pause in a world where we are constantly bombarded with information. Our minds are burdened by cognitive overload.

When you stand in a temple or participate in bhajan clubbing, your senses align with something deeper and greater than yourself. There is a certain loss of the individual self as you move from an ‘I’ to a ‘we’. That experience can make you feel good because it connects you to a shared sense of humanity. Any sensory experience that brings you closer to that common humanity is good for the soul. It reminds you that you are not merely a human being but a spiritual being having a human experience.

Our spiritual traditions are deeply rooted in respecting people for who they are rather than expecting everyone to be alike. We are not meant to be cookie-cutter versions of one another. The current young generation is discerning. This generation can see through performance, pretence and public relations. If you offer young people something genuinely positive, they will recognize its value and embrace it. They do not necessarily need to be experiencing a problem to appreciate what spirituality has to offer. We should give this generation credit for its ability to distinguish what is meaningful from what is merely performative. Ultimately, much of the film’s success can be attributed to the growing word-of-mouth communications and recommendations.

For Dhirendra Mulkalwar, turning composer with Hanuman Ansh is nothing short of a divine experience. After composing nearly 500 jingles and working as a music producer on films, taking the leap into music direction with a film about spiritual guru Neeb Karori Baba — who Mulkalwar is a follower of — seemed fitting. Having created the film’s background score and composed Siyavar Ramchandra Ki Jai, he tells mid-day how surrendering to Neem Karoli Baba helped him find the movie’s melody. Excerpts from the interview.

Neeb Karori Baba is a [renowned] figure. People across the world, including Steve Jobs and Mark Zuckerberg, have spoken about his impact. So, as a music composer, the responsibility became huge because this film would not be limited to India; it would be seen all over the world. The good thing was that I surrendered myself to Babaji. It took me two-three months to crack the first theme. [Before that] I would try, reject, try again, but I was not happy [with the results]. Then, one day, I remembered Babaji. Within five to 10 minutes, the melody started floating. It was a divine experience for me. 

No. When Vishal ji asked me if I would compose the score, he had no idea about my connection with Babaji. He had undertaken a 43-day ritual before the film started, and I went there to perform the Hanuman Chalisa. When he asked me to do the film, I said yes in a fraction of a second. I also told him that I had gone to Chitrakoot a few months earlier after trying to visit it unsuccessfully for four years. I went in April, and by July, he had offered me a film on Babaji.

On those movies, I worked as a music producer. With Hanuman Ansh, I am the music director and have done the background score, so the roles are different. Seeing my name on the big screen as a music director has been a special moment for me. The fact that it happened with Babaji’s film makes it even more special.

Hanuman Ansh was made on a limited budget. We did not even have the budget for marketing or recording. So, I converted my house into a studio and conducted all the recordings at home. On earlier films, we could afford to go to an orchestra in Vienna, but here that wasn’t possible. I knew the challenges the makers were facing, so it became like a family. I took my friends’ help. We didn’t want to compromise on quality. 

I don’t know of any official announcement. The first film is still running in theatres. Once that is complete, the team will discuss the sequel.

Singer-composers Rishi Pathak, Sadhu Tiwari and Dr Vishal Chaturvedi (Photo: HT)

Feature film Hanuman Ansh, based on the journey of saint Neeb Karori Baba, is hogging limelight due to its blockbuster collection, and one of the major pillars behind it has been its viral music.

Debutant director Dr Vishal Chaturvedi, a trained musician and also a singer-composer of the track Hriday Mein Jinke Sita Ram, says, “The stars of the success are musicians and their honest and rooted compositions.”

The film’s composers include Sadhu Tiwari, Rishi Pathak, Dhirendra Mulkalwar, Shreyas Dharmadhikari and visually impaired singer-composer Suneel Lodhi (Maine Tere Hi Bharose), and they have used two tracks of American vocalist Krishna Das.

Speaking to HT City, Tiwari, who composed five viral tracks including Parvati, Bajrang Banka and Aavagaman, says, “I composed multiple tracks but knew which would suit the film and they got selected. They were composed with minimal music and regional flavour. I was not here just as a singer-lyricist-composer; we all worked owning the project. What happened thereafter is Baba’s blessings. I knew they would be liked but such virality is just magical.”

Sadhu and Vishal’s association dates back to Gulaab Gang (2014), where he sang Mauj Ki Malhare while Vishal was working in Anubhav Sinha’s production.

“That day I decided that I will use this voice, and we have also collaborated for another indie project. I honestly believe he is one of the top 10 voices in the Indian film industry.”

Singer-composer Rishi Pathak, who has also doubled as line-producer in the film and is part of three songs, says, “I am associated with the project from the start, and with Vishal ji have worked together for years and musically jammed too for his Hanuman Chalisa Club. I co-wrote and composed Jai Hanuman, sung and recomposed Vaishnav Jan To and wrote-composed Ram Bhajan Ki Or. Nothing in the film is due to personal relations, and probably due to this professionalism the film and its music connected with people.”

Hailing from Sitamarhi, Bihar, he has done multiple indie projects and wrote lyrics for R Madhavan’s Rocketry: The Nambi Effect, but in the end all songs were taken out from the film.

Himself a singer, Vishal says the rawness of the musician and language played a big role. “The songs are in Awadhi, Braj and Bundeli boli and part of culture. Its mithas (sweetness), mitti ki khushboo and soul probably reached the heart. Sadhu’s raw voice, Rishi’s khuli awaaz and deep composition, Suneel’s full of life voice, Krishna Das’s soaked in devotion compositions which we used as it is, and Dhirendra’s background music and song – that we used last moment – all are the hero of the film,” says Vishal.

He recently sung Parajay and Dhain Dhain in Tigmanshu Dhulia’s film Ghamasaan. He has received musical training from Bhatkhande Sanskriti Vishwavidyalaya, Lucknow.

Starting at 250 theaters and coming down to 25 in a week and now running in 1,200 screens in the fourth week, doctor-turned-debutant writer-filmmaker Dr Vishal Chaturvedi’s Hanuman Ansh on Neem Karoli Baba is doing wonders at the box office.

Calling it “magical, divine and driven by the audience,” he says, “At Rs. 1.7 cr, we just wanted the audience to watch and the investment to return but it did wonders (according to data Rs. 45 Cr only in India and counting). We have stopped looking at collections and counting the blessings, appreciation and love.”

Vishal is himself surprised with the “grace.” He says, “I guess what worked in the film primarily is Baba’s divine story (played by actor Shobhinaw Satyaa), music and the actors and makers who are very emotional about the subject. We hardly did any promotion and PR as we did not have any budget, but the audience played the role of PR with word-of-mouth and posting on social media. The audience have driven the film on their shoulders.”

He recalled how August 15 big releases hit them. “Due to the big films (Batwara 1947 and Awarapan 2,) our shows were reduced to just 25 screens but they kept running well. The audience wanted to watch but there were no shows, so people travelled 200-250 kms and posted on SM. There were videos that even after the film ended, the audience were so emotional that they did not get up from their seats. Probably that all worked which no PR can do.”

They did bhandaras instead on PR exercise. After the shows were reduced, they did a road trip from Mumbai. “We went to Rajkot, Surat, Ahmedabad and even small towns where we met the audience, local media and cinema owners. We did not have funds, so we amplified it on social media, and it was boosted by content creators and users with very emotional reels. It organically became viral and shows increased,” he says.

The film has been shot in Chitrakoot and has used Braj, Awadhi and Bundeli language to connect with the wider audience, he says.

A Lucknowite, Vishal completed his MBBS from Gorakhpur in 2006 and in the same year was posted in Haldwani when he got introduced to Baba and went to his ashram in Kainchi Dham (Uttarakhand) where he became a bhakt.

“In 2011, I stopped medical practice and came into writing and assisting in film. I have also worked with Anubhav Sinha for a few years and have assisted in films Hurdang (2022), Dedh Bigha Zameen (2024) and some shows too. My medical profession helps me a scientific and skeptical approach,” says the writer of TV series Fauji 2.

He also runs a Hanuman Chalisa Club which has 12,000 members.

As per Sacnilk, after 25 days it has earned gross collections to ₹53.82Cr and net collections to Rs. 45.63Cr so far.

After producing renowned and critically acclaimed films like Tanu Weds Manu, Shahid, Aligarh, Madaari, Judgemental Hai Kya, Omerta, Thalaivii and many more, ace producer Shailesh R Singh is all set to present his next film Setu. Directed by Vishal Chaturvedi, the film will be an edge of the seat, thrilling courtroom drama around sanctioning of the Sethusamudram Shipping Canal Project in the early 2000s and the interim judgement that was passed on it in 2007.

Setu is a story of a common man, deeply hurt by the decision made by the Indian state on the Sethusamudram Shipping Canal Project. He feels that the project questions his very existence and so he decides to challenge the government in the court of law.

Interestingly, this also happens to be Shailesh R Singh’s Karma Media’s 20th project. Known for bringing unique stories to the fore via his production house, Singh says, “When this film first came to me, I was not really interested in producing it as there is already a film being made on the same subject. But when Vishal (director) narrated the idea to me, his take on the subject intrigued me. This film is beyond faith, truth, untruth, for me.”

Talking about the film, director Vishal Chaturvedi says, “For me, the core of India lies in its culture, traditions, belief system and its history. When the Sethusamudram Shipping Canal Project was announced, I was deeply hurt and started digging to find out the relevant facts. I also travelled to Tamil Nadu and Sri Lanka in 2008. When I shared this idea with our producers, Harshvardhan Singh and Sumeet Seth, they wished for Shailesh R Singh to present it. When I presented the idea to him, he got excited, and that is visible in his planning and bringing the project together.”

The casting for the project is underway.

Presented by Karma Media and Entertainment in association with Almighty Motion Picture, produced by Shailesh R Singh, Polaroid Media and Wall Croft media, Setu is all set to go on floors by the end of 2022 and will release on Diwali 2023. The lead cast of the film will be announced soon.