His relationship status sparks almost as much curiosity as his film choices. Fresh off the success of Main Vaapas Aaunga, a film that went from a disappointing start to one of the year’s most talked-about success stories, Vedang Raina has plenty on his mind.

For starters, the 25-year-old confirms that he “is currently single”. Notably, he was rumoured to be dating actor Khushi Kapoor. Asked what attracts him to someone, he says with a smile, “Kindness. There are other qualities too, but if you are not kind, everything else falls flat.”

Raina is still processing the extraordinary journey of his latest release. “It’s been quite overwhelming. The first couple of days or three days was a lot to take in. There were a lot of things being said about the film, which is now being unanimously loved by critics and audiences. The screenings that we went for... I have never seen reactions like that, and I felt it had to amount to something,” he says.

The film’s poor initial box-office performance left him disheartened: “It was very shattering. And then the turnaround took place. I guess it makes this entire thing even more special. There is no other example where it happened like this. I regained my faith in the fact that good films will find an audience.”

The actor believes the film’s success has offered reassurance to filmmakers across the industry. “If the product is good, people are going to love it regardless of all things around,” he says.

Among the many compliments he received, one mattered more than the rest. “I think the compliment that matters to me the most is always going to be Imtiaz (Ali) sir’s,” he says, admitting he put immense pressure on himself while playing the younger version of veteran actor Naseeruddin Shah.

Still in the early days of her career, Anjali Sivaraman has bagged an international project in filmmaker Mira Nair’s Amri. What’s next? Well, the actor is eyeing Hindi cinema. “Hopefully, my next project will be in Hindi films. I haven’t signed anything yet, but I am reading a lot [of scripts]. I’m hoping to be a part of at least one,” said Sivaraman, who has caught the attention of many filmmakers since her turn in the Tamil outing, Bad Girl (2025).

Even as the actor takes her time to decide her next, she has her wish list of Bollywood directors ready. “I want to work with Zoya Akhtar and Meghna Gulzar,” she shared, adding that she is particularly keen to team up with female directors. Reason? “They have such a strong voice and incredibly strong female characters.”

If she has her wish list worked out, she is also certain of her “non-negotiables”. “I try to stay away from roles that are ‘best friend oriented’ or ‘hot girlfriend oriented’. I like to play layered, complex characters to whom I can bring some humanity.”

Exercising her vision, however, comes at the risk of alienating opportunities. That’s a risk she is willing to take.

“It’s difficult to even get yourself into the room that gets you an opportunity. Then to say no is heart-breaking. I have said no with the fear that the person will think that I’m unprofessional or blacklist me; or now that I said no, will I ever get another opportunity? I continue to face these insecurities. But at the end of the day, my self-belief has to be greater than my insecurities,” she said.

In an alleged data theft that has raised concerns over digital security in the entertainment industry, 66 hard disks containing film-production material, edited footage, advertisement projects and unreleased content allegedly went missing from the Bandra office of filmmakers Zoya Akhtar and Reema Kagti’s production house Tiger Baby Digital LLP.

Based on a complaint filed by the company’s executive assistant and HR administrator Mehjabeen Mushtaq Shaikh, Bandra police registered an FIR against Mohammad Shahid Azim Khan and Borivali resident Ritesh Suresh Shah (44). Police said both accused have been arrested and remanded to police custody till May 29.

According to investigators, Shah had allegedly purchased 24 of the stolen hard disks from Khan for Rs 15,000 to Rs 20,000 each. Police suspect some of the hard disks may have been sold in the grey market.

The theft came to light on May 21 after staff members were unable to locate certain hard disks required for ongoing work. A subsequent inspection of storage cabinets allegedly revealed several empty and damaged hard-disk boxes inside the office premises.

Investigators said the company maintained an inventory of 119 hard disks, of which 66 were allegedly missing. The drives, ranging from 16TB to 72TB in storage capacity, reportedly contained raw shooting footage, edited scenes, post-production material, advertisement films, archival content, backups and completed movie data linked to film and OTT productions.

Sources said some of the missing drives allegedly contained unreleased and work-in-progress content, raising concerns over possible leaks and unauthorized circulation.

During internal questioning, Khan allegedly admitted to stealing 24 hard disks over the past five months, police said. However, investigators are yet to trace the remaining missing drives.

Police are also examining whether any data was copied, transferred or leaked before the hard disks disappeared. Cyber experts may be consulted to determine whether the material was accessed externally or circulated online.

Investigators said the allegedly stolen data included footage, rough edits, scene cuts and project files linked to productions such as Made In Heaven and Ghost Stories, along with advertisement campaigns associated with beauty and digital-content companies.

Police are also probing the possible role of another office employee after suspicions were raised internally regarding access to some of the missing drives. However, officials said no conclusions have yet been reached regarding his involvement.

When contacted, complainant Mehjabeen Shaikh declined to comment on the matter.

DCP Mohit Garg confirmed the arrests. Bandra police are now trying to recover the missing hard disks and determine whether the data was duplicated, misused or circulated through any organised network.

-------------------------------------------

Mumbai: Two men were arrested on Monday over the alleged theft of 66 hard disks worth Rs 13 lakh from the Bandra office of Bollywood filmmakers Zoya Akhtar and Reema Kagti.

Police said one of them, Mohammad Shahid Khan, had worked at the filmmakers’ office as a support staffer for the past seven years, while the other, Ritesh, purchased the stolen property from him.

Police registered an FIR on Sunday based on a statement by an executive assistant working at Akhtar and Kagti’s production house, Tiger Baby Digital LLP. There are 11 employees, four of whom are support staffers.

According to the FIR, the production house stores data of shoots from films and commercials in hard disks that are kept at the Bandra office. The complainant said she had placed all the hard disks in proper order in the office cupboard in Nov 2025. Thereafter, whenever hard disks were required, Khan was asked to fetch them.

On May 21, other employees at the production house asked Khan to fetch a particular hard disk, which he couldn’t get, according to the FIR. The complainant then checked the cupboard and discovered that some of the boxes in which hard disks had been kept were partially burnt. But neither were there hard disks in them nor was there any burn mark on the cupboard.

The other employees then performed an audit and discovered that 66 hard disks were missing, some of which contained data from films, OTT shows and commercials shot by the production house. The filmmakers were informed and the support staff was quizzed.

According to the FIR, Khan admitted to stealing 24 hard disks over the past five months and selling them to Ritesh, who is based out of Borivali. He did not admit to stealing the rest. Bandra police were then informed.

BNS charges of theft by servant of property in possession of employer and retaining or receiving stolen property have been invoked against Khan and Ritesh.

-------------------------------------------

The Bandra police arrested two men in connection with the theft of film shoot hard disks worth around Rs 13 lakh from Tiger Baby Digital LLP, the production house owned by filmmaker-producer Zoya Akhtar and screenwriter Reema Kagti.

The complainant, Mehjabeen Mushtaq Sheikh, 36, works as an executive assistant and HR admin at the company. Important film, advertisement, and shoot-related data were stored in the hard disks kept at the Bandra West office.

According to the police, on May 21, 2026, around 4.30 pm, a hard disk required for work could not be found. A check of the office cupboard revealed several hard disks were missing, while only a few burnt cardboard boxes were found inside. During verification, police discovered that 66 out of 119 hard disks were missing from the office.

Suspicion fell on two members of the company’s support staff, who were questioned by police. During interrogation, one employee allegedly confessed to stealing 25 hard disks over the past five months.

Police said the accused sold the hard disks to a Borivali resident for Rs 15,000 to Rs 20,000 each. CCTV footage from the company office has also been seized for investigation.

The arrested accused have been identified as Mohammad Shahid Azim Khan, an employee at the production house, and Ritesh Shah, 44, a Borivali resident who allegedly purchased the hard disks.

Senior Inspector Ravindra Salunkhe of Bandra police station said, “We have arrested both accused, including the employee who stole the hard disks from the company. Further investigation is underway.”

Ever since prominent producers including Karan Johar (Dharma Productions), Sajid Nadiadwala (Nadiadwala Grandson Entertainment), Ektaa Kapoor (Balaji Telefilms), Farhan Akhtar and Ritesh Sidhwani (Excel Entertainment), Zoya Akhtar (Tiger Baby Films) among others were seen leaving actor-producer Aamir Khan’s residence in Mumbai on Thursday, the film industry was abuzz with speculation about what might have been the reason behind the same.

While parties involved have remained tight-lipped about the meeting’s agenda, a well-placed source tells HT City that it was to resolve the ongoing issue between an actor and Excel Entertainment.

“Aamir is trying to resolve the rift between Ranveer Singh and Excel Entertainment. The meeting at his place was to address the same,” the source informs.

Excel Entertainment has sought Rs. 40 crore from actor Ranveer Singh after his exit from Don 3 for alleged financial losses.

Have you ever wondered what the three principal characters of ‘Zindagi Na Milegi Dobara’ (2011) would be like in their 40s, years after their famous trip across Spain? It’s something filmmaker Zoya Akhtar is wondering about. The buzz in the industry circles is that the filmmaker has completed the first draft of the hit’s sequel, which is likely to be her next directorial venture.

From what we’ve heard, the sequel revisits the core trio — essayed by Hrithik Roshan, Farhan Akhtar, and Abhay Deol — years later, reflecting on their evolving friendships, mid-life choices, and unresolved dreams.

An insider told mid-day, “Zoya has finally locked a draft she is happy with. She was always clear that a sequel to ‘Zindagi Na Milegi Dobara’ would only happen if it had something new to say. It’s not a nostalgic rehash; the film acknowledges the time elapsed and the changes that have taken place in the three men’s lives.”

While no announcement has been made, discussions are said to be underway with the male leads. The insider added, “The intent is to reunite the boys, but it all depends on alignment of dates.”

Grand birthday celebrations are admittedly not Shabana Azmi’s style. But when it’s your milestone birthday, your family and friends will certainly make it an affair to remember.

mid-day has learnt that producer and close family friend Boney Kapoor is hosting a big bash to mark Azmi’s 75th birthday on September 18. On the guest list are the veteran actor’s family — Javed Akhtar, Zoya and Farhan Akhtar, Baba and Tanvi Azmi — as well as her friends Vidya Balan, Urmila Matondkar, Richa Chadha, Tannishtha Chatterjee, Anil Kapoor, Karan Johar, and more.

Many don’t know that Boney and Azmi go back a long way. The two collaborated on his first production, Hum Paanch (1980).

A source shares, “They struck up a friendship then, and over the years, have become almost family. So, when the discussion about celebrating Shabana’s birthday came up, Boney said he would host it. The bash will be held at his Pali Hill address on September 18, and will see Azmi’s friends from films and theatre in attendance.”

Before that, her group of friends — which calls itself Dher Saara Pyaar and comprises Tanvi, Balan, Matondkar, Chatterjee, Chadha, Divya Dutta, Dia Mirza, and Konkona Sen Sharma — has a girls’ day chalked out.

The source says, “On September 17, they will have a spa day, pampering themselves. Their celebration already started over the weekend as Sandhya Mridul launched her book of poems, Untamed. That was followed by dinner.”

The group is excited to meet Azmi’s other girl gang, Carpe Diem — with whom the actor recently took a trip to Iceland — at the birthday bash (Zindagi na milegi dobara, Shabana style, Aug 21).

Actress Khushi Kapoor, has definitely come into her own with films like The Archies, Loveyapa and Nadaaniyan to her credit. Khushi’s films may not have made as much of a buzz, but her presence on and off screen is enough to make up for it. In Lucknow sometime back, the actress shared her candid experiences in an exclusive chat with us, opening up about her visits to Lucknow, her debut film The Archies, and her take on industry debates. She revealed why she finds the City of Nawabs so appealing, how she faced her first camera jitters, and why she believes honesty about personal choices matters.

Khushi said she first visited Lucknow with her sister Janhvi Kapoor, who filmed here earlier. The young actress admitted she did not see much of the city at that time. “I was here for a couple of days, just spending time on her sets, but Janhvi always has great things to say about Lucknow. She specifically told me that Lucknow’s food is amazing, especially the kebabs.”

Comparing her personality with Janhvi, Khushi highlighted her reserved nature. “Oh yes! I am more of a quiet person and not much of a talker,” she confessed. She then recalled her nerves during her first on-set experience for The Archies, acknowledging that she felt frightened while shooting.

“During the time of The Archies, I was really very nervous and scared. But after that movie got over, immediately the nerves went away. Zoya (Akhtar) was an amazing team captain and taught me and the whole team everything, even the basics like catching the light, hitting the mark, etc. But I would admit that there was a lot of fear while shooting that film. Even though I have been a part of this industry, but I have always been behind the scenes. As a kid, when I used to be on the sets with my mom and dad, I didn’t bother to take any notes of the process as I never thought ki kabhi yeh mere kaam aayega though I wanted to always be an actress,” said Khushi.

Addressing her openness about undergoing cosmetic procedures, Khushi, who is rumoured to have gone under the knife, stated, “Yes, I have changed my looks. But everyone thinks I have done some 10-20 things on myself. It is obviously not the case. I don’t think going under the knife for your looks is such a big deal. For me, it is not okay to be dishonest with people around me about my looks. There are a lot of impressionable youngsters who follow us on the internet. Plus, if we don’t do something about our looks, then it is a problem and people will judge you for your looks, and if we do something for ourselves, feeding your insecurities, then also people have a problem. People will say that why did she change herself and did not stick to her original looks? So, you are not going to win either way. I am going to live my life the way I want to. Also, I was not born like this and all actor’s groom themselves, and of course vanity is a large part of our life! I care about my looks, but haven’t changed every single thing about my face. I don’t want to set unrealistic standards of beauty and so I became open about the procedures I had done to look like this,” stated Khushi.

Khushi admitted she had certain expectations from her first venture and learned much in the process. “I think everyone has certain expectations for themselves, but I learnt a lot from that process. I worked with such an amazing cast, mentor and made so many friends. For The Archies, for the response we got, all I can say is that not everything is for everyone. Before the project was released on OTT, there was a certain opinion about it. It wasn’t like I was oblivious to what was going to come when The Archies would be released. There is a certain stigma coming from a family like mine and I understand that people have certain perceptions and opinions about me. I was aware and prepared, and I learnt from my shortcomings,” she remarked.

With her second project, she felt more confident. “From the first project to the second and now third, the level of confidence has changed. I had a lot of self-doubt despite taking my own decisions. For an actor confidence is the key as it translates into the performance. My mindset is different while the approach still remains the same. I have miles to go,” she said.

On the subject of nepotism, Khushi acknowledged her privileged background. “It is important to recognize when you come from a space of privilege and understand that you have an upper hand over other people. And the issue that people have is when we don’t acknowledge this fact. People think that because we come from this family, we take things for granted but that is not the case,” she emphasized, adding, “Of course, things are easier for us, and you can’t debate about that. It is important to acknowledge that and make the most of the opportunities coming our way and prove ourselves. Once we have proven ourselves, no one is ever going to question us. There are so many people who have come from this privileged space and were able to stay for so long because they have proven themselves as good actors. I don’t blame people for having an opinion about me right now, thinking I am not good or worthy enough to get these opportunities. I have had an unfair advantage, but I want to make the most of it now.”

Commenting on her personal life, Khushi stayed tight-lipped about rumoured boyfriend Vedang Raina. “I am very new to the industry and want my work to be the focus. Of course, I’m not going to sneak around and hide from the paps but it is important to keep your work the main conversation,” she said.

With Gully Boy (2019), filmmaker Zoya Akhtar told a moving story of rap, rebellion, and resilience. That is a tough act to follow. But mid-day has learnt that Akhtar is returning with a sequel to the Ranveer Singh and Alia Bhatt-starrer. It turns out she will serve as the producer on the sequel, passing the directorial baton to Arjun Varain Singh, who helmed the much-loved Kho Gaye Hum Kahan (2023). 

A source reveals, “With Gully Boy, Zoya and Reema [Kagti, co-producer and writer] brought on screen not only the struggles and perseverance of Indian rappers, but also the wide class divide. They felt the theme could lend itself to a sequel as there are many such rich stories to be explored. While Gully Boy saw the journey of Ranveer’s Murad reach its culmination, the second part will trace the story of another rapper.”

The gem is also remembered for spotlighting two talents in Vijay Varma and Siddhant Chaturvedi. This time around, the makers will bring a new cast. “The film is in prep. If all goes as planned, it will roll by the year-end. Arjun showed depth in his directorial debut, and Zoya felt he was the right person to take this franchise ahead,” says another insider.

Starring Kay Kay Menon, Chitrangda Singh, and Shiney Ahuja, Hazaaron Khwaishein Aisi (2005) was a semi-hit but garnered widespread love and acclaim over the years. Dismissing rumours of a remake, Sudhir Mishra, who served as both director and writer, says that a sequel could be worked out.

It is the time of re-releases, and Sudhir shares that there were talks about HKA, too, getting a re-release before the death of producer Pritish Nandy: “It’s surely in consideration. HKA was released without PR and was a minor hit. (But) the kind of viewership it got later is weird!”

The filmmaker feels that HKA is no longer his film: “Over the years, the audience made it their own.” He is also asked about a possible sequel or remake wherever he goes and shares, “A sequel can be done as the story of the three characters can move on. But, nothing should not be done just for the sake of it! If something comes to mind, it will be, but I can’t spoil the memory of the film – kharab nahin kar sakte.”

“The film was rejected by the National Award jury headed by (filmmaker) Basu Chatterjee. The industry thought that it would be sent for the Academy Awards but lost to Paheli (2005). But HKA went to several festivals and won awards all over,” the filmmaker shares, adding “The test of a film is that it has meaning for its audience across time and keeps finding other audience. HKA does. That is the biggest award!”

Sudhir was certain about casting fresh faces for the film. He recalls how, Swanand Kirkire, who wrote and sang Bavra Mann and also appeared as a villager in the film, auditioned hundreds of actors for the lead roles.

“I had already cast someone for Shiney’s role, who is still very angry with me. But then, Zoya (Akhtar, filmmaker) sent Shiney. I originally tested him for Kay Kay’s role but changed it... Chitrangada was going to catch a flight when I called her... The only criteria was no known faces,” he recalls.

Niren Bhatt; Reema Kagti. Pic/Kirti Surve Parade; Kanika Dhillon. Pic/Satej Shinde; Dibakar Banerjee. Pic/Getty Images; Zoya Akhtar. Pic/Kirti Surve Parade

Never seen before”, “phenomenal”, “relevant”, “hatke” are just some of the adjectives stars often deploy to sell the stories of their next releases during promotions. But one hardly hears the names of the writers, whose work prompt stars to green-light their projects. But the invisibilzation of screenwriters in the Hindi film industry doesn’t begin when a film nears release. It goes back to the beginning of the process, when a writer’s words start taking shape.

As we catch Niren Bhatt at the seventh edition of the Indian Screenwriters Conference held by Screenwriters Association (SWA), the man behind last year’s blockbuster Stree 2, says a brainstorming session between a director and a writer ends up with the former taking the writing credit. “Directors stealing credit is a practice that has been going on for years. The final credit slate will feature them as both director and writer of the project, while the actual writer is given credit somewhere else.”

The fight for rightful credit is exhausting and many a time, a writer is forced to make do with the remuneration and move on. But how is that struggle any better, when more often than not a writer’s pay is dependent on everything else but his/her story. “A writer friend of mine recently showed me his contract with a studio, which I will not name, where it was mentioned that the tranches (of his fee) were dependent on the actor’s approval and once the director comes in, then on his approval. Those kinds of contracts are unhealthy,” shares Bhatt, who also had his share of unfair contracts at the beginning of his career, but success has made negotiations easier. “People need to realize that if you pay writers more, and they deliver, it’s you who makes more money,” he adds.

“Young writers sit with bigger writers or producers and directors, soak in all that these people say, and go home and write. And then, they get the last credit. Just talking a lot doesn’t make you a writer. Only the ones who writes, is a writer. This is one of the biggest challenges that young writers are struggling with today,” says filmmaker-writer Reema Kagti, behind acclaimed works like Talaash, Made In Heaven and Dahaad. She makes her point in her art as well. Her upcoming work, Superboys Of Malegaon, penned by Varun Grover, features an emotionally charged dialogue, which says, “Writer baap hota hai, writer”.

But a mere small talk with any screenwriter in Mumbai will reveal that a writer actually the neglected child of a large family. From stolen credits to abominable fee, Bollywood screenwriters pay a heavy price for every written word. “It’s obnoxious,” says Zoya Akhtar, Kagti’s frequent writing partner and co-producer on Superboys Of Malegaon.

She breaks down why exploitation of writers is casual. “Because everyone thinks they can write. I can’t think I can act or be a cinematographer, as these are very ‘specialized’ skills. With writing, everyone thinks they know end mein kya hona chahiye. They don’t understand a lot of the times what the integrity of the story is.”

Filmmaking doesn’t happen in isolation, it thrives on collaborations, which naturally involve suggestions and inputs from cast and crew members. But that shouldn’t dilute a writer’s role and position, Akhtar says. “Every actor I have worked with isn’t a prop. They are talented beings, who have their process to reach a character, whether we have written it or not. They will come up with their suggestions. As a filmmaker or a writer or a showrunner, it’s your job to filter it, by thinking, is this adding to the larger narrative or the theme I want to sell?”

Screenwriter-producer Kanika Dhillon is reminded of her initial days, when producers and directors would be baffled at her demands. After all, the industry notoriously expects writers to forgo fairness in lieu of work offered to them.

“When I used to go for meetings with producers or directors, their main grouse would be, ‘How are you talking like this? This has never happened here. No writer asks or says this. Hence, you can’t get it’. So, every time I have crossed a milestone, I have made sure to speak about it. So others can do it as well,” she says. Even today, after Dhillon has created a successful filmography that features titles like Manmarziyaan, Kedarnath and Haseen Dillruba (Part 1 and 2), she is asked to not speak up for writers’ rights. “I am told, ‘Arey, you have achieved so much. Why do you need to speak up?’ But why should I not? My success has emboldened me.”

Bhatt believes speaking up is the only option. “Don’t say ‘I am just a writer. No one bothers about me’.” But self-victimization is only natural, when an artiste is constantly pushed to a corner. That’s where community support becomes essential, says National Award-winning filmmaker-writer Dibakar Banerjee.

“A lot of the writers, who work here, are not from Mumbai. They try to write, survive, and face all the existential and creative questions. They are trying to improve their craft. In this kind of a situation, having a community with shared problems, thoughts and ecosystem really works. A community is most important so that nobody is left alone. If you are left alone, you will be exploited. If you are in a community, it’s that much harder to exploit you because we all stand for each other,” he says, lauding the efforts of SWA to uphold a writer’s rights and back him/her in time of need.

"I really hope that this kind of building from strength to strength really reaches that level, where no writer at least who is a part of SWA, feels alone. It’s when you feel alone, you start getting depressed, having doubts about your craft and start listening to idiotic requests from a studio or a platform, who doesn’t understand what you are trying to do. In every which way you become vulnerable. Writers in this city are the most needed and the most neglected at the same time. I have seen the advantages of having a community. That can be anything, your crew, a number of like minded people, who are there. Like, I just got a call from a writer and he had something to say, which was very hard to share. But he shared. That’s what having a community feels like.”

Javed Akhtar reached a significant milestone in his life yesterday — the screenwriter-lyricist turned 80. Reflecting on the occasion, he shares, “You keep moving ahead, milestones come and go. Ultimately, it’s just the planet rotating on its axis around the sun. It’s a seamless process, usse humne birthdays bana diye hain lakeerein kheench ke. We should not take it seriously.”

When asked about his plans for the big day, Akhtar reveals, “I was at my farmhouse, and I called some close friends and family over. There was a grand celebration when I turned 75, but now I think it’s enough, we’ve done everything.”

Looking back at the eight decades gone by, he says that life has been kind: “The grand total is in my favour. There have been ups and downs, but I am in profit, so no complaints.”

About the best gift he has received in his lifetime, Akhtar shares, “I think the best gift is my children. They have done well in their lives. It becomes an emotionally and socially aesthetic situation, if both your children go on to achieve so much.”

The exorbitant remuneration charged by leading male actors in Bollywood has been a much-discussed issue in recent times, especially after films headlined by A-listers recorded low openings this year. Recently, when director-producer Karan Johar shared his views on the topic, filmmaker Zoya Akhtar highlighted how he has been a part of the problem himself.

KJo insisted on the need for male stars to reassess their remuneration during a directors’ roundtable conducted by The Hollywood Reporter India, when Akhtar interjected him, saying, “They are not going to know. But Karan, you have to just stop paying. That’s it.”

On his part, Johar said that he has stopped the practice now. Recalling how every leading man quoted high prices for starring in this year’s release Kill, he shared, “Every star asked me for the same money that the budget was for. I was like, ‘How can I pay you? When the budget (of the film) is Rs. 40 crore, you’re asking for Rs. 40 crore? Are you guaranteeing the film will do Rs. 120 crore?’ So finally, I took a new boy (actor Lakshya), and he was an ‘outsider,’ I have to say it.”

With Yudhra, Siddhant Chaturvedi is excited to show his action avatar on screen. But there is something else that has him even more thrilled about Ravi Udyawar’s directorial venture—co-star Malavika Mohanan’s character. “She is not a damsel in distress, she is as strong as I am in the film. Yudhra will break the stereotypes [of a female character in action films],” he says proudly.

When reading scripts, one of the things Chaturvedi keeps an eye out for is the presentation of female characters. “I’ve been raised by women. There is mom, and in the film industry, it was Zoya [Akhtar]. I feel proud when women are presented in a raw and strong way. I like women being shown stronger than me and the protagonist in a film.”

A dialogue about women’s safety has been reignited after the Hema Committee report shed light on the exploitation of women in the Malayalam film industry. As the male lead, Chaturvedi sits at the top of a film’s hierarchy structure. How does he ensure that women working with him feel safe? By listening to them, says the actor.

“It’s about the environment you create to make a woman feel safe. When you’re approaching any scene, you have to make sure that the person is feeling comfortable; if that’s not the case, you flag it to your first AD, director and producer. Listen carefully to what makes her uncomfortable. Listening is the most powerful tool that people don’t use. Listen, process and go to the root of the problem—why is it happening and how did we, as a responsible crew, let it happen? It’s the responsibility of every man and woman on the set to look out for each other. If it happens to someone, it needs to be addressed then and there.”

If the recent re-release announcements of Gangs Of Wasseypur and Rehnaa Hai Terre Dil Mein have you rushing to book tickets, you’re not alone. Cine buffs have been in for a treat with theatrical re-releases this year. Whether it’s to mark a film’s anniversary, generate buzz before a sequel, or simply revisit a cinematic hit, actors and filmmakers have been bringing their old films back to the big screen.

Ajay Bijli, MD of PVR INOX, says, “What’s interesting is that these films are available for free online, but moviegoers are still excited to see them on the big screen.”

Amit Sharma, MD, Miraj Cinema, adds, “September only has a couple of Hindi films scheduled for release. This is a major reason why cinemas are opting for re-releases of films with a strong fan following.”

Talking about re-releases, Yogesh Raizada, VP of Wave Cinemas, says, “Rereleases majorly work for two reasons – nostalgia for all things related to the 1990s, and a new audience that had only heard about these films but never had the chance to see them on the big screen.”

Kamal Gianchandani, president of MAI (Multiplex Association of India), adds, “The success of the re-releases validates how much people enjoy the theatrical experience. They are willing to come to cinemas despite these films being on TV and streaming platforms.”

A selection of Zoya Akhtar’s films were recently screened as part of her retrospective. Zoya Akhtar had said, “When we spoke about retrospective, there was one aspect of me which was like well, retrospective? Am I kind of done? And another part of me was jumping with joy that these films will be on the big screen again”

Imtiaz Ali’s Laila Majnu, which was first re-released in Srinagar, received an overwhelming response from the audience recently. “It gives us hope that people are coming to cinemas in huge numbers to watch old films,” the director said.

Exhibitors say that the whole of September looks very empty and dull, with only a couple of Hindi films scheduled for release this month. This is a major reason why cinemas are opting for re-releases of films with a strong fan following.

Amit Sharma, MD Miraj Cinema says, "Whenever a film is re-released, it takes a little time to grow. People start learning about the film and its re-release. It's in the second and third week when the film starts picking up. So, we are planning a 3-4 week re-release calendar for Gangs of Wasseypur, which makes more sense."

Kamal Gianchandani, president of MAI (Multiplex Association of India) says, "Some of these films can't even be classified as classics. There are several reasons for this - when these films were originally released, they were ahead of their time, or they simply didn't click with audiences. It's also a validation to how much people enjoy the theatrical experience that they are willing to come to cinemas to watch Rockstar or Jab We Met, despite these films being available on TV channels and streaming platforms. While there are various reasons why these re-releases work, the bottom line is that people are enjoying some of these older films, and it’s our job to bring them to all audiences. If people are enjoying older films in cinemas alongside new releases, then we are happy to offer them to our customers. Playing of these older films in cinemas is a reflection of the fact that these films are doing well."

They’ve weaved tales that have gone on to become evergreen cinematic classics, but it is their own story that has caught the attention of cinephiles over the years. Ardent admirers of writers Salim-Javed—comprising Salim Khan and Javed Akhtar—will witness the story of how two of Bollywood’s greatest writers came to be collaborators as the makers of Angry Young Men eye an OTT release.

The docudrama that was initially announced in 2021 is set to chronicle the lives of the duo that worked together on 24 films between 1971 and 1987. In their journey spanning several decades, they interacted with and influenced the lives of several artistes, many of whom fittingly contributed to the short. Khan’s son Arbaaz says the veteran’s friends and family found in their lives enough fodder for the making of the documentary.

“They are legends and need to be documented appropriately. They have never been documented, be it in books or autobiographies. [Without this film], their grandchildren would not know about their humble existence, rise to fame, or why they went their separate ways. The platform that [our family] has in the film industry today is due to the base that they built,” says Arbaaz.

The actor-producer shares that work on the documentary has wrapped up. “I believe it has been picked up by an OTT platform. It is expected to come out in the next two to three months,” says Arbaaz, who also filmed his father and Akhtar for his show, The Invincible Series with Arbaaz Khan.

A source close to the production says that the documentary’s title traces back to the character that the two created for Amitabh Bachchan in Zanjeer (1973).

“This film will showcase rare footage of them and their movies. It will also include interviews of people they worked with and their friends and family who have shared the stories behind their screenplays, and how some of their iconic characters came to be.”

Initially slated as a theatrical release, the makers felt the film deserved to unfold on the web platform owing to the “sheer volume” of content they planned to include. “Zoya [Javed Akhtar’s daughter] has been documenting them for a while because she knew she wanted to record their rise to fame.”

Directed by Namrata Rao, the film will be co-produced by the writer-duo’s children, Salman, Zoya, and Farhan.

Remember the child actor from Dil Dhadakne Do (2015), who delivered some of the best lines with a poker face? Today, at 24, Khushi Dubey is a far cry from that. But her ease in front of the camera remains unchanged. After fronting Aashiqana, the actor is now basking in the popularity of Jubilee Talkies, a sweeping love story set against the backdrop of the film industry. In conversation with mid-day, Dubey discusses how Jubilee Talkies stands out in the TV world where overacting sells, and starting from square one in the industry despite being a child actor before.

Edited excerpts from the interview.

The most important thing is that you have to be a good actor. It is possible to gain the same stardom that one got in his childhood as an adult. Things might get tougher, but ultimately it depends on your acting [prowess]. In 2016, I quit everything to focus on studies for four years. Then I had to start from square one with Aashiqana.

It is a little [tough], although now people directly approach me for a role. However, I still have to audition for the bigger projects. I’m not the kind of person who socializes to get roles. In fact, I am bad at making contacts. I have seen people getting projects because they are friends with [those who are influential], but I never felt like making friends for a project.

I don’t stress about it. The show could [be pulled off air] for any reason, and I can only focus on acting. If I start thinking about [the longevity] of the show, [my performance] may go for a toss. No one person can be blamed for a show not working. While I want it to run for a long time, I have never insisted that it run for a year. Even if it’s a six-month show, it’s fine by me. The beauty of finite shows is that they have a fixed and crisp storyline. Stories are not dragged for TRPs.

I try to gauge if I am happy with what I am doing. Am I happy doing a saas-bahu drama? Is it giving me creative satisfaction? I ask myself these questions. I liked Jubilee Talkies because it was unconventional compared to other TV shows. I know the storyline until the end, and it is not dragging or monotonous. Even when Saurabh Tewari [producer] was narrating the story to me, at a lot of high points, I was quite surprised. If you cannot predict the story, that means it is intriguing. Seeing an ordinary woman enter a superstar’s life [may seem] simple, but the execution is larger-than-life.

I have seen bits of Madhubala and Jubilee Talkies, their storylines have nothing in common, except that the protagonist is playing a star. Deepak Chauhan sir’s direction and treatment are different. We want to show the workings of the glamour and film industry.

A bit. Sometimes the script is such where you cannot perform naturally, [the acting] might get over dramatic. But here, I have lots to do. My director has given me the freedom to let me act naturally and not go over-the-top.

That happens because they have to televise episodes every day. So, the storyline [gets muddled], people put anything [senseless] in the storyline when a certain plot point raises TRPs, and that plot goes on for six months. That’s why having a finite show [is better], it doesn’t experience this treatment.

It is 180 degrees different, from work culture to acting. Movies are about being subtle, especially Zoya ma’am [Akhtar, director]. She has a [clear] vision and thought process. She’d tell me that my character is deadpan, so whatever she says, it has to come off right. You get a lot of time in movies to build your character. The work culture in TV is hectic and there is too much on the plate.

Merry Christmas, Murder Mubarak, and now House Of Lies—Sanjay Kapoor has had a release every two months in the year so far. That’s a lot by any standard. To the actor, it’s a reaffirmation that perseverance always pays off.

“It’s not by chance that I did Bloody Daddy [2023], Made In Heaven 2, Merry Christmas, and so on. I have worked my ass off. It’s 30 years of experience, focus and perseverance [at work]. In the last one year, I have worked with directors Sriram Raghavan, Zoya Akhtar, Neeraj Ghaywan, Prakash Jha and Homi Adajania. People are happy even if they get to work with two or three such directors in their lifetime,” says the actor, who leads the Zee5 murder mystery.

The industry is witnessing a resurgence of several ’90s stars. While Bobby Deol made an assured comeback with Aashram and Animal (2023), Manisha Koirala recently headlined Sanjay Leela Bhansali’s Heeramandi: The Diamond Bazaar. Kajol and Raveena Tandon have fronted web series. How does Kapoor view this revival of sorts?

“These actors haven’t got work today by chance. Manisha had done great work even before, be it Bombay [1995] or 1942: A Love Story [1994]. Sometimes, you go through a transitional phase—you aren’t young enough to play a youngster, nor old enough to play an older character. With OTT, people are getting more opportunities. Also, you never heard anything wrong about all the actors you’ve mentioned. You heard their names only with regard to their work. These actors never lost hope or confidence in themselves. Bobby has spoken about it himself. It’s not that all the ’90s actors have made a comeback. There were others who lost their focus. Nobody is here to make your life; you have to build your own. Nobody is giving you a chance just because they love you.”

It’s certainly a wise lesson that his daughter Shanaya Kapoor, who is foraying into movies with Mohanlal’s Vrushabha, can benefit from. Kapoor says his journey has taught Shanaya the importance of being dedicated.

“Shanaya is intelligent. She has seen that this industry is not a bed of roses; you have to work hard. I don’t have to advise her, I’m always there for her. She is focused. During the pandemic, she was taking diction and dance classes. She didn’t waste that time. Mentally, she will be strong because she has seen my journey in the industry.”

Iranian-German actress-model Elnaaz Norouzi, who has done OTT shows like Sacred Games, Made in Heaven, and Ranneeti: Balakot & Beyond, talks about still struggling to get good roles, her desire to explore different genres and more.

As someone who wasn’t brought up in India, Elnaaz has faced some unique challenges. She shares, “I used to struggle with offers in the beginning. To be able to meet producers and convince them that I’m not just a pretty girl, but someone who can act, was a task. Many people still don’t know that I speak and write Hindi really well. I don’t mind auditioning, but it takes time, and it’s still the same. I’m still struggling.”

She adds, “I started big with Sacred Games, but I don’t expect similar success every time. There is only one Sacred Games. I am okay with projects not working well. Even the biggest stars have flops. As actors, you have to live with that.”

The actress adds, “When I came to India, I didn’t have anybody to guide me. I said no to a lot of projects before Sacred Games because I believed that something good was going to be offered to me. It was hard because those projects were offering me a lot of money and back then, I had none. I wish I had more guidance. I feel the reason why star kids do so well is because they are trained from childhood. They have seen all of this. I just came into this country where I didn’t know anybody. So, getting myself into the circles of Zoya Akhtar or Anurag Kashyap was tough as an outsider. I believe I have done well, and wouldn’t want to change anything, but I wish I had more ideas about Bollywood before coming here. It’s tough to get into Bollywood’s inner circles.”

Elnaaz shares, “I recently did action in Ranneeti, but I also want to do more comedy. I would love to play a psychopath, somebody with a disorder, or a mentally challenged character. I’ve always wanted to act and not just look glamorous. But I’ve been managing both well. I’ve played de-glam characters and also done dance numbers. I want to show that I can act and don’t just need to look good. I love to go on sets without any makeup.”