According to online speculation, rapper-singer Badshah has tied the knot to Punjabi actor Isha Rishi. The couple were married quietly in a private ceremony, as has been suggested after the bride's mother posted pictures and videos from the wedding on social media. Neither Badshah's nor Rishi's team have issued an official confirmation. 

Isha Rikhi made her acting debut in 2013 with the Punjabi film 

 (2013). She also had a role in the Hindi film 

Badshah Marries Punjabi Actress Isha Rishi In Private Ceremony: Reports

Actor Mona Singh believes the most inspiring careers in Indian entertainment today belong to actresses who have constantly reinvented themselves over time. 

about the shifting culture of celebrity and performance across television, films and streaming, Singh pointed to these performers as examples of artists who continue to evolve while staying rooted in their craft. “I really look up to Tabu, Kareena [Kapoor Khan], Shefali [Shah], Tillotama [Shome],” Singh said. “I love their journeys. They’re so inspiring, making new norms and constantly reinventing themselves.”

For Singh, the appeal lies not in celebrity spectacle but in the freedom to pursue authenticity on screen. She says she has never subscribed to the increasingly elaborate culture of entourages and image management that now accompanies stardom.

“People feel the bigger the car and the bigger the entourage, the better the impression,” she said. “But I’ve never even insisted on having my own make-up team. As long as I’m looking the character, I’m happy.”

That approach, she believes, has also shaped how she views age and image in an industry that often polices both. “It’s never about looking pretty on screen just to prove a point,” she said. “It’s about looking the part that you’re playing. I know who I am personally and I’m very secure in that way.”

Streaming platforms, she argues, have played a crucial role in enabling that shift. In India, where OTT has expanded rapidly over the past decade, Singh says the format has given many actors a second creative life.

“OTT has given us those wings,” she said. “It’s only been seven or eight years that we’ve really been introduced to it, and there’s so much more to do.” 

The transition also allowed Singh to step away from television at a moment when she felt the medium had become creatively limiting. “I had done most of the shows, reality shows, everything,” she said. “If I wanted to stay in that comfort, I could have. I was getting the biggest offers. But that’s not me. As an actor you always want something you haven’t done before.”

Interestingly, she feels television in the early 2000s was more progressive than much of what is currently broadcast. Today, she says, the format has become trapped in repetitive tropes. “We need to give something new to TV,” Singh said. “People should watch stories that are real and relatable, not just kitchen politics with women putting each other down.”

Yet Singh believes streaming now risks repeating some of the same mistakes. As platforms chase viewership data and engagement metrics, storytelling can begin to follow rigid formulas designed to maximise retention. The result, she suggests, is a kind of algorithm-driven drama where suspense, cliffhangers and emotional beats are carefully engineered rather than organically written. “Of course that happens,” she said. “There will be a lot of stuff we won’t watch or like because they’re following those norms.”

But Singh insists the system can still be resisted. Even within the algorithmic ecosystem of streaming platforms, she says, standout shows continue to emerge. “There is a herd mentality and it will continue for some time,” she said. “But there are always those people who reinvent themselves and start writing what is real; there will always be a 

For actors, that ultimately comes down to choice. “We have the luxury to say yes or no,” she said. “There is a lot of rubbish happening even on the big screen, but there are still a few films and shows that stand out. That’s what you wait for.”

Mona Singh on Why OTT Must Escape Algorithms and Female Stars Redefining Longevity: 'I Really Look Up to Tabu and Kareena'

K-pop giant HYBE has launched an India-wide talent search initiative called HYBE India Audition. The announcement was accompanied by the release of a poster and a launch video introducing the first phase of the programme.

The audition aims to identify aspiring music talent from India and the Indian diaspora. Selected candidates will be given access to HYBE’s training and production system, which includes creative development, performance training, and global content positioning. 

The audition will be conducted through a combination of online and offline formats, with in-person auditions planned across key cities including Ahmedabad, Bengaluru, Chandigarh, Chennai, Delhi, Guwahati, Hyderabad, Kolkata, Mumbai, and Pune. Further details on timelines, eligibility, and participation are expected to be announced on the company’s official platforms.

The audition is presented in collaboration with leading global and national brands including H&M, Shoppers Stop, Samsung, and Nongshim. Snapchat and BookMyShow will join as Media and Ticketing Partners, respectively. Together, these partnerships will come to life through a series of integrated experiences- from on-ground pop-up activations and retail engagements to digital participation, designed to make the audition journey more exciting, accessible, and culturally resonant for young audiences.

Further details regarding audition timelines, eligibility, and participation guidelines will be announced soon across HYBE INDIA’s official platforms.

HYBE has previously developed global music acts including BTS and KATSEYE. The India initiative is part of its broader strategy to expand into emerging entertainment markets and build locally rooted artists with international reach.

As announced earlier, a new documentary will trace the reunion of BTS following their extended hiatus for mandatory military service. Titled 

, the feature-length film will premiere on Netflix on 27 March, offering an inside look at the group’s first steps back into the studio together.

Directed by Bao Nguyen, whose previous work includes the documentaries 

, the film follows the seven members of the South Korean group as they regroup in Los Angeles.

HYBE, the K-Pop Giant Behind Global Sensation BTS, Announces India-Wide Talent Hunt 

, an upcoming Tamil film headlined by Dhanush, has been released. In the film, Baiju will be playing a central character named Selli. In the poster, the actor appears in a simple red saree with a stricken look, hinting at complex undercurrents. The film appears to have a rural setting and a gritty, intense atmosphere.

The makers unveiled her first-look poster on Monday. Additional character reveals from the film are expected to roll out later today. 

One of the biggest Tamil titles of the year, 

is slated for a theatrical release on April 30, 2026. The film is directed by Vignesh Raja and written by him and Alfred Prakash. Vignesh rose to fame for writing and directing the investigative thriller Por Thozhil, co-starring Ashok Selvan and Sarathkumar, in 2023. For Kara, he has teamed up with producer Ishari K. Ganesh of Vels Film International. 

Known for her work in Malayalam and Tamil cinema, Mamitha Baiju was last seen in Pradeep Ranganathan's 

, a hit comedy drama. The actor, who rose to fame for her role in 

, which was postponed following a legal battle with the CBFC. The film also co-stars Pooja Hegde, Bobby Deol, and Prakash Raj. Baiju's other projects in the works include 

Dhanush was last seen in his own directorial, the Tamil film 

, alongside Kriti Sanon. Currently, the Tamil star is working on 

with director Rajkumar Periasamy. The film also features Sai Pallavi and Sreeleela, with Malayalam star Mammootty joining the cast last month. Periasamy delivered a blockbuster with 

, a biographical action drama starring Sivakarthikeyan, Sai Pallavi and Geetha Kailasam, in 2024.

Dhanush's 'Kara': Mamitha Baiju’s First Look as Selli Revealed  

The Madras High Court on Monday, according to a report in 

, dismissed an appeal filed by Tamil filmmaker-producer 

 and Photon Factory, in which Menon is a partner, against a single judge’s order directing them to pay ₹4.25 crore, along with interest at the rate of 12% per annum from May 2010, to S Elred Kumar's production company R.S. Infotainment.

The order comes on account of Menon reportedly not having completed an untitled movie described as 'production no. 6' as part of an agreement with RS Infotainment.

, the defendants said, ‘production no. 6’ was given a tentative title of ‘Nithya’ but finally got released in theatres on December 14, 2012, under the title of 

. "Mr. Menon himself had entered the witness box and got himself examined as well as cross-examined in the suit. However, after sifting through the oral evidence rendered by Mr. Kumar and Mr. Menon, as well as the documents related to the case, Justice Ramamoorthy found that 

 was produced pursuant to a ₹13.27 crore agreement entered between R.S. Infotainment, Photon Factory, and Mr. Menon on July 6, 2011, and it had nothing to do with the 2008 agreement related to ‘production no. 6'," the report read.

, the filmmaker spoke about writing his future project. "

I’m writing a script around the production of these concerts — almost like a Broadway-style musical. The idea is to have actors who can break into song and dance, with the songs becoming emotional expressions within a larger narrative. We are currently scouting for actors who can perform on stage, with a script and story based around the songs. That’s a big plan which is currently in motion," the filmmaker said.

Gautham Vasudev Menon Ordered to Pay ₹4.25 crore to R.S. Infotainment: Report

Casting director Mukesh Chhabra is currently experiencing deep joy and gratitude. Catching him after the long weekend, post the storming release and reception of 

, there is a palpable sense that the film marks an important moment in his career. “It took me 20 years to reach here, after doing over 300 films,” Chhabra tells 

When he began working as a casting director, in 

(2006), the job profile was nascent. Previously, directors would cast for their films, their assistants auditioning prospectives, decisions made and discussed in Cafe Coffee Day. “They used to cast the same three people in every film—same villain, same right hand, same mother, same sister, same driver. Now the audience gets to see so many new actors and faces,” Chhabra notes. 

The rise of the casting director coincided with the rise of realism and the presence of tier-two and three cities in Hindi cinema—accents, faces, comportment that was in tune with the milieu and place of the films became a categorical necessity. 

Initially, it was directors like Vishal Bhardwaj, Rakeysh Omprakash Mehra, Hansal Mehta, Anubhav Sinha, Rajkumar Hirani, Imtiaz Ali, and Anurag Kashyap who made use of Chhabra’s intuition and insight. 

“But now, every single director in Bollywood, even the big directors making commercial films, has a casting director,” Chhabra notes, having worked on films as small as 

. He is one of the first persons to come on board a project, after the writer, producer, and director. 

Today, over 70 people are working in his company, scouring local theater groups, Instagram, Facebook, local acting and film schools looking for the next breakout star. Besides, thousands of people walk into his office every day in pursuit of a part, however peripheral. “We keep recording data. But I only focus on a film once I get a script. I personally don’t find talent through Instagram,” Chhabra notes. 

A member of Casting Society of America (CSA), he has long rallied for reframing casting as an artform that deserves recognition in its own right. Along with names like Shanoo Sharma, Nandini Shrikent, Shruti Mahajan, Parag Mehta, Kavish Sinha, Abhishek Banerjee, and Anmol Ahuja, casting has increasingly become imperative, and not merely incidental, to storytelling in India. 

This year, the Academy Awards finally recognised casting as a category. Chhabra is waiting for India to catch up, “I hope in our country, more people take this job seriously, and I hope the National Award people also pay some attention to our work.”

Chhabra and Aditya Dhar, the director of 

, met when they were ADs, and became quick and close friends. Impressed with Dhar’s script, he started shopping around for actors. They used references of the real life people on whom the film is loosely based, but soon hit a roadblock. 

Casting for Rehman Dakait, the leader of the Baloch gang, for example, was particularly difficult. An important character and delicious villain, he disappears after the first part. “We were discussing so many actor’s names for the film, but the actors kept saying no, because they didn’t want to be part of an ensemble film.” 

The physicality of these actors Chhabra was considering would have been perfect for the role, he notes, “Sometimes you don’t have to create a look for an actor,” hoping the actor slips into that character the way they walk into a room. But to every actor, every role, their own destiny. After the film’s release, he got calls from all the actors who rejected the part, dripping in regret. 

“Akshaye Khanna’s name came towards the end. Akshaye has this capacity—give him anything and he will surprise you. When I first called him, he said, “Are you mad?” But I told him to just come at least and hear the story. He came and after the narration, looked at me and said, “Fantastic!” in that typical way of his. Within the day he called and confirmed he’s doing the film. It was that quick,” Chhabra notes. 

Madhavan, too, was a mere call away, “I had known him since the 

days. I told him, trust me, I am doing this film, and we need only 10-12 days from him. He was shooting for 

 (2025) at Mehboob Studios. Aditya [Dhar] went to the studio to meet him, and he called me within an hour, and said he is fantastic—a great actor. Madhavan, too, immediately said yes. He brought an authority to his performance. There is no action. He speaks calmly, and never loses his control.”  

A lot of Chhabra’s stories involve actors trusting his instinct to come and audition or listen to a narration. Shefali Shah, too, heeded his advice. Chhabra was struggling to cast the lead role for the first season of 

. “Every single actress I went to said no,” Chhabra remembers. The director, Richie Mehta, was from Canada, and did not know anyone. Besides, there was no streaming platform attached to the show. It was sold to Netflix much later. But Chhabra called Shefali and requested her to hear the story, an important one, “Shefali immediately understood and agreed.” 

Chhabra is no stranger to challenges. Casting Munni in 

(2015), for example, was especially hard, “Aisi ladki dhoondna tha jise poora Hindustan pyaar kare,” (I had to find a girl whom every Indian could love) Chhabra notes. He auditioned over 700 kids for that. “My brief was to break 

(1983) ka Jugal Hansraj, honestly,” he laughs.

was a difficult assignment, because the film was mounted on three fresh faces—Amit Sadh, Sushant Singh Rajput, and Rajkummar Rao. With OTT, these pressures are less, even as the scope of acting has magnified, “I have no pressure to cast a bigger star for a show, I only think of the character. I have a free hand. If 

 was a film I would not be able to cast Prateek Gandhi in it,” Chhabra who has also cast for shows like 

Chhabra has a unique perspective on casting. When asked how he distinguishes good acting from good casting, he responds, “I don’t think about acting. I only think about casting for my character. If the acting is not that great but the actor is correct for my part, I will go with that actor.” The challenge, then, is to find actors aligned enough to inhabit characters, as opposed to actors talented enough to reach characters.

 Chhabra expanded the challenge. “I wanted to cast every single person whoever is on screen, whether for a scene or dialogue. That was my request to Aditya. My eight assistants and I spent 2 years auditioning and casting over 300 people for the film.” 

Sara Arjun was found through this process of auditioning. She was one among a thousand auditions for the role. Chhabra was looking for a face that was untouched by any baggage of previous films. “When I saw her audition, I went mad. The scene in 

, when she confronts Ranveer Singh about being an Indian agent was her audition scene,” Chhabra notes. 

It is the joy of discovery in his voice, and in having discovered, being celebrated. People are asking him what his next project is, looking forward to what fresh face he is going to push into the limelight. It is a question often asked to directors or writers. The ambit, though, has expanded.

Mukesh Chhabra on Casting 'Dhurandhar: The Revenge': ‘Every Actor Who Said No... Called Me Later’

Malayalam actor Mohanlal is the latest Indian celebrity to seek legal protection for his personality rights. 

, the veteran star has approached the Delhi High Court seeking protection of his personality and publicity rights. 

The matter is scheduled to be heard on Tuesday (March 25) by Justice Jyoti Singh.

Mohanlal joins a growing list of actors, cricketers and public figures who have sought legal safeguards against the unauthorised commercial use of their identity. In recent years, with the advent of AI-generated deepfakes, courts have increasingly granted injunctions restraining the misuse of a celebrity’s name, voice, image and likeness, particularly in advertisements, merchandise and digitally manipulated content. Actors such as Anil Kapoor, Abhishek Bachchan, Salman Khan and Jr NTR have previously secured such protections. More recently, the Delhi High Court extended similar relief to actor Sonakshi Sinha by issuing an interim order.

The rise of generative artificial intelligence and deepfake technology has accelerated concerns around identity misuse, prompting more public figures to seek judicial intervention. Legal experts note that personality rights—though not codified in a single statute in India—are being actively shaped through court rulings, especially in cases involving digital exploitation.

On the film front, Mohanlal will next be seen in 

, the next chapter in the highly successful thriller franchise. Initially scheduled to be released on April 2, the film directed by Jeethu Joseph will now be arrive in cinemas on May 21. The new date also marks the Malayalam superstar's birthday.

Mohanlal posted this update on X along with a new poster from the film. "The past never stays silent…it only waits. Georgekutty arrives, May 21st 2026. #Drishyam3 | Worldwide Release," he wrote.

with Mahesh Narayanan and Mammootty, and Priyadarshan's 100th film, which was recently announced.

Mohanlal Approaches Delhi High Court Seeking Protection For Personality Rights

 has had a terrific run at the box office. The film has now crossed ₹75 crores at the global box office since its release in late February. The film's total India gross collections amount to ₹65.83 Cr, according to 

At a recent success meet of the film, Radikaa spoke about how the producers gave her a share of the profits, apart from her salary. "It's not about the money, but it's about the feeling of 'yes, we can do this."

"I asked Sudhan, 'Why are all the producers fixing more salaries for men and not for the female actors?'. But, I need to say this today—hats off to producers Sivakarthikeyan and Sudhan. For the first time in the Tamil industry, a heroine has been given a share in profits," she said at the event. She also added that this was an encouragement to all female actors. "It is a good example for the industry and a good encouragement for the women. It's not enough to just speak about women's empowerment, but they showed this in their actions."

The Tamil film is produced by Sivakarthikeyan and directed by Sivakumar Murugesan. He has also written the film. Illavarasu and Aruldoss play her relatives in the film. Nivas K Prassana has scored the film’s music. The film revolves around 

a fiercely independent, intimidating elderly woman in a rural village, known for being tough, ruthless, and blunt, especially as a moneylender whose strict enforcement of dues makes her feared by locals.

Sivakarthikeyan was last seen in Sudha Kongara's 

. He will next be seen in Sivakumar Murugesan's (it reunites him with Sivakarthikeyan following 

. In Seyon's meta teaser, Sivakarthikeyan paid homage to 

, Kamal Haasan's cult action drama from 2004. The teaser, which was released to mark Sivakarthikeyan's birthday on February 17, features the actor as Lord Viruman, a performer of God. Sivakarthikeyan released the teaser on his birthday with a caption thanking his fans.

'Thaai Kizhavi': The Radikaa Sarathkumar Film Grosses ₹75 Crores 

 will be arriving to the theatres a little later than planned. The film, which was scheduled to be released on April 2, will now be released on May 21. The new date also marks the Malayalam superstar's birthday.

Mohanlal posted this update on X along with a new poster from the film. "

The past never stays silent…it only waits. Georgekutty arrives, May 21st 2026. 

According to reports, the push is cited to be due to the ongoing crisis in West Asia. 

wrapped filming a while ago. Speaking at an event in Kochi, Joseph revealed that the film is gearing up for a grand worldwide release. "

is a movie that has influenced lots of people. I still bear the impact of it," the filmmaker said.

has closed its pre-release distribution sales at a whopping cost of ₹350 crore

which is ₹50 crore more than the total collection of 

, currently the highest-grossing Malayalam film of all time.

released in 2013 and emerged as the highest-grossing Malayalam film of all time. It was then remade in several languages across the world, including a hit version in Chinese as well as Hindi, which starred Ajay Devgn and Tabu.

While the Malayalam version is locked for an April 2026 theatrical outing, the Hindi version will release in cinemas on October 2. The Hindi version also stars Shriya Saran, Ishita Dutta, Mrunal Jadhav, Kamlesh Sawant, and Rajat Kapoor. Initially, actor Akshaye Khanna was also on board the film, before he exited the project.

 with Mahesh Narayanan and Mammootty, and Priyadarshan's 100th film, which was recently announced.

'Drishyam 3': The Release Of The Mohanlal Film Pushed To May

The biggest Indian film needed the biggest stage for its epic storytelling, and filmmaker 

didn’t look West for his upcoming spectacle 

In February, Rajamouli launched the A&M Motion Capture facility at Akkineni Nagarjuna’s Annapurna Studios in Hyderabad, where he shot key sequences for the upcoming film starring Mahesh Babu and Priyanka Chopra Jonas.

The studio has unveiled what it claims is the country’s most advanced motion-capture facility, built in partnership with producer Shobu Yarlagadda’s Mihira Visual Labs and powered by Hollywood motion-capture specialist Animatrik Film Design.

spoke to CV Rao, CTO of Annapurna Studios, and Yarlagadda, who backed the game-changing 

 franchise, to understand how the cutting-edge tech helped Rajamouli realise his vision for 

 and why the lab could help Indian filmmakers fill a crucial gap.

For the layperson, when we say motion capture, what part of the filmmaking process changes the most?

 When it comes to live-action filmmaking, there are two areas. One, which is very useful, is pre-visualisation. You can use motion capture to pre-visualise an action sequence with multiple characters so that you know what you’re going to shoot.

And the advantage, when you’re pre-visualising with this as opposed to regular pre-visualisation, is that you can also change your blocking, lensing and camera movements, because it’s a 360-degree capture. The director can later change his mind and alter it without coming back to shoot again. So there is a lot more flexibility in that.

 Yes. The other application of motion capture is when you have digital characters, like in 

. The character’s performance — both facial performance and full-body motion — is captured in motion and performance capture. So motion capture is when you wear the suit and you have the full body, and facial capture or performance capture is when you have a head-mounted camera, and there’s a small camera looking directly into your face; it records your facial performance.

So it is essentially a digital avatar of the face and the full body. The entire performance can be transferred onto a digital 3D avatar. In live action, wherever you are working with digital characters — digital humans, digital creatures, or any other form —the motion capture and performance capture allow you to record and transfer that data.

What was the core gap in the Indian entertainment ecosystem that pushed you to build a dedicated motion capture facility now?

 Annapurna has a great advantage because we produce films and also have actors in the family, who go and shoot with other producers as well and come back saying, “Man, we don’t have this in our facility. When can we bring it?” So we always keep discussing it.

We have seen clients who do pre-visualisation using regular cameras, keeping two or three cameras with the stunt choreographers and the team. They shoot for 10 to 15 days to get an idea of how to execute the sequence in a real location. If the director does not like the shot, they have to go back and take the shot again to get it into the edit. The feedback was that Indian directors were looking for a big mo-cap (motion capture) facility. The serious discussions first began in 2023.

Our studio is equipped with state-of-the-art Vicon Valkyrie (VK26) cameras, which deliver high-fidelity motion tracking for complex performance-capture workflows. We also have Vicon Live for real-time data streaming and Vicon Post for advanced post-processing and data refinement. For real-time visualisation and virtual-production pipelines, we integrated Unreal Engine live preview, enabling immediate feedback and seamless interaction between performers and digital environments.

 Rajamouli and I were doing some test projects and realised we did not have a facility that could answer our needs. We had to travel out of the country if we wanted a really good facility and wanted to do some good work... that is when we first started thinking about it.

Then we realised that as the scale of our films is increasing, there is more and more action, and there is more use of digital characters in our films. Which meant there is a growing need for this kind of thing, and a good facility will always be required — not just for our internal productions, but for other productions also — as the scale and ambition of filmmakers increase.

So this enables filmmakers to scale big while saving time?

 Yes, because with this pre-visualisation, they understand what the requirements are before they go to shoot. They can finalise the production design as well as all the manpower. The cameraman can finalise all the equipment and doesn’t need to bring everything out to the location and dump it there in the corner, and maybe not even 50 per cent of it is used by the end of the day.

We have seen big films that did pre-visualisation using regular cameras for 25 days, and the actual shoot went on for 65 days for a 12-minute action sequence! Imagine the amount of money the producer has spent? What if you had done proper pre-visualisation and then gone for shooting? They would have done it in less than 60 per cent of the time.

What were the biggest technical or infrastructural challenges in bringing this here in India at the scale you wanted?

 Budget. We wanted to get the best 26-megapixel camera. So the budget went from, let’s say, ₹100 to ₹400. But we had to do it, and quality was the reason that we got Rajamouli’s project to debut this with.

“If you confirm to me that you are going to get this infrastructure to your facility, I’m going to shoot,” is what he had told us.

Because he had visited many places abroad. Wherever he went, he saw motion-capture stages with 20-foot height, which he was not happy with. He was really looking for a facility that could build a customised one for him of 36 feet. No one had built that kind of stage.

He said, “I have sequences where my artist will be sitting at 30 feet. Then his own height will be 6 feet. That means 36 feet of height has to be there to capture the data. Can you do it?” And we did it.

 The sequence in the film will be almost 25 minutes long. I can’t tell you much, but it’s a thrilling scene. Since we have released the BTS of 

, you know now that it is being captured on a motion-capture stage. Otherwise, you wouldn’t have been able to figure that out!

 team’s timelines. So we had to get these cameras imported and installed, then the Animatrik team had to come in to train our local team, and then testing had to happen. There was already a lot of crew commitment and scheduling from the 

 team. So we had to do it within that timeframe.

Various actors, choreographers and stuntmen had to come in from all over the world, so there was no chance of postponing our launch. Those dates were already blocked based on the promise we had given. But ultimately, everything came through in the end. The biggest thing was that Rajamouli was happy with it.

What was the first moment during testing when you and the team felt it's all on track?

 During testing, we can see the test data and then we know that it is flowing in seamlessly and we are seeing it on the monitors. But that is still okay, because that is with one or two characters. I think when Rajamouli actually pulled off his first shot the way he wanted it, and he was happy with that shot, that was when we really felt it. That was a sigh of relief for us.

 When we completed all the tests and gave a one-hour demo to Rajamouli, we told him, “Sir, we need another week to test.” He said, “No, everything is ready. Let’s shoot from tomorrow.” So the next day we started shooting, and he was extremely cooperative.

 is a global film and comes armed with massive expectations. So what was the first proper day of the shoot like?

 I had written every step for him — roll, roll Unreal, roll Vicon, rolling, action — as he was shooting on a motion-capture stage for the first time. And he took that big printout and was reading from it! I was literally nervous. Everything had to go right. Then the moment he said, “Action, cut, done,” we all clapped. But I was under a lot of pressure on that day!

Exclusive | How SS Rajamouli Shot a Thrilling ‘Varanasi’ Sequence Using Cutting-Edge Motion-Capture Tech 

Adivi Sesh, star of the upcoming action-drama 

which he has also co-written, describes the project as a “love story of a millennial dacoit", one that attempts to blend "analog aesthetics with modern sensibilities.” Sesh notes that the visual approach of the film reflects an “American look” but the core of it maintains an “Indian soul.” The result is a technical paradox and a language that is classical and traditional in its exploration of love. 

"The chocolate inside is the love story, and the hard shell outside is the action," he said. 

The writing process of the film was heavily character-focused. Sesh identified that the protagonist, Saraswathi, played by Mrunal Thakur, acts as the soul of the film while his own character brings in the rage. He wanted the characters and emotions to be central to the story. For him, the primary focus during scripting was the intention behind the story. To maintain objectivity while writing a character for himself, he uses a specific mental filter. He shared that he initially only focuses on the atmosphere of the story, “I barely even see the characters at that point,” he remarked, sharing that it allows him to detach from any personal bias and focus on the environment and the emotional demands of the script.

Sesh also acknowledged that his tendency to take on multiple roles in a production—often at the cost of his personal life—influences his creative output. "Staying busy in the craft helps. Eventually, though, I hope that I get secure enough in my head where I am able to find a balance." His “unbridled optimism” helps his idea that an art like filmmaking is a series of interconnected tasks and he is constantly thinking of new ideas to work on. He also noted that he looks up to Thakur’s ability to “enjoy the arts” outside of her projects. 

Directed by Shaneil Deo and produced by Supriya Yarlagadda, 

is an action-drama starring Adivi Sesh and Mrunal Thakur as the leads. The film is set to release in theatres on April 10, 2026. 

Watch our full interview with Adivi Sesh and Mrunal Thakur, dropping later today on The Hollywood Reporter India's 

'Dacoit' Actor-Writer Adivi Sesh On Wearing Multiple Hats: 'Comes At The Cost of Having A Personal Life' 

The Telugu action-comedy starring Pawan Kalyan, 

, has completed its opening weekend without touching the ₹90 crore mark in its global box office collections. According to 

, the film recorded an India net collection of ₹8 crores—a few crores more than Aditya Dhar’s spy-thriller sequel 

, which was released in a Telugu dub on the same day—on Sunday, 22 March.

The film’s current worldwide gross stands at ₹ 80 crore. According to 

, the film has raked in ₹60.8 crore in India net. Though 

opened with ₹34.75 crores on Day 1, and performed better on its first Friday with ₹9 crore, there was a significant decline on the weekend with 

The film, directed by Harish Shankar, also co-starred Raashii Khanna and Sreeleela. 

 (Pawan Kalyan), named after the Indian revolutionary, doesn’t get too much of a backstory. Orphaned since he can remember, he sustains through his found family – his headmaster (KS Ravikumar) and lunch lady (Gautami). His personality is led by a fierce sense of morality and a penchant for taking the law into his own hands. It only makes sense that he goes on to become a cop. But this is as early as where things get disjointed. 

 is largely shaped by the two halves of Ustaad’s life. A life that leads him to fall in love, and a life that locks his horns with that of the acting Chief Minister (Parthiban). The tissues that connect these two blocks are almost non-existent, making the film a jumble of harried elements such as ‘dance’, ‘fight’, ‘tears’, and ‘dance’ again, rather than a palatable, so-called full-meal entertainer the film is aiming for."

'Ustaad Bhagat Singh' Box Office: The Pawan Kalyan Film Crosses ₹60 Crore; Sees A Dip 

This week’s slate ranges from smaller regional entertainers to a large-scale Hollywood science-fiction spectacle. Telugu cinema offers a youthful musical romance with 

, Tamil audiences get a family-leaning romantic comedy in 

, while Hollywood brings the ambitious space survival drama 

. On streaming, a Tamil rural thriller series led by Vijay Sethupathi expands the week’s offerings for viewers staying in. 

Here’s what to watch in theatres and on OTT this week.

 is positioned as a musical romance set against the colourful world of traditional wedding bands. The film follows a group of young musicians navigating friendship, ambition and love while trying to establish themselves in a competitive environment. Harsh Roshan and Sridevi Apalla lead the cast, with Sai Kumar appearing in a key supporting role. The soundtrack, composed by Vijai Bulganin, leans heavily into festive rhythms that mirror the film’s celebratory backdrop.

GV Prakash Kumar headlines this Tamil romantic comedy directed by Maria Raja Elanchezian. Blending humour with emotional family dynamics, the film centres on a young man whose carefree outlook on life is challenged by responsibilities and relationships that demand maturity. The project has also drawn attention for marking the return of actor Abbas to the screen. Positioned as a light-hearted entertainer, 

 mixes romance, situational comedy and family sentiment.

Ryan Gosling leads this big-budget science-fiction adventure directed by Phil Lord and Christopher Miller and adapted from Andy Weir’s bestselling novel. Gosling plays Ryland Grace, a science teacher who awakens alone aboard a spacecraft with no memory of how he arrived there, only to discover he is humanity’s last hope in a mission to stop a cosmic threat that could wipe out life on Earth. The film blends humour, scientific problem-solving and survival drama on an interstellar scale.

Created by filmmaker M. Manikandan, this Tamil thriller series stars Vijay Sethupathi in the enigmatic role of Muthu, a man whose past is pieced together through the fragmented recollections of villagers who claim to know him. As multiple versions of his story emerge, the narrative slowly reveals a darker truth behind the events that shaped him. Set in a rural landscape, 

 combines mystery and character-driven storytelling with a layered approach to memory and perspective.

What to Watch This Week: ‘Band Melam’, ‘Happy Raj’ and ‘Project Hail Mary’

starring Mrunal Thakur and Adivi Sesh with Anurag Kashyap was shot in Hindi and Telugu simultaneously over 149 days. Two respective bound scripts were used in order to capture the specific linguistic rhythms.  

Thakur hails from Maharashtra and got her Bollywood debut with the 2018 film 

, has since done three Telugu films, including the blockbuster 

 (2022), and gained a lot of momentum outside of mainstream Hindi cinema. When asked if there's a reason behind Hindi directors not casting her in diverse roles, she noted that she has been climbing the ladder one step at a time. "Maybe I was not ready then. I am absolutely ready now," she said. She further shared that she has started getting roles that are written for her. “A director saying I have written this script thinking of you in my mind is my biggest award,” she remarked. 

, became a blockbuster and I found recognition in the South. That's how I got accepted universally," she added.

in both Hindi and Telugu was a unique experience for her. For the actress, who is not fluent in Telugu, the Hindi takes functioned as a rehearsal. In an exclusive conversation with 

, she shared, “I would want to rehearse the scene in Hindi first but the best thing is we were shooting those scenes, so there were points where we would improvise and because of that the Telugu scene would even become better.”

 The environment of the set became what Sesh calls “an unsaid competition between languages” with him being most comfortable in Telugu, Thakur and Kashyap being new to the language and the director Shaneil Deo, who is Indo-Fijian, and speaks a mix of all these languages. He shared that they would constantly do re-takes if a scene in Telugu came out better in Hindi or vice versa.

Their technical approach emphasised the sensibilities of each language. Sesh's character in the Telugu version hails from Madanapalle which brought a contrast to the story compared to the Hindi version. The method ensured that the story was adapting to the expectations of two different audiences rather than a static translation. 

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