The Delhi High Court has ordered the removal of a controversial song allegedly associated with rappers Yo Yo Honey Singh and Badshah, describing its lyrics as “vulgar” and “patently obscene”.

In an order issued on Thursday, Justice Purushaindra Kumar Kaurav said the content went beyond mere offensiveness, calling it “ex facie misogynistic, dehumanising and calculated to normalise the treatment of women as objects of ridicule and sexual gratification”. The court directed that all audio and video versions of the track be taken down from online platforms, noting that even its title “cannot be written in this order”.

“There comes a time, however rare it may be, when the conscience of a court is shocked to its absolute core,” the judge observed, adding that the present case met that threshold. Notices were issued to both artists in connection with the matter.

Delhi High Court Orders Takedown of ‘Obscene’ Song Linked to Honey Singh, Badshah

Amazon on Thursday issued a notice asserting that it holds the exclusive digital rights to the upcoming Malayalam film 

 starring Mohanlal and produced by Aashirvad Cinemas. The company has cautioned third parties against entering into any agreements related to the film’s digital distribution across formats. 

In its statement, Amazon said: “Notice is hereby given that Amazon Seller Services Private Limited (Amazon), pursuant to the valid exercise of its rights under subsisting agreements between Aashirvad Cinemas and Amazon, is the sole and exclusive holder of all digital rights (including but not limited to SVOD, TVOD, AVOD, FVOD and EST) in the film ‘Drishyam 3’ (Malayalam) (The Film).”

The company emphasized that its rights exclude all other parties from negotiating or monetising the film digitally. 

“The public is hereby cautioned that Amazon holds these rights to the exclusion of all others, and Aashirvad Cinemas (including its assignees, licensees and any other person purportedly authorized by Aashirvad Cinemas) has no authority to sell, license, or in any manner create any third-party interest, lien, or charge over the digital rights for the Film,” the statement added.

Amazon also warned of legal consequences for violations. “Any person, entity, or digital platform dealing with the Film or its digital rights in contravention of Amazon’s exclusivity shall do so at their own risk, cost, and consequences.”

It concluded by stating: “Amazon reserves the right to initiate appropriate legal proceedings, including seeking injunctive relief and damages, against any party found to be infringing upon its exclusive rights or interfering with its contractual relationship regarding the Film.”

 is the third and final installment in the popular Malayalam thriller franchise, which started in 2013. Starring Mohanlal as Georgekutty, the third part is scheduled to release on May 21, 2026. The film directed by Jeethu Joseph and And also features actors Meena, Ansiba Hassan and Esther Anil.

'Drishyam 3': Amazon Asserts Exclusive Digital Rights, Warns Legal Action Against Violation 

star has begun filming his second feature film, directed by Ali Abbas Zafar, best known for helming blockbusters like Salman Khan-led 

Billed as a big-scale action romance, the movie is produced by Yash Raj Films, which had also backed Panday's debut last year, helmed by Mohit Suri and co-starring Aneet Padda.

The new film, currently untitled, has begun its first schedule in Mumbai, after which the team will head to the UK to shoot for about 60 days. "And It Begins 🎥🔥 @yrf  #AhaanPanday," Zafar tweeted and shared a picture of the clapboard and an intense Panday, with his eyes in focus.

The film also stars Sharvari and features Aaishvary Thackeray in a negative role. The actor had earned rave reviews for his debut performance in Anurag Kashyap’s 

Previously, Zafar had praised Panday, stating that the audiences connected with him in 

because he was not trying to "impress them" and added that Panday's romantic hero avatar would be mixed with the intensity of action.

"There’s a softness to him, but also strength. That balance is what makes people root for him, especially in love stories. I genuinely believe he has the potential to become one of those rare romantic heroes who make you feel something long after the film ends," he had said.

This will be Zafar's fifth collaboration with YRF, a banner the director regards as his alma mater. He previously helmed 

Jogi, Bloody Daddy, Bade Miyan Chote Miyan

Sharvari will be next seen in two big films this year: Imtiaz Ali's 

Main Vaapas Aaunga and the YRF spy universe film Alpha, 

Ahaan Panday Begins Filming Ali Abbas Zafar's Next

, Prasad Corp, the Chennai-based post-production company, has recently completed 8K restorations of a line of Indian titles, including a catalogue from Vidhu Vinod Chopra Productions such as 

(2000), along with Mahesh Babu's hit Telugu film 

(2005).  The firm has also completed restoration work on Hollywood titles such as 

In an interview with the publication, Abhishek 

 the 8K process involved "frame-by-frame repair, careful preservation of the film’s natural grain structure." Prasad also added that preserving these films ensured they remained visually relevant for decades, "whether they are screened in theatres, streamed globally, or archived for future formats that may emerge.” Restoration of such films also enables one to connect classic films to the global digital distribution ecosystem of today, he noted. 

Kunal Kapoor, nephew of Raj Kapoor, spoke about why restoration is a deeply creative process. Kapoor oversaw the 4K restoration of Raj Kapoor’s iconic film 

(1961), spearheaded by the National Film Development Corporation (NFDC) and the National Film Archive of India (NFAI). This restoration was part of the National Film Heritage Mission (NFHM) launched in 2015 — a ₹ 597 crore project funded by the Ministry of Information and Broadcasting, to digitise and preserve film archives. "It is a creative process, but the creative input is very difficult to describe. It is what you think is right, and that has a lot to do with your exposure, your experience, your background.” Besides, preservation is not in our psyche, he added. "We are very good at rewriting history. But our preservation — whether our monuments or our history — is so poor.” 

Mahesh Babu's 'Athadu' and Aamir Khan's '3 Idiots' Among Titles To Be Restored By Prasad Corp

The Indian accent is a complicated thing, a battlefield of global culture. 

For one, it is distinctive to the Western ear. “Indian accents and dialects are sharp,” Hetal Varia, the voice and dialect coach on 

, “For example, diphthongs—the switching and gliding of vowels—play differently in Indian accents and dialects. We don’t say “Home” or “Goat” with sliding vowels. It is a more open, sharp, a dart-like movement.” 

Besides, we often don’t distinguish between our Ws and our Vs, “and we end up saying ‘water’ ‘why’ ‘whatever’ with a V, which an international audience won’t understand.” And then, there is the “prosody—the rhythm and speed of our speech, which is sing-song-like.”

Tamil, for example, is widely regarded as one of the fastest-spoken languages in the world, with a high syllable-per-second rate, given its short vowels and sonorant consonants. It is not uncommon for Indians to be told—can you speak slower?  

It, then, becomes easy to disarm what is distinctive into a punchline. There are American shows, like 

, which often push a character into a comedic corner. 

Apu Nahasapeemapetil, for example, was described by Comedian Hari Kondabolu as “a white guy doing an impression of a white guy making fun of my father.” Indeed, the accent was voiced by Hank Azaria, a Sephardic Jew who grew up in Queens. Apu was named as an homage to Satyajit Ray’s Apu trilogy—an homage that soured quickly in the American imagination into parody. 

When asked about doing accents, Kondabolu responded, “If I’m doing it, I’m basically doing Hank Azaria’s impression, which is just his impression of Peter Sellers’ impression.” Sellers, who played Hrundi V. Bakshi in 

 (1968), with his catchphrase “Birdie Num Num”, was for the longest time, the entry port for Americans into Indian culture. It was clumsy and comical.  

, with a wealth of experience about the long shadow of such stereotypes in the popular imagination, merely make the accent ridiculous, particularly those of the grandmother and cousin, characters who haven’t spent time in America and are trying to make themselves legible.  

It is refreshing, then, to see actress Sheeba Chaddha playing Tahira in 

, Riz Ahmed’s new show. She is the mother figure, a Pakistani immigrant who cusses in emphatic syllables, without letting it collapse into cliche.

Chaddha is uninterested in the larger politics around accents, simply because it comes intuitively to her as an actor.  “It was not even a thing of regard for me. If you notice, everybody’s accent is different on the show—there was no pressure to create or modify or have a homogenous accent,” Chaddha tells 

 “I told Riz I don’t like working with dialects and accents.”

The question then is, perhaps, about where the accent comes 

. “We have heard the cuss words, we use them, so we know the texture and feel of these words, and how it is said depending on the context,” Chaddha notes. This native affinity produces an exaggeration—and the accent 

an exaggeration—that never arrives at parody even as it flirts with it. It is a fragile manoeuvre.

While Chaddha sees “the value of accents and dialects in enhancing a performance, if I am performing and working with an accent, then half my mind is on that. It pulls me back as a performer.”

There are cultural nuances, though, that are honoured in the performance. Chaddha remembers one scene, where three words were clubbed together as one—"BastardYouChill." 

“This is apparently a thing people in London do. It was there in the script too as one word,” Chaddha notes. 

There is another angle to the case of the Indian accent. Where once it was prized for being distinctive, now, there is a move to make it palatable, especially in shows like 

, produced by Apple TV. The audience is emphatically “global”, and so the accent, even as it is rooted in regional peculiarities and particularities, is reaching towards that universal.  

Varia worked on the “muscularity—breath, body, voice” of the primary cast of 

, all Indian-origin actors. “Indians emote externally, with both our face and body, while Hollywood, for example, is more internal. An international English speaker, then, would stress grammatically not emotionally,” though Varia clarifies, “this is not a thumb rule.” Varia was told that 

  “is not for an Indian audience. Yes, Indians will watch it, but it is equally for an international audience.”

 was critiqued in India, some comparing it to Peter Salles, though that comparison might be exaggerated—for that was done with the express intent of 

, while this is a forceful attempt at assimilation, the accent arrived by stripping things, not sedimenting it with comedic weight. The pace of speech, for example, was moderated, and “when the speed of speech reduces, the weight increases,” Varia notes. 

 was a more complicated project. A pandemic baby, the show’s cast list—which originally had a lot of Indian-origin actors—was changed, pooling together a primary cast from overseas due to pandemic-enforced restrictions. Varia had to “soften the Australian, Kiwi, British, and Filipino accents.” This involved a re-structuring of the way the face is used, “The shape of the mouth is the toughest to change, because you are asking them to change the way they use their mouth and tongue to speak.”

were written by white men, made for a predominantly Western audience, and it is only within 

 framework that any Indian demands for “authenticity” could be staged. 

There is a possibility that such questions become increasingly redundant as the internet is making a monoculture, with dialects melting, sounds becoming familiarised. Perhaps, the accent, too, is loosening its sharp other-ness. The exaggerated accent, then, will soon, within a generation or two, become a relic of not just another constructed culture, but another bygone time.

From 'Bait' to 'A Suitable Boy': The Curious Case of the Indian Accent

Producer Ektaa Kapoor made the announcement, stating that by moving the Akshay Kumar-led film, the team is ensuring that both films get the "theatrical space, marketing focus, and audience attention they truly deserve". The film will now open in cinemas on April 17, with paid previews kicking off a day earlier, starting at 9 PM.

Kapoor said the decision was made after "extensive discussion" and "multiple requests" from their distribution partners and exhibitors across key markets. The producer said she is confident that this decision will "benefit audiences".

 is currently enjoying an exceptional run at the box office, which is great news for producers at large. Our exhibitors felt that giving it a clear, uninterrupted window would be in the best interest of the industry ecosystem," Kapoor said.

 ahead by a week, we are ensuring that both films get the theatrical space, marketing focus, and audience attention they truly deserve! We believe this approach benefits everyone — the filmmakers, the exhibitors, and most importantly, the audiences who get to experience each film without compromise. We will always prioritise the comfort of theatre-going audiences, and strive to entertain them in the best way possible with our films," she added.

marks the much-awaited reunion of Kumar and Priyadarshan after hit comedies like 

Hera Pheri, Bhagam Bhag, Garam Masala, Bhool Bhulaiyaa 

which marked their last collaboration in 2010. The duo will also work together in the thriller 

also stars Wamiqa Gabbi, Paresh Rawal, Tabu, Rajpal Yadav, Jisshu Sengupta, and Mithila Palkar. The film is  produced by Kumar, Shobha Kapoor, and Ektaa R Kapoor.

Akshay Kumar's 'Bhooth Bangla' Shifts Release Date Due to 'Dhurandhar 2' Storm At The Box-Office

Actor Ranbir Kapoor was absent from the teaser reveal of Nitesh Tiwari’s 

in Mumbai on Thursday morning, despite marking his presence in earlier promotional events for the film.

On Wednesday evening. Kapoor had attended a closed-door media interaction and screening in Mumbai, a night prior to the launch. Before that, the actor was present at a promotional event in Los Angeles, where he participated in a Q&A session alongside producer Namit Malhotra and director Nitesh Tiwari and presented the first visual assets from the film. 

The teaser asset launched on Thursday introduces Kapoor as Rama. We meet him as a beloved young prince in Ayodhya, skilled in archery and swordplay, a near-divine figure about to embark on an epic journey. The film also stars Sai Pallavi as Sita, Yash as Ravana, Sunny Deol as Hanuman, and Ravie Dubey as Lakshman.

Recalling his early years at the LA event, Kapoor said, “In 2000, I went to the School of Visual Arts (SVA) in New York. I remember I was speaking to an Italian classmate who asked me what I wanted to do with my future. Did I want to get an agent in America and work in America? I was so clear at the time. I said no, I would rather come with a film from my culture and my country. Today, I am sitting here and talking about Ramayana. It just feels so surreal.”

Kapoor said his initial reaction upon being offered the role of Lord Rama was of fear. “Namit offered me this part around four years back. My instinct reaction was no because I’m not fit enough, I’m not good enough, and I won’t be able to do full justice. I think that fear very quickly turned into gratitude because opportunities like this were very much needed in my life.”

He added that the project coincided with a significant personal phase in his life—fatherhood.

 “There was a time, a period in my life, when I needed to change my life, my lifestyle. I became a father for the first time. I think the sweet coincidence of playing Lord Ram and becoming a father was very much needed, a turning point in my life.”

Kapoor also spoke about his preparations for the role. “For every Indian, for me, the preparation started the day I saw Ramanand Sagar’s Ramayan. It is so etched in our subconscious and so deeply rooted in us that we are very proud of the story, we are very proud of Lord Rama’s journey. When I had the opportunity to actually essay him, to portray him, of course there is a lot of prep.

 is scheduled to release globally on Diwali, 2026. 

Ranbir Kapoor Calls ‘Ramayana’ 'A Turning Point In My Life', Misses Mumbai Event 

Music composer Ravi Basrur has reportedly replaced Ajaneesh Loknath for Antony Varghese Pepe's upcoming Malayalam film 

. The makers of the film announced Basrur's inclusion to the crew with a post on Instagram. "

KATTALAN X RAVI BASRUR X CUBES ENTERTAINMENTS," the caption read.

Ravi Basrur is best known for his work on Prashanth Neel's 

. Basrur made his Malayalam debut in 2024 with 

 the film's script is written by Joby Varghese, Paul George, and Jero Jacob. The film's dialogue 

 and will be released in Malayalam, Tamil, Telugu, Kannada, and Hindi, with reports suggesting a May 2026 theatrical release.

In an earlier interview, Antony Pepe had opened up about how he transformed himself for his previous release and how that changed his perception in the industry. The inspiration for him was Arya in 

. “But I realised through this process that both the audience and people within the industry 

 at you with so much respect once you go through a transformation 

. It’s not just about how I looked or performed in this movie, but they feel I will put in the effort to learn something totally new if a script challenges me. That, in a sense, will hopefully get writers to think of me, no matter what genre. Isn't that a way 

Said to be in production with a massive budget, it’s being directed by first-time director Paul George. Speaking about the film, he said, “It began with a modest budget. But at each stage, I was only encouraged to make the film bigger, in line with a huge vision. No expenses have been spared.” The director also said that this was the fourth script for Antony Varghese, having got his dates five years ago.

Ravi Basrur Replaces Ajaneesh Loknath As Composer For 'Kattalan'

, Sood shared that a seemingly innocuous chess board featured in the film carries historical significance. 

“Because India is a big chess-playing community, we have one really great, very subtle chess Easter egg in the movie that someone’s going to figure out at some point,” he said. “There’s one chess board in the movie—you have to look very carefully—and there’s a position in that chess board that actually has real historical significance.”

The reveal adds to the meticulous level of detail that went into the making of the film, directed by Phil Lord and Christopher Miller, and starring Ryan Gosling.

Sood also spoke about the filmmakers’ commitment to embedding personal and cultural touches throughout the film’s world-building, sometimes in ways even he didn’t anticipate. In one such instance, Lord and Miller paid tribute to his family by incorporating his parents’ names into the narrative.

“They surprised me by writing my parents’ names into characters in the movie,” Sood said. “The little girl who asks about the Petrova line is named Rekha—that’s my mom’s name. And a scientist character was named Narendra, after my dad.”

Even after edits forced the removal of the character’s spoken name, the directors found a workaround. “They didn’t tell me this, but they put a little badge on his jacket that says ‘Dr. N. Sood.’ It was one of the very last visual effects they added. I didn’t tell my parents and they were completely blown away when they saw it.”

Beyond these personal nods, Sood described a broader philosophy of hyper-detailed design that shaped the film’s aesthetic. The spaceship at the centre of 

 was conceived as a collaborative global effort, with each module attributed to a different country. It was reflected in materials, design language and visual cues.

This approach extended to India’s representation as well. The film’s medical bay, for instance, was imagined as being built by an Indian entity and named “Rekha Shanti,” combining his mother’s and grandmother’s names who were doctors. “We had little signs made up,” Sood said, noting that such details were carefully layered into the production design.

The cumulative effect, he suggested, is what encourages repeat viewings. “It’s those little things that people are noticing now,” he said. “It makes you want to go in for a second and a third watch.”

Exclusive | ‘Project Hail Mary’ Producer Aditya Sood Reveals India-Linked Easter Egg Hidden in Plain Sight 

Actor Rajkummar Rao has commenced filming for 

, a biopic of legendary Indian cricketer and former captain Sourav Ganguly. On social media, both Rao and director Vikramaditya Motwane shared the news of the shoot’s commencement. Motwane, known for directing acclaimed films like 

, posted a monochromatic picture of the Sourav Ganguly stand at Eden Gardens stadium in Kolkata.

is being shot in Kolkata, which will be followed by schedules in London and Mumbai. The film is produced by Luv Ranjan and Ankur Garg under the banner of Luv Films. The makers had earlier visited Sourav Ganguly’s home in Behala for a recee. 

Born and raised in a wealthy family in Kolkata, Sourav Ganguly made his One Day International debut for India in 1992, followed by his Test debut in 1996. Dubbed the 'Maharaja of Indian cricket', he rose to fame as a left-handed batsman known for iconic off-side shots, and an occasional right-arm bowler. Ganguly played 113 Test matches and 311 ODIs in his career. Between 2000 to 2005, he served as captain of the Indian national team, reaching the final of the ICC Cricket World Cup in 2003.

Sourav Ganguly retired from international cricket in 2008. He later served as President of the Board of Control for Cricket in India from 2019 to 2022. In Bengal, he continues to be celebrated as a popular television host, entrepreneur and cultural icon. 

Motwane and Rao are reuniting for a film ten years after 

, Rao is headlining another biopic based on the life of renowned public prosecutor Ujjwal Nikam.

Back in February, photos of Rao with a noticeably altered appearance circulated widely online, prompting speculation about the actor’s health. Rao later clarified that the change was deliberate and part of his preparation for 

. He added that he is reversing the process as he prepares for the biopic of Sourav Ganguly.

'Dada': Rajkummar Rao Begins Shooting For Sourav Ganguly Biopic

Actors Shahid Kapoor and Kriti Sanon’s reunion might be on the cards soon. The two could team up again for the sequel to their hit 2024 sci-fi romantic comedy 

. Joining them this time around would be Janhvi Kapoor, whose character was teased at the end of the first part. 

, producer Dinesh Vijan’s Maddock Films is developing the sequel, which will continue from where the original ended.  The publication quoted a source who stated that the film’s writing is currently underway, with the script expected to be ready by August. 

“The makers are planning to take the film on floors in the first quarter of 2027,” the source said, adding that the shooting timeline, if at all the movie is greenlit, would depend on the box-office performance of the studio’s 

, which also stars Kapoor and Sanon along with Rashmika Mandana. 

is billed as a spiritual sequel to the 2012 hit rom-com, which was penned by Imtiaz Ali and headlined by Saif Ali Khan, Deepika Padukone and Diana Penty. Filmmaker Homi Adajania, who directed the original, is also helming the sequel. 

which has begun its promotions with a song teaser, is gearing up for a release on June 19, a week after Imtiaz Ali's return to cinemas, 

headlined by Diljeet Dosanjh, Sharvari, Naseeruddin Shah, and Vedang Raina. The film is billed as a partition-set love story.

Sanon was last seen in Aanand L Rai’s romantic drama 

in 2025. Also featuring Dhanush, the film was a box-office hit. Kapoor, meanwhile, began the year with Vishal Bhardwaj’s 

, which opened to poor reviews and was a flop. The actor is currently filming 

, the Prime Video original series helmed by Raj and DK.

Shahid Kapoor, Kriti Sanon and Janhvi Kapoor To Team Up For ‘Teri Baaton Mein Aisa Uljha Jiya 2’: Reports

Mahesh Narayanan's upcoming Malayalam film 

 will now be released on May 1. The film, which is led by an ensemble cast including Mammootty, Mohanlal, Kunchacko Boban, Fahadh Faasil, Darshana Rajendran, and Nayanthara, was initially scheduled to be released in April.

Citing “unforeseen circumstances,” the producers said the decision was made to ensure the film meets the highest quality standards before release. They assured audiences that efforts are underway to complete final preparations. 

The postponement follows ongoing discussions between the producers and theatre associations over revenue-sharing terms, which had cast uncertainty over the original release plan. Anto Joseph Film Company also expressed gratitude for the continued support from audiences and sought patience as the team finalises arrangements for the film’s release.

 In Cinemas Worldwide from May 01 , 2026," Mammootty wrote on X, announcing the change in release. Consequently, it was also announced that the film's trailer will be launched on April 4. The film will be launched in Ragam Theatre in Thrissur by Mammootty, and in Kavitha Theatre in Ernakulam by Mohanlal.

, Mahesh Narayanan had revealed details about the film, saying, "

It is not based on any real-life incident, but I cannot reveal more about the film’s themes at this point in. However, it is great to have Fahadh and Chackochan amongst the cast; they are my friends who always want me to do better and push me constantly. Having said that, it's not like I am utilising them for just cameos, they have solid characters with lots of material to perform. The same goes for Lal sir (Mohanlal); he is going to appear in a proper full-fledged role. Now my challenge is to present all these actors on-screen together in the best possible manner."

s backed by Anto Joseph Productions and has music by composer 

'Patriot': Mammootty-Mohanlal Film Pushed To May 1

Producer Namit Malhotra on Thursday (April 2) showcased the first teaser of 

, directed by Nitesh Tiwari, offering an extended glimpse at Ranbir Kapoor in the role of Rama. 

The teaser introduces Rama as the central figure in the cosmic tale of god vs evil. We meet him as a beloved young prince in Ayodhya, skilled in archery and swordplay, a near-divine figure about to embark on a journey to fulfil a larger destiny. The teaser combines key moments from Rama's story while presenting the scale and grandeur of an ancient world, featuring lush forests and looming monsters. A hero in exile, Rama must prepare to face his ultimate nemesis—the demon god Ravana—who marks his eerie presence in the final moments of the teaser. 

An adaptation of the sacred Indian epic, 

is planned as a grand two-part franchise. Reportedly mounted on a ₹4000 budget (across both parts) and featuring an international cast and crew, It is the most expensive Indian film ever made. 

The makers described the unveiling as a “significant moment for audiences worldwide,” presenting a new interpretation of a timeless story.

Speaking of his adaptation, director Nitesh Tiwari highlighted the “emotional richness" at the heart of the Ramayana. “…it is not just about good and evil, but about choices, consequences, and the weight of doing what is right. Rama’s journey is deeply human and that is what we have tried to stay true to.”

For Ranbir Kapoor, embodying Rama was a transformative learning experience. “I don’t think I’m here to represent Rama. I’m here to learn from him. There is a simplicity and purity to him that is very rare; and trying to understand and imbibe that has been a deeply humbling experience.”

Producer Namit Malhotra spoke about the character’s moral core, adding, “The power of Rama’s story is not in what he conquers, but in what he lets go of. He represents a standard that is not easy, not convenient; but necessary. He chooses duty over desire, truth over comfort, and sacrifice over self.”

 is produced by Prime Focus Studios in association with DNEG and Monster Mind Creations. The film also stars Yash as Ravana, Sai Pallavi as Sita, Sunny Deol as Hanuman, and Ravie Dubey as Lakshman. The film’s music is composed by Oscar-winners Hans Zimmer and A. R. Rahman.

is set for a global theatrical release on Diwali 2026. The second part will release a year later, on Diwali 2027.

‘Ramayana’ Teaser: Ranbir Kapoor Readies For Battle as Rama In Extended Glimpse 

Fans of sci-fi, author Andy Weir’s enchanting grasp on space science, Ryan Gosling, and just deeply old-school American feel-good cinema from the Indian subcontinent doggedly assembled to watch 

 the way the filmmakers intended them to: on absorbing IMAX screens. 

It doesn’t really matter if IMAX screens were limited — India currently has 34 IMAX theatres, yet the film, led by Phil Lord and Christopher Miller, had just 13 shows scheduled across them on its first day, despite being tailored for an IMAX viewing experience. A chunk of it went to Aditya Dhar’s 

, during its time of release on March 26. 

Following a wave of online decrying, on Friday, the number of IMAX shows soon increased sharply, with more than 60 screenings listed across theatres. Tickets for early morning shows began filling up as quickly as they got listed. Moreover, 

India emerged as a key market for the title, with the film collecting a strong ₹17.28 crore extended opening weekend.

Film exhibitor and distributor Akkshay Rathie believes the interest around the film could be reverse-engineered back to its robust use of practical effects. The film is famously known not to have a single green screen shot. “This enhances the amazement around the film. It makes for a very IMAX-worthy experience, and that's why if you look at the kind of occupancy over the weekend, it's pretty much set to have a great, long run,” says Rathie. 

Aamer Bijli, Lead Specialist - Innovation, Film Marketing, and Digital Programming at PVR, says the response has been strong across India. "The demand has been very encouraging, particularly for late-night shows, many of which are running to packed houses. IMAX screenings of 

 are achieving over 40% occupancy, which is a very good result for the film designed as a large-format cinematic experience. Indian audiences are increasingly seeking exactly that: premium immersive storytelling that IMAX delivers." This surge in demand also reflects a broader trend, he notes. "High-concept, visually driven global films are finding a strong and growing audience in India, especially in IMAX. We continue to dynamically optimise the shows based on audience demand to ensure more viewers can access this premium experience."

Rakesh Gowthaman, proprietor of the popular Vettri Theatres in Chennai, notes a unique nature of the film’s success in India. “Surprisingly, after a long time, an original English film is doing well, rather than its dubbed regional versions.” 

For a film that’s a non-franchise title, unlike your 

, the success remains desirable. “I have only one screen right now because my other screen is under renovation. So I could fit in only an 8.30 am show for the weekend through Friday to Tuesday. For such an early show, the numbers were very good. Sony was also happy about the number of viewers.”

When a movie is made for IMAX, you need to watch it in such a theatre, and that's the expectation set among the public, Gowthaman says. “You might not have the same aspect ratio that IMAX does. When it's shot in IMAX, you have so much footage that gets cut when it gets converted to a scope screen. Obviously, when a film like 

 is shot for 3D, you don't want to watch a 2D version, do you?”

When his shows began running to houseful numbers last Friday, Gowthaman assumed the film hadn’t gotten enough IMAX shows. “There was an issue last week when the film’s IMAX release seemed uncertain, with Dhurandhar's release in IMAX. With the numbers that I saw in my theatre, I was under the assumption that the film didn't release in the IMAX format at all, but I had a chat with the production banner, who said that the IMAX screens were running full.”

Aditya Sood, one of the producers of the sci-fi spectacle, recalls being moved by the demand. “First of all, it is astonishing and so gratifying to hear about the passion that audiences here had, before they even saw the movie, that they wanted to see it in IMAX, and to really demand it.”

Sood also acknowledges navigating limited IMAX screens in the country. Most of the country’s IMAX theatres were initially occupied by 

. “You only have a certain amount of control over how the distribution works. We have great partners at Sony here in India — they know the market, and they have relationships, so they work really hard to get the screens they were able to get. So I think all we can do is make a movie that feels worthy of being seen that way,” he says.

Rathie still believes it’s possible for two high-profile releases to happily coexist. “The demographics that these films cater to are as different as they can be, but the beauty of cinema is that there's something out there for everyone,” he says. “

 opened really well last year.  It was briefly taken over by 

 made a comeback on IMAX and actually ran for many weeks to come. Let's hope 

Sood hopes this demand translates into more IMAX screens and greater access for viewers. “Obviously, as people become more discerning customers and understand formats, and really demand excellent presentations, I think that’s great, because it will create more demand for theatre owners to build more IMAX screens.”

Gowthaman, however, notes that the IMAX model might not be commercially viable in the end-pricing structure in Tamil Nadu. “As an individual non-multiplex chain holding an IMAX, it isn't profitable. The last time I was enquiring about IMAX, I learnt that for the tech part alone, you needed to invest `₹15 crore. I would rather build three screens with regular projects for the money. Going forward, I expect to see a lot of flat screens coming up rather than a scope.”

The ‘Project Hail Mary’ Effect: Why Sci-Fi Spectacle's Success Augurs Well For Future of IMAX Screens in India

Filmmaker Aditya Dhar's historic blockbuster 

might remain the highest-grossing film of the year, unless another big pan-India film lands the way makers are hoping it will: 

has already emerged as the biggest Hindi film of all time and is chasing the mighty global record of Aamir Khan's 

₹2000 crore thanks to a gigantic run in China, where it alone grossed over ₹1,300 crore. 

has managed to gross over 1,400 crore globally so far, without a release in China or the Gulf.

But the records could be reshuffled this Diwali, as Nitesh Tiwari, who also helmed 

starring Ranbir Kapoor, Yash, Sunny Deol and Sai Pallavi.

exhibitors Vishek Chauhan (CEO of Bihar-based Roopbani Cinemas) and Akkshay Rathie (Director, Ashirwad Theatres Pvt Ltd) spoke about the mammoth collections of 

and why the only film that could challenge it at the box office

"The sheer scale, the story, the present mood of the country, everything is going in its favour. And the only thing that needs to happen is that the film needs to deliver," said Chauhan, adding that the makers need to give the audiences a "correct experience" as anything about faith is a "difficult territory" to tread on.

"I cannot put a number to what the film could do, but if it is received well, maybe then we will do a podcast and to celebrate the new benchmark of ₹3,000 crores. Because that is the potential of the Hindi film industry," Chauhan added.

Rathie said the "architectural design" of the film, where a star from the Hindi cinema (Ranbir) will be seen with a star from the Kannada cinema (Yash) sets grounds for a massive box-office glory.

"Them coming together with a storyteller like Nitesh Tiwari and the whole infrastructure of DNEG, which has done some outstanding work not just for Indian cinema but for Hollywood as well, so it looks like the film has the potential to break the glass ceiling and create new benchmark," Rathie added.

despite sub-par visual assets and severe pre-release trolling, opened to over ₹35 crore in Hindi.

"Now, if that is done properly with that kind of budget, which has never been seen before in the Hindi film industry of over ₹3,500 crores, we are going to see something extraordinary," Chauhan added.

The film is produced by Namit Malhotra's Prime Focus Studios and 8-time Oscar-winning VFX studio DNEG in association with Yash’s Monster Mind Creations. 

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