The revenge is almost ready to be served. Filmmaker Aditya Dhar’s 

, one of the most anticipated Indian films in recent times, will unveil its trailer on Tuesday, March 3. Headlined by Ranveer Singh, the film is gearing up for a massive global release on March 19.

The makers are ready with an edgy cut of the trailer for the sequel to the 2025 blockbuster 

, which shattered box-office records to emerge as the highest-grossing single-language film of all time, grossing over ₹1,300 crore globally. 

‘Dhurandhar 2’ Trailer on March 3; Aditya Dhar–Ranveer Singh Film Nearly Four Hours?

"This film is not mine alone." Filmmaker Kaouther Ben Hania returns to this idea again and again when she speaks about 

, centred on the final moments of a six-year-old Palestinian girl trapped inside a car under military fire.

For Ben Hania, it is a way of placing the film where she believes it belongs: With Hind’s mother, who chose to trust her, the Red Crescent workers who stayed on the phone and with the memory of a child whose last recorded moments now travel across cinemas and festivals instead of a broken emergency line. The film carries them all, moving with their weight and their dignity.

 follows the frantic efforts of Palestinian Red Crescent volunteers responding to an emergency call from Hind Rajab. The recording of her real-life plea for help — captured moments before she was reportedly killed by the Israel Defense Forces — forms the crux of the film. The cast includes Saja Kilani, Motaz Malhees, Amer Hlehel and Clara Khoury. The film is produced by Nadim Cheikhrouha, Odessa Rae and James Wilson.

Ben Hania first encountered Hind as most of the world did, through a fragment of audio of a small voice asking not to be left alone. What followed was not an intellectual decision to make a film but something physical, something that unsettled her sense of balance. “I felt an overwhelming wave of helplessness and sorrow. not intellectual, but physical. As if the world tilted slightly off its axis," the filmmaker says.

That feeling stayed and led her to the full recording, which was over seventy minutes long. The filmmaker says Hind's call felt like the "very voice of Gaza itself," calling for help into a void, met with indifference and silence. "It was one of the most difficult things I’ve ever listened to."

After that came the conversations. With Hind’s mother and the people who were on the other end of the call, trying to keep the child calm, trying to reach her. From those voices, the film slowly took shape not as reconstruction, but as something closer to transmission.

Ben Hania's cinema has always moved between forms, but here the question of fiction and documentary becomes an ethical one. She calls the film a dramatised work, written, staged, and performed, yet its centre is a real voice.

“I didn’t feel I was inventing anything. I felt I was receiving something (something urgent, something sacred) and my role was to shape a cinematic space capable of holding that voice with dignity. So I wouldn’t say this film “blurs” the lines between genres. I would say it intensifies them, it stretches the limits of what dramatisation can contain and what documentary can protect. All of these were ways of resisting narrative conventions and trying to get closer to a different kind of truth: not just what happened, but what it felt like, what it meant."

When she began meeting Rana, Omar, Nisreen and Mahdi from the Red Crescent, she realised something that changed the way she approached the script. None of them had gone back to listen to their own recorded voices. What they offered her instead was not a transcript of what had been said, but an account of what it had felt like to live through those minutes, navigating fear, confusion and the pressure of trying to save a child while knowing the limits closing in around them.

That difference shaped the film. The document and the lived experience remain distinct, but cinema allows them to exist together. So, if the structure of the film comes from that duality, its emotional force comes from the way it was performed.

On set, the actors were not working from an approximation. They were repeating, almost word for word, what their real-life counterparts had once said. In their earpieces was Hind’s actual voice.

“Yes, what you’re sensing is real. The actors weren’t just performing scripted lines. They were re-inhabiting a lived moment. During the shoot, each actor was repeating, almost word for word, what their real-life counterpart had once said to Hind. And in their earpieces, they were hearing Hind’s actual voice, taken from the original recording. All of the actors are Palestinian (as were most of the extras) and this film meant a great deal to them. They were not just interpreting a story; they were carrying something that," she says.

Before any of this could begin, there was a single condition she set for herself. Hind’s mother had to agree. Without that, there would be no film. "If Hind’s mother said no, I would walk away," the filmmaker says.

The contact came through Rana from the Red Crescent, who had been on the phone with Hind for hours that day and had since formed a bond with her mother. The two women had made a promise to visit Hind’s grave together when the horror ends. For Ben Hania, that promise contained the measure of trust surrounding the story.

"This film is not mine alone. It carries the weight of Hind’s mother's trust, the memory of a child whose voice the world cannot afford to ignore, and the courage of those who tried to reach her: the Red Crescent team who stayed on the line, the medic, and the ambulance driver who were killed in the attempt. It holds the grace of those who have lost everything, yet still found the strength and generosity to open their hearts and share with me their mourning, their dignity, and their unwavering humanity," she concludes.

'The Voice of Hind Rajab': A Voice That Refuses to Fade

Tamil superstar and Tamilaga Vettri Kazhagam chief Vijay is heading for divorce after his wife Sangeetha Sornalingam filed a petition before the Chengalpattu Family Court.

Sangeetha submitted the petition on February 24, formally initiating legal proceedings to dissolve their marriage of 27 years. The couple, who married in August 1999, have two children — Jason Sanjay and Divya Shasha. The court has issued a notice directing Vijay to appear in person on April 20.

Sangeetha has sought divorce on grounds of alleged infidelity, claiming that the actor was involved in an extra-marital relationship with a female actor. She has reportedly been living separately from Vijay for the past two years.

According to court documents, the petition was submitted on Friday, and the court has taken cognisance of the matter. Vijay has been directed to appear in person on April 20, when the case is scheduled for further hearing.

In her petition, Sangeetha has cited provisions under Section 27(1)(a) and 27(1)(d) of the Special Marriage Act, 1954, which allow a spouse to seek divorce on grounds including adultery and cruelty. The filing reportedly alleges that Vijay was involved in an extramarital relationship with a female actor. The petition further claims that the alleged relationship came to light in 2021 and continued despite assurances that it would end.

The Special Marriage Act permits divorce if a spouse is found to have committed adultery or subjected the other party to cruelty. The matter is currently before the District Court, and further proceedings are expected on the next date of hearing.

There has been no official statement from Vijay or his representatives regarding the petition. His party TVK is set to face its first electoral challenge in the upcoming Tamil Nadu Legislative Assembly elections this year.

 in Hindi—is positioned as his final film before his transition into full-time politics. 

Scheduled to release on 9 January 2026, the film has since been delayed due to various 

censorship issues and hurdles, and is now without a release date. The big-budget political thriller also features Bobby Deol, Pooja Hegde, Mamitha Baiju and Priyamani, and is among the most anticipated releases of 2026.

Vijay's Wife Sangeetha Files for Divorce, Accuses Actor-Politician of Infidelity


actor Vivek Oberoi from Sandeep Reddy Vanga's upcoming film 

is out. The makers dropped a poster of the actor on February 27. "

 In Cinemas across the World on March 5th, 2027. 

The poster features the actor with a sword and a cigar, above a woman (Aishwarya Desai) who is seen crushing narcotics on the table. The film's first-look poster was released in December, giving us a glimpse at the main leads. The poster cast 

in a striking new avatar that feels entirely in sync with the filmmaker’s bruised, volatile world. It’s raw, provocative and unabashed, hallmarks of the director of 

. Yes, there’s a cigarette, and yes, a lighter cuts too. Stripped of excess and driven by mood, the restrained poster captures a wounded Prabhas with his back to the camera, attempting to light a cigarette as 

, eyes lowered, holds the lighter for him. Bandaged across his body, including his forehead, he looms like a towering movie star, with a bottle in hand. The film also co-stars Prakash Raj and veteran actress Kanchana.

is speculated to star Prabhas in the role of an angry young police officer who takes on a mighty mafia syndicate. It is also reported that the sons of Telugu cinema stalwarts, Trivikram Srinivas and Ravi Teja, Rishie Manoj and Mahadhan Bhupathiraju, are part of the film's direction team as assistant directors.

Written, edited and directed by Vanga, the film is produced by Bhushan Kumar, Pranay Reddy Vanga, Krishan Kumar, and Prabhakar Reddy Vanga. Billed as a global entertainer, with a release in multiple languages. 

Triptii Dimri stars in a role that was initially offered to 

, who was the film's female lead, before she exited the project, citing work-hour issues. In response to the controversy, Vanga shared his perspective on social media without naming Padukone, expressing his frustration over creative disagreements and accusing the actor of sharing details about the project prematurely. It is 

'Spirit': Vivek Oberoi's Look From The Sandeep Reddy Vanga-Prabhas Film Out

A new directorial project helmed by Aishwarya Rajinikanth has officially entered development. The project is backed by producer Kannan Ravi under his KRG Productions banner, with Deepak Ravi serving as co-producer. The film is planned as a multi-lingual release across Tamil, Telugu, Malayalam, Kannada and Hindi. Yuvan Shankar Raja is composing the music. 

In a statement shared on social media, the production house said, “We are a production house that firmly believes cinema thrives on meaningful collaborations, as filmmaking is truly a collective art built on shared vision, passion, and trust. With immense pride and excitement, Kanna Ravi Groups is delighted to announce our collaboration with Ms Aishwarya Rajinikanth for KRG Group’s Production No 9.”

The makers further outlined the scale of the film. “This ambitious project is planned as a grand multi-lingual release in Tamil, Telugu, Malayalam, Kannada, and Hindi, reaching audiences across the nation. Conceived as a wholesome and sure-shot entertainer, the film promises to deliver a powerful and engaging cinematic experience for viewers of all backgrounds. We feel honoured to present this prestigious venture and look forward to creating something truly memorable for audiences everywhere.”

Kannan Ravi recently produced the Jiva-starrer 

 (2026). A political satire released in the Pongal window, the film has emerged as a major hit at the box-office. 

Aishwarya Rajinikanth made her directorial debut with the psychological drama 

(2012), starring Dhanush and Shruti Haasan. She followed it up with 

 (2024), which featured an extended cameo appearance by her father, Rajinikanth. She also directed the documentary 

 (2017), focusing on stunt performers in the Tamil film industry.

Additional details about her next project, including cast and technical crew, have not yet been revealed.

Aishwarya Rajinikanth Sets Next Directorial, Yuvan Shankar Raja to Compose Music

 — who made a splash with last year’s romantic drama 

— comes across as someone who isn’t putting on an act in an age where, he says, “everything feels performative”. The director, who is set to begin work on his next action romance with Panday in the lead, added that the young actor brings “an old-school honesty to his performances, like the romantic heroes we have grown up watching and loving.” 

Produced by Yash Raj Films, Panday will begin filming

 the feature on March 30 in Mumbai and then head to the UK to shoot for about 60 days. The film also stars Sharvari.

In a statement, Zafar praised the young actor, saying vulnerability cannot be faked for the camera and describing Panday as a natural performer. “He isn’t afraid to be vulnerable, which is incredible.

"Audiences have connected with Ahaan because he’s not trying to impress them. He’s simply present in the moment. 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.”

The filmmaker said he wants the audience to see Panday's romantic hero avatar mixed with the intensity of action. Zafar said a true romantic hero is not defined by softness but by "emotional intensity: and this translates beautifully into action. 

"Romance gives a hero grace. Action gives him fire. When grace and fire meet, it is a potent combination for audiences to see an entirely new side to Ahaan that they haven’t seen. Ahaan has vulnerability in his eyes — and that’s what makes an action-romance powerful. Audiences don’t just want to see punches thrown on screen, they want to see and feel the purpose behind the punch. If the hero is fighting for what he believes in, what he loves and wants to protect, the action has far greater emotional stakes," he added.

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

Ali Abbas Zafar Calls Ahaan Panday an ‘Old-School Romantic Hero’; Duo to Begin Filming in March

How do you locate Sriram Raghavan in his deliciously twisted films, populated by morally wayward characters, shadowy pasts, and lives circling prison bars? The director has a disarmingly simple answer: cats. “I love them, so they are always there in my films,” he says. But in his latest, 

, the most revealing trace of Raghavan may not be a visual motif at all. It lies in the film’s politics.

Based on the life of Arun Khetarpal, the youngest recipient of the Param Vir Chakra award, 

centered around the Battle of Basantar during the 1971 India–Pakistan War. The film drew praise for its empathy and its idea of patriotism anchored in people, institutions and memory instead of loud, muscular nationalism.

During a special 'Vartalaap' session organised by the Screenwriters Association (SWA), Sriram Raghavan was in conversation with filmmaker Satyanshu Singh when he was asked whether 

— headlined by Agastya Nanda and featuring Dharmendra in his final screen outing — had faced any resistance from the industry.

“We were quite baffled, actually, by the response after the film came out,” Raghavan said in his quintessentially cool manner during the session, which was attended by filmmakers Charudutt Acharya, Hitesh Kewalya Anu Singh and lyricist Raj Shekhar, among others.

"All these scripts go through the army for vetting as they have to agree to it. That was four or five years back. After that, we had them on the set with us as well. The reaction of the armed forces when they saw the film was very good. Our first screening was for an audience of 800 plus people in Delhi, which was entirely army, top brass, veterans and young cadets. It was a solid screening, which was also our main, first big screening with outsiders."

When Singh asked whether he had ever sensed, during the making of Ikkis, that a section might react differently to the film, Raghavan recalled posing a similar question to producer Dinesh Vijan five years ago. “He said, ‘No—why are you saying that?’ I told him I didn’t feel it either. But he broke it down very simply: ‘The boy goes and destroys their tanks, the father goes and forgives. So what?’"

Raghavan added that every artist functions with a degree of self-censorship, choosing what to articulate and what to hold back.

“It becomes a bit crazy if I start censoring myself out of fear, when I feel I want to say something, but I’m scared to. If that happens, I have to find a way to do it. As filmmakers, that’s what we must do. Even in this case, I feel many of those who are objecting probably haven’t seen the film. Now that it’s out, I hope they watch it—then I will respond.”

Sriram Raghavan Was ‘Baffled’ by Response to 'Ikkis': 'Many Objected Without Even Watching the Film'

Anil Ravipudi has finally broken the silence on the cast of his next film. His next film will star Venkatesh Daggubati and Nandamuri Kalyan Ram. The filmmaker announced this news on X. 

This project will mark Anil Ravipudi’s fifth collaboration with Venkatesh, following blockbuster entertainers like 

. It is also his second film with Kalyan Ram, after the blockbuster 

Director Anil Ravipudi is bringing together stars from the Daggubati and Nandamuri families for this exciting new film to be made as a clean and typical Anil entertainer with a fresh and highly relatable storyline. Designed to connect with audiences of all age groups, the film is planned as a perfect festive treat. It promises a healthy mix of humor, emotions, and strong entertainment, staying true to Anil Ravipudi’s trademark style of wholesome cinema," reads a press note.

The film is currently in the pre-production stage. Details about the technical team and other key updates are expected to be announced soon. Continuing his tradition of Sankranthi releases, his upcoming film will hit the theatres in January 2027. 

, the filmmaker spoke about the importance of maintaining budgets. "

I am very conscious about the budget even before going into filming. I take utmost care about the remuneration and the budget spent on making. We follow up with the executive production team about what the next day's budget is looking like. We have a group to follow up on this. I'm not a producer, but I work like it's my production, and it's my money. Only then can we make conscious efforts to cut short the budget. It's not that if you go in with passion, you spend so much money, which will affect the schedule and budgets," he said. 

He also confirmed that his next will be a family entertainer. "Let's try one more thing in the genre. I'm still not bored while doing a family entertainer. I am confident that I will deliver another film in this genre with a different characterisation. Hopefully, people will like and celebrate it again for the next Pongal," he said.

Anil Ravipudi’s Next Will Be Led By Venkatesh and Nandamuri Kalyan Ram For Sankranthi 2027


Fans of Kannada film actor and screen icon 

 will soon be seeing him in a completely different role.  

the actor is set to star in a romantic comedy — a noticeable shift from his usual roles. 

A source close to the project reveals that the film will be directed by an associate of noted Telugu filmmaker Sukumar.

, an action drama that reunited him with director 

Vijay Karthikeyaa following the successful 

(2024). The upcoming romcom would mark a refreshing shift for the actor, who has carved a niche for himself in action dramas. 

the actor detailed what excites him about a role today, almost 30 years into the industry. "

I will definitely not say yes to a film because something similar has worked in the market. I don't think that can easily make me say yes. For me, it has to excite me. It should be something I haven't done so far, and even if it is something I've done before, it should have a newer plot," he said.

The actor also reflected on the increasing attention on Kannada cinema and its progress over the years. "There will always be fluctuations, and nothing is a good time or a bad time. It might be because of society's circumstances. Your job is to keep doing something persistently well. But for an industry to do well, it needs collective efforts, but done differently. If everyone does their job well individually, it collectively helps the local ecosystem," he said. 

"Every language has its own strengths and loose ends. I love my language, and I will strive to do better in Kannada films. I would like to take Kannada films higher. There are a lot of actors who have the same mindset, wanting to do better in the language. There are many minds trying to take Kannada cinema higher. It is being handled by good people."

Exclusive | Kichcha Sudeep To Star In A Romcom Soon

The second-look poster from Mammootty and Mohanlal's anticipated upcoming film 

The poster, which was released by Mega Star Mammootty on X, featured Mammootty, Mohanlal, and Kunchacko Boban in the middle of a car chase, armed with pistols.

 Second Look Poster In Cinemas Worldwide from April 23 , 2026," Mammootty wrote on X. T

he first teaser of the Mahesh Narayanan film, starring the two heavyweights of Malayalam cinema, was launched earlier last year.

The film promises to be an intense politically-charged thriller, and a treat for fans of the superstars. Apart from stalwarts Mammootty and Mohanlal, the film’s cast also includes 

, Nayanthara, Revathy and Kunchacko Boban. 

s backed by Anto Joseph Productions, and has music by composer 

, 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."

The upcoming Malayalam film marks Mohanlal and Mammootty’s reunion in key roles after a gap of 17 years since 

Earlier in July, Mahesh Narayanan was also confirmed to be directing the biopic of Narain Karthikeyan, India's first Formula One drive. He last directed the acclaimed 2022 film 

, starring Kunchacko Boban and Divya Prabha.

'Patriot': Second Look of The Mammootty-Mohanlal Starrer Revealed

In a major intervention, the Kerala High Court on Thursday (February 26) stayed the release of the upcoming film

, a day before its scheduled theatrical release on Friday, February 27. The development comes after multiple petitions challenging the certification of the film by the Central Board of Film Certification (CBFC) were filed last week. 

, Justice Bechu Kurian Thomas observed in his order that the content reflected in the film’s teaser has prima facie potential to “distort public perception and disturb communal harmony.” The Court also held that prima facie, the CBFC had failed to follow certification guidelines under the Indian Cinematograph Act and directed the Board to re-examine the issue. According to a 

report, the court observed “non-application of mind by the censor board” while certifying the film. 

The stay order will be valid for a period for 15 days and the film will thus not release tomorrow. 

“Dissemination of content which has a tendency to create discord, disturb law and order, even undermine social harmony cannot come within the gamut of freedom of speech and expression enshrined in Article 19(1)(a) of the Constitution of India," the Court said in its order, as quoted by 

  follows three Hindu women — from different parts of India — who fall in love with three Muslim men, in what the film claims as ‘a calculated agenda of religious conversion’. The film’s teaser released online on February 18 drew criticism from political leaders as well as social media mockery, with a scene depicting a woman being forcefully fed beef becoming a flashpoint. Consequently, petitions challenging the film’s certification by the CBFC (the film was cleared with a U/A certificate) were filed in the Kerala High Court. 

Earlier this week, a division bench of the High Court, led by Justice Bechu Kurian Thomas, asked the film’s producers whether a screening could be arranged before the court ahead of its final consideration of multiple petitions challenging the film’s censor certificate. The makers, however, refused to facilitate the screening. Producer Vipul Amrutlal Shah was said to have filed a counter-affidavit opposing the Kerala High Court's order directing a screening of the film. Shah claimed that only the CBFC has the authority to evaluate and certify films. 

As per online reports, the makers are expected to challenge the stay order by approaching a higher bench of the court.

Kerala High Court Stays Release Of ‘The Kerala Story 2: Goes Beyond’

Vijay Deverakonda and Rashmika Mandanna got married on the morning of February 26 in Udaipur. While the duo tied the knot according to Telugu Hindu rituals, some reports also suggest that they will participate in a Kodava ceremony later this evening to honour Mandanna’s roots. They posted pictures from the ceremony on Thursday evening. 

Indian Prime Minister Narendra Modi wished Telugu stars Vijay Deverakonda and Rashmika Mandanna in a letter ahead of their February 26 wedding. A picture of the letter has since been making the rounds on X.

"It is a pleasure to be invited by you to the wedding of Vijay and Rashmika to be held on 26 February 2026. Heartiest congratulations, and greetings to the Deverakonda and Mandanna families on this truly joyous and auspicious occasion. It marks the beginning of a new, beautiful chapter in the lives of Vijay and Rashmika. With the spirit of 'sakha saptapadi bhava', meaning having taken seven steps together, the couple become friends for life," he began his letter. "Neither Vijay, nor Rashmika is new to scripts in their films. But this divinely scripted chapter of their real lives, filled with love and affection, will surely outshine the magic they have created on the silver screen."

Ahead of the wedding, filmmakers like Sandeep Reddy Vanga and Tharun Bhascker were spotted arriving in Udaipur. A few days back, the Telugu actors finally made their relationship official. Ahead of speculations of a February 26 wedding, the duo put up a synchronised story on Instagram, confirming their wedding.

"Before we made any plans, before we chose anything for ourselves, you were already there. With so much love, you gave us a name. You called us VIROSH. So today, with full hearts, we name our coming together in your honour. We would like to name it 'The wedding of VIROSH'. Thank you for holding us with so much love. You are a part of us always," the note read.

While the duo hasn't yet released official photos from the wedding, they have been giving fans a glimpse of the festivities on Instagram, including pictures of haldi ceremonies and a friendly game of cricket. 

Actors Vijay Deverakonda and Rashmika Mandanna Get Married In Udaipur

In a landmark deal for the Tamil Nadu trade, Yash’s 

, has been signed for a huge deal value of₹63 crore advance on a commission basis, marking one of the most significant distribution deals in the territory in recent years. Unlike one single distributor taking over the rights like in other territories, the model in Tamil would see a network of multiple distributors executing the film’s rollout. This is expected to not only increase the film’s reach but also help manage the massive expectations that the Yash-starrer comes along with. 

The division is such that the Chennai City territory will be handled by Think Studios under Swarup Reddy, while the Chengalpet area will be distributed by White Nights, led by Trident Ravi. The Coimbatore, North and South Arcot, Tirunelveli, and Kanyakumari territories will be overseen by S Picture Srinivasan. Key circuits of Madurai and Ramanad, Trichy and Thanjavur, and Salem will be managed by 5 Star Senthil. This strategy is expected to secure showcasing that spans both single screens and multiplex chains statewide. The success of Yash’s previous release 

 has been attributed to the scale of this new deal in Tamil Nadu. With the ₹63 crore advance deal, 

 is expected to take a massive opening across the state during release.

Expressing their interest in the collaboration, the team of Tamil Nadu distribution partners says, “

 is one of the most anticipated Indian films in recent times, and the love it already has in Tamil Nadu is incredible. The way audiences here have embraced Yash over the years is truly special. We are thrilled to come on board as distribution partners for a film of this scale and ambition.” 

’s Kerala rights had been picked up by E4 Entertainment for a huge price. E4 Entertainment is a popular production firm behind hits like Ezra, Godha, Por Thozhil, Guruvayoor Ambalanadayil and more in Malayalam, and the amount remains undisclosed by them. The upcoming film is directed by Geetu Mohandas, who had last directed 

 with Nivin Pauly and Roshan Mathew in the lead. Rajeev Ravi, the cinematographer of 

, has directed five films in Malayalam too, starring Dulquer Salman, Fahadh Faasil, Asif Ali and Nivin Pauly. E4 Entertainment have also distributed blockbusters like 

In the North, Anil Thadani’s AA Films has reunited with Yash, while in the Telugu states, Sri Venkateswara Creations (SVC), led by Dil Raju, will steer the film. On Sunday, we reported that the film had sealed another major deal. Zee Music Company has boarded the film in a landmark music rights acquisition, among the label’s most significant in recent years. The film’s music will feature a high-impact, multi-composer soundtrack with composers such as Ravi Basrur, Vishal Mishra, and Tanishk Bagchi bringing together diverse musical styles.  While Mishra has composed four songs, Bagchi contributes one track co-composed with Arslan Nizami and Faheem Abdullah (of 

 fame), and Basrur delivers one song along with the film’s background score.

Produced by KVN Productions and Monster Mind Creations, the film is written by Yash and Geetu Mohandas, who has also directed it. According to the makers, the album will aim to blend "emotion, mass energy, and cinematic scale". The film has signed a record-breaking deal for its Telugu dub too. Headed by veteran producer Dil Raju, SVC acquired the Andhra Pradesh and Telangana distribution rights for ₹120 crore on an advance commission basis, making it the biggest-ever acquisition for a non-Telugu origin film in the region. The film also secured a ₹105 crore overseas advance for its Indian-language editions, marking one of the biggest pre-release international deals for an Indian film.  Also starring Nayanthara, Kiara Advani, Huma Qureshi, Rukmini Vasanth, and Tara Sutaria, 

 has been shot in Kannada and English, with dubbed versions across Hindi, Tamil, Telugu, Malayalam, and other languages. The film is scheduled to hit theatres on March 19, when it will clash with Ranveer Singh-led 

Exclusive | Yash’s 'Toxic' Signs Massive Distribution Deal In Tamil 

In an industry where every revenue stream is fought for, why would anyone turn down money that is theirs by law? Indian films and series play every day on television, streaming platforms and on airline and hotel screens, earning each time they move beyond the cinema hall. For decades, 

were paid once and shut out of that long tail. The law has changed and the collection system is in place, but adoption is still catching up.

At the centre of this transition is the Screenwriters Rights Association of India (SRAI), a government-registered copyright society that collects and distributes royalties for writers and producer-owners.

Conversations with its leadership and members, along with access to its operational framework, reveal the scale of a system that is legally in place but still in the middle of industry-wide negotiations.

The shift began with the Copyright (Amendment) Act, 2012. The law made one thing clear: a writer cannot sign away the right to royalties when a film or show is exploited outside theatres. Any contract that tries to do this—including a “full and final buyout”—has no legal standing.

Put simply, a writer can still be paid a fee for the script, but when the film or series plays on television, OTT, cable, digital platforms or anywhere beyond the cinema, the writer must get a share.

Copyright lasts for 60 years from the beginning of the year after the author’s death, which means the royalty flows to the next generation as long as the heirship is legally established. For years, the problem was not the legal right but the absence of a working structure — a copyright society, a tariff, reliable data and a distribution pipeline.

SRAI currently has around 600 members — about 580 writers and 20 producer-owners. Legal heirs can join as associate members once heirship is proven. Membership is lifetime ₹5,000 plus GST for writers and ₹10,000 plus GST for producer-owners.

“The mandate is much larger than the present membership,” says CEO Vinod Ranganath, pointing to a long-term target of 10,000 to 12,000 members across languages, formats and generations of creators. “We are required to represent all audiovisual writing — from feature films and television to OTT, documentaries, animation and shorts.”

The society has published a proposed tariff of 2 per cent of gross revenue (globally, royalties are calculated on gross receipts because profits can be diluted through accounting). Under Indian law, the collected royalty is split equally between the author and the copyright owner.

In practical terms, that means half of the collection flows back to the producer or broadcaster that owns the copyright. “It is not a loss to producers. It creates a lifetime revenue stream for them and for their heirs,” Ranganath says.

Distribution will be usage-based. For television, programme logs and BARC data will determine how the pool is allocated. For OTT, viewership data — or third-party measurement where necessary — will perform the same function. Platforms and broadcasters are required to provide audited gross-revenue figures to calculate the percentage, a practice already followed by the same companies in Europe.

SRAI has also begun signing reciprocal agreements with foreign copyright societies, enabling royalties from overseas exploitation of Indian works to flow back to Indian authors. A Chilean society has already identified 98 Indian titles generating revenue abroad, from Satyajit Ray and Mani Kaul to popular titles like 

“If you are a writer or producer and have not become a member of SRAI, you may be saying no to money that is actually yours by law,” says filmmaker R. Balki.  "Writers have to recalibrate their thinking. Just like music composers and lyricists, they too can keep earning from the work they have done. They can have a constant revenue stream beyond the fee they have charged.”

For Balki, the first challenge is awareness. "Making sure a lot of people understand such an obvious thing and become members. Every member of the SWA should become a member.”

Filmmaker Abhishek Jain calls it a structural correction. Most screenwriters, he points out, are paid only once, even though their work keeps generating revenue for years across television, OTT, international markets and dubbed versions. 

“The association is designed to make sure their scripts keep helping them earn while the producer is also earning,” he says, adding that this is only possible through collective management, because an individual writer has no practical way of tracking exploitation across platforms and territories or negotiating with each stakeholder.

For all the legal clarity, the implementation will take time

“The challenge comes from the factor that makes this country so beautiful — diversity and size,” says screenwriter and senior activist Anjum Rajabali, an instrumental figure along with Ranganath, fighting for the rights.

“India has a humungous number of broadcasters, studios and platforms across more than 20 languages and 29 states. Unlike most filmmaking countries, we do not have producers’ associations that can represent all their members in negotiating a uniform royalty formula,” Rajabali says.

Negotiations, therefore, have to happen across multiple stakeholders with different business models. Balki puts it in economic terms: “When there is money to be paid, people are always reluctant to share. The challenge is the battles and the conversations we are going to have with platforms and channels to come to an agreed amount.”

has also learnt that broadcasters have asked SRAI to route discussions through their apex body so that terms can be negotiated collectively. Formal negotiations with OTT platforms are yet to begin.

Jain says the hurdle is as much perceptual as it is legal, since collective rights management for writers is still a new idea in India and there is natural hesitation about how it will function, what it means for existing contracts and how it could reshape current business models. 

The system also rests on access to transparent usage data, which means building an infrastructure that is technological, legal and compliance-driven, a process that will take time. “There is no guarantee this will happen tomorrow,” Balki says. “Everything cannot go to court. We will have to find a way of conversing with platforms and making them understand why this is right.”

One of the persistent misconceptions is that the royalty regime is anti-producer. In television and streaming, broadcasters often own the copyright because producers are commissioned. In those cases, half the royalty pool flows back to the broadcaster as the copyright owner. Where producers retain IP, they receive that share.

“It formalises the ecosystem. A stable royalty structure builds trust and encourages professionalism. When writers feel protected, they invest more deeply in their work and it benefits everyone," Jain says. 

The music industry offers the closest Indian precedent. After the restructuring of IPRS, labels that initially stayed away eventually joined. Declared revenues recently touched about ₹800 crore, split equally between authors and labels.

For the first time, overseas exploitation will translate into payments for Indian writers and producers. Through reciprocal agreements, foreign societies collect royalties for Indian works exploited in their territories, deduct administrative costs and remit the balance to India. Indian writers are paid at the same rate as local writers in those countries.

The same system will apply in reverse. Foreign writers whose content is widely consumed in India will begin receiving their share once collections start.

“The exhibition of Indian films is not limited to the diaspora,” Ranganath notes. In markets like Australia, local audiences watch mainstream Hindi cinema, expanding the royalty value beyond the diaspora market. "SRAI will get its first royalties from ATN, the copyright society of Chile, in March. Which is a great start for us."

Rajabali sees the transformation as cultural. “Five years later, the attitude of the industry towards writers will have changed. The royalty regime establishes writers as active stakeholders and accords them a more respectable position.”

For Jain, the success metric is when the debate ends. “The conversation will no longer be about whether writers should be paid royalties but about how efficiently and fairly it can be done.”

Exclusive | Inside the High-Stakes Push to Make Indian Screenwriters’ Royalties a Reality

Actor and filmmaker Samuthirakani recently opened up about his return to the 

 universe, reportedly confirming that he will be reprising his role as Guna, the second husband of Chandra (played by Andrea Jeremiah), and a powerful member of Rajan’s (played by Ameer) gang. He also added that these characters, along with Senthil (played by Kishore), are integral to the story of Vetrimaaran’s upcoming 

. The film is said to be based on the life of the real-life Chennai-based gangster, Mylai Siva. The title itself, 

, translates to king, hinting at his notoriety.

The film, which stars Silambarasan TR and Vijay Sethupathi, has generated quite the buzz among fans already, with Samuthirakani’s comments ending months of speculation about the cast. 

 will be Silambaran’s first film with Vetrimaaran.

, Samuthirakani shared: "We are all a part of the crime drama. I am not sure if there would be a Silambarasan and Dhanush face-off in the film. Vetrimaaran told me that I am there [in the film]. There will be a magic in 

, and the script has all the elements in it. Every time Vetrimaaran narrates the story, it feels completely different. Making 

requires a huge effort. Apart from that, I can't reveal anything.”

His revelation has sparked even more curiosity among fans of 

, who are eagerly awaiting the film. The makers have confirmed that the film is already in its second schedule, and additional details are expected in the coming weeks.

Samuthirakani has been keeping busy. His upcoming Tamil web series, 

, has him playing SI Adhiyaman, an offbeat police officer following the case of a serial killer who only steals sacred items that signify marriage. His character is supported by Sshivada, who plays the role of Adhiyaman’s superior, Inspector Lakshmi. 

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