 is having a moment, with almost every film industry in the country having its own cinematic universes. The movies range from big-budget, tentpole spectacles to thrillers and even animated films, headlined by superstars and even new actors.

Films from these cinematic universes have largely been box-office blockbusters, but some, especially from the Hindi film industry in recent times, have failed to live up to the hype. Still, not all is lost as they gear up for more releases going forward. 

What Are The Ongoing Cinematic Universes in Indian Cinema?

Actor Siddhu Jonnalagadda is set to reunite with producer Naga Vamsi for a new Telugu-language project, marking their third collaboration after the commercial successes 

 (2024). The upcoming film, which is yet to be formally launched, is being produced under the banners of Sithara Entertainments and Fortune Four Cinemas, with Srikara Studios presenting.

While details about the project remain under wraps, the makers have indicated that Siddhu will be seen in a markedly different avatar from his earlier roles. The film is positioned as a departure from the flamboyant, fast-talking persona that defined his breakout 

 series, suggesting a shift in both tone and characterisation.

The announcement comes at a crucial moment in Siddhu’s career. His recent releases, 

, failed to make an impact at the box office, prompting industry watchers to frame the new project as a potential reset. The continued association with Naga Vamsi, a producer closely linked with Siddhu’s biggest hits, is being viewed as an attempt to recalibrate after a string of underperforming films.

In parallel, Siddhu has also signed another project titled 

, which will be directed by Ravikanth Perepu, best known for the critically acclaimed thriller 

. The two previously collaborated on the web series 

, and their reunion has drawn attention for signalling a tonal shift. Unlike Siddhu’s earlier mainstream successes, 

 is being described as more restrained and character-driven, blending humour with darker emotional beats.

 is written jointly by Perepu and Siddhu and is also backed by Sithara Entertainments and Fortune Four Cinemas. 

Naga Vamsi along with Sai Soujanya are the producers backing this project. 

The film is slated for release in 2026, with a first-look poster already unveiled. Together, these projects suggest a period of reinvention for Siddhu Jonnalagadda. 

Siddhu Jonnalagadda Teams Up Again With Producer Naga Vamsi For New Telugu Film

, tracking for a modest opening—and shrouded in doubt ahead of its release—would go on to become the only title of the year to cross ₹1,000 crore worldwide, cementing itself as one of the biggest hits in the history of Indian cinema. Equally unthinkable was the idea that two of the year’s most formidable releases, 

,  arriving on the same day and fronted by crowd-pulling superstars, would collapse so dramatically.

thrived on shocks and surprises. It pulled no punches in delivering the good, the bad and the blockbuster. Here's a breakdown of the year that went by (all trade figures are worldwide gross as per industry tracker 

Top 10 Highest Grossing Indian Films of 2025 at the Box-Office:

India’s top 10 highest-grossing films of 2025 have collectively amassed ₹5,500 crore-plus worldwide, underlining a sharply top-heavy year at the box office. The top five films alone contributed ₹3,748 crore-plus, while the bottom five added ₹1,579 crore, reinforcing how a handful of titles did the bulk of the heavy-lifting. 

, the only film of the year to cross the ₹1,000 crore mark worldwide so far. What makes its run particularly striking is that the film achieved this milestone without a Gulf release and as a single-language Hindi offering, bucking the current trend of multi-language, pan-territory rollouts. 

Trade sources indicate the film still has gas left in the tank, with its India nett alone tracking toward the ₹800 crore mark, suggesting 

’s final tally could stretch even further.

Two films this year came close to the four-digit milestone but fell just short; 

(₹852 crore) and Vicky Kaushal-headlined 

(₹808 crore) both delivered exceptional results. While Rishab Shetty-led 

 benefited from a multi-language release strategy and a massive sequel hype, 

performance stands out for achieving scale largely without a broad multi-language rollout (it was only in Hindi and Telugu), relying instead on sustained word-of-mouth and strong core-market traction.

The year’s biggest surprise success story, however, was Mohit Suri's 

(₹570 crore). Emerging as the highest-grossing romantic film of all time, the film’s run is considered remarkable given that it starred debutants Ahaan Panday and Aneet Padda, was helmed by a director not previously associated with blockbuster-scale hits, and thrived in a romantic drama genre that has struggled theatrically in the post-pandemic era.

What further underlines the unpredictability of the 2025 box office is the combined performance of 

, which together delivered a staggering cumulative gross of ₹1,201 crore worldwide. None of the three fit the conventional “safe bet” blockbuster template, yet collectively they outperformed several marquee, star-driven projects.

(₹364 crore) stand out as the year’s most prominent under-performers among tentpole releases, with a combined global gross of ₹882 crore. 

, hyped as a massive Rajinikanth–Lokesh Kanagaraj collaboration, was widely expected to challenge the ₹1,000-crore mark and potentially become Tamil cinema’s first entrant into that club. 

While it still crossed the ₹500-crore threshold—making it one of Rajinikanth’s consecutive ₹500 crore global performers, as per trade consensus—the film fell well short of expectations relative to its scale and pre-release buzz.

shocked the trade. The sequel from the YRF Spy Universe, featuring Hrithik Roshan and Jr NTR, ended up earning less than the production house's 

, a modestly mounted romantic drama. For a franchise built on spectacle and star power, the result was one of the most significant misfires of the year.

Among the year’s biggest surprises was 

(₹327 crore), which scripted history by emerging as the highest-grossing animated film ever from India, according to trade data. Its unprecedented run caught the industry off guard, proving that animation—when rooted in strong cultural and mythological resonance—can deliver blockbuster-scale results.

(₹304 crore) rewrote the rules for Malayalam cinema, smashing previous records and clocking global blockbuster numbers rarely seen from the industry.

(₹289 crore) failed to ignite the box office in a meaningful way. The disappointment around 

was particularly sharp, given the franchise’s proven commercial pedigree and the expectation that it would comfortably rank among the year’s biggest entertainers.

Top 10 Highest-Grossing Indian Films of 2025: From 'Dhurandhar' and 'Kantara: Chapter 1' to 'Saiyaara'

“₹105 crore-plus humara gross collection ho gaya hai worldwide. Just imagine, agar Hindi aur Tamil mein bhi release hoti toh ₹500 crore cross karta (We grossed over ₹105 crores worldwide. Just imagine, if we’d released the film in Hindi and Tamil, we’d have crossed ₹500 crores).” 

“By virtue of being a woman, if that’s coming across as being pushy or whatever, then so be it. But it is no secret that a lot of superstars, male superstars, in the Indian film industry, have been working for eight hours for years, and it’s never made headlines.”

“It’s fundamentally a very insecure industry...Don’t look for friendships here.”

“Indian films, especially Bollywood, show India in a bad light.”

“Am I the face of Bollywood hate, and if I am, then ‘thank you’ for giving me this elevation. But do I deserve it? I don’t think so.”

 said after an awkward moment when a foreign journalist didn’t recognise him at the Met Gala in May. 

(My mother left me a letter saying that my real father is Donald Trump).” 

 said to paparazzi in October, posted by 

“He has a phobia of smiling in front of the camera.”

“Raat gayi baat gayi (Forget about it once it’s done).”

“Never has any award been bought or aggressive PR been done by me.”

 on buying awards, replying to a comment on X in October.

“I don’t drink every day, only on Sunday. It is my cheat day.”

“When you’re doing a nine-to-five and sitting at a desk, you don’t have to be 100 per cent present. You can take your tea breaks, chill out, walk, talk and do your job. But we  can’t.”

“Per plate da hisaab hai (It’s budgeted per plate).”

 said while flaunting his Met Gala invite on his Instagram page.

“You have to marry Silicon Valley with a Marwari mindset.”

on turning entrepreneur, in an interview with 

“I don’t know if it’s a reflection of our society or if it is a reflection of the fantasies of our society. I think the films which feed into the secret fantasies of men, who in their heart of hearts, look down on women, these are being fed and it’s actually very scary to see how much approval such films get from the common viewer. It’s very terrifying and it does explain the horrendous things that happen to women in a lot of places in our country.”

 said in an interview with Parvathy Thiruvothu at the Kerala Literature Fest in January.

“It’s 2025 and the films that get green-lit are films that belong in the 1980s and not even the good ones.” 

“In our industry, the same thing is repeated for five years straight — then, when people get bored, they finally let it go. Actually, insecurity bohut badh gayi hai (there’s a lot of insecurity).”

 said in an interview with Puja Talwar for her YouTube channel in May.

“[Bollywood] can’t even make a Pushpa…because they don’t have the brains to make a film.”

“Do not sign a three-movie deal. Give your debutant freedom, allow them to run away. As it is said, ‘Let them free, if they belong to you, they will come back.”

To read more exclusive stories from The Hollywood Reporter India's December 2025 print issue, pick up a copy of the magazine from your nearest book store or newspaper stand.

The Most Quotable Celebrity Quotes of 2025: From Urvashi Rautela to Shah Rukh Khan

2025 was a weird year for Kollywood; tentpole star vehicles disappointed, while the mid-budget comedies, romances and family dramas succeeded in keeping the theatres (and the streamers) pleased. Few traditional leading actors managed to pass the year unscathed; it was instead the less-heralded supporting and ensemble casts that walked away with the most plaudits. 

In no particular order, here are a few memorable performances from the year that was, which kept audiences — as well as the box-office — invested. 

It is to Pasupathy’s credit that, even though he turned in a powerhouse showing as another father figure leading his protégé to sporting honour a few years back in 

evoke memories of the imperious Vaathiyar. Clearly a Ranjith and Mari favourite, Pasupathy plays the doting, proud yet worried father to pitch-perfection here, ably complementing Dhruv’s physical, thriving act. The broad-shouldered actor is at his best in many of the scenes where he cowers with suppressed rage before his oppressors; you feel the same anger, the same fear, and finally, the same sense of triumph.

Much was expected from this reunion of the 

 combo, and while Fahadh Faasil is as dependable as ever, it is Vadivelu as Velan who subverts all expectations and owns every frame he is in. The legendary comedian, now excelling in his new avatar as a character artist, pulls out all the stops to keep us guessing on Velan’s motives until the big reveal at the end. But it’s not all dark and mysterious; traces of vintage Vadivelu also seep through in many of the early portions that amuse us to no extent, and also leave us a little nostalgic to see more of the Vaigai Puyal in the coming years.

Shanthipriya and Anjali Sivaraman (Bad Girl)

Indian cinema’s best mother-daughter duo this year was in Varsha Bharath’s directorial debut, brought to life by two dazzling performances from Anjali Sivaraman (in just her second feature film) and Shanthipriya (returning to Tamil screens after three decades). In many ways, 

 was an intertwined coming-of-age journey for both the women in the family, as they spend their lives trying to understand, love and live with each other, slowly trying to break the shackles of unspoken patriarchal and generational trauma. The fact that Shanthipriya’s hard-nosed Sundari is a teacher in Ramya’s school adds to the fun and drama, and finally, when they both reconcile, it’s a thing of absolute delight. 

Geetha Kailasam had as prolific a year as ever, but after playing innumerable mothers over the last few years — and expertly so — she turned lead protagonist in the drama 

 with a role that truly befitted her talents. An adaptation of Perumal Murugan’s short story Kodithuni,

traces a conflict between a mother and her younger son, when the latter demands that she wear a blouse to impress his prospective in-laws. Playing an elderly widow struggling to adapt to changing times and society, Kailasam is fantastic in the titular role, as she elevates the film from being just another slice-of-drama into a moving, poignant portrait of what it means to hold onto one’s sense of individuality.

Another Tamil cinema ‘hero’ who has now reinvented himself as an actor of substance, Sarathkumar makes a serious case to be one of the most versatile on-screen dads today with his two memorable roles this year, as different as they may be. While his Bose in 

 (2020) remains a personal favourite, Sarath plays both the scheming, casteist Athiyamaan in 

as well as the gentle, longing Vasudevan in 

 with consummate ease, being the scene-stealing father in both outings. At the age of 71, the remarkably fit star is charting a career blueprint that several of his contemporaries could, and should, take note of.

 flatters to deceive at times, but Dulquer Salmaan pulls off the complex character of TK Mahadevan in riveting style. Caught in a battle of egos with his mentor (a naturally fab Samuthirakani) while fighting his own demons of insecurity as a superstar actor, Salmaan is terrific throughout the narrative that eventually shifts towards an investigative thriller. It’s a shame that audiences this year will remember his cameo as the Odiyan Charlie in the blockbuster 

 from 2025 more, as DQ truly delivers his career’s finest work in 

No matter how absurd the source material may be, Suriya brazenly gives it his all — as was evident in Karthik Subbaraj’s 

— implicitly trusting his director. Karthik Subbaraj’s ambitious epic thriller went to places (literally) nobody saw coming, but even the most outlandish of scenes were somehow papered together thanks to Suriya’s no-holds-barred commitment to his character of Paari. Be it the viral 'Kanimaa' song, the extensive action sequences, or the long-drawn romance portions, Suriya turns in another humdinger of a performance, using his powerful eyes to stunning effect.

Pradeep Ranganthan proved he was no flash in the pan with successive hits in 

 becoming the breakout new-age Tamil cinema star that genuinely nobody saw coming. Elsewhere, Vikram in 

turned in another highlight, while Sasikumar, Simran and the entire cast of 

 collectively warmed our hearts; meanwhile, Ajith Kumar hammed it up 1000x in 

 we haven’t seen him having such a jolly good time in forever!

The Best Tamil Film Performances of 2025

2025 has been yet another towering reminder that the finest Hindi-language storytelling continues to thrive on streaming. Many of the shows on this list rank among the very best we’ve seen since the streaming era kicked off almost a decade ago. These are distinctive, hopeful, ambitious clutter-breakers that defy convention, push boundaries, and embody what Indian streaming was always supposed to champion.

So, in no particular order — from sincere sports dramas to contemplative crime thrillers to inventive “shockumentaries” — here’s a list of the best Hindi shows of 2025.

 started the year with a bang, giving many of us hope. The tremendously crafted seven-episode series, created by Vikramaditya Motwane and Satyanshu Singh, follows the harrowing, haunting, and hardening experiences of Sunil Kumar Gupta (an excellent Zahan Kapoor), newly appointed assistant superintendent jailer at Tihar Jail in the early ’80s.

Part bleak workplace drama, part coming-of-age saga, and part friendship story, the narrative approaches Tihar as a microcosm of our society, using the lives of guards and inmates to examine the staggering corruption and indifference of our deeply fractured justice system. 

 refuses to conform to conventional crowd-pleasing structures and feels like the kind of show that gets made against all odds — despite the system rather than because of it. The kind of series you’re just glad somehow exists.

The second season of Sudip Sharma’s landscape-defining 

 is among the most stunning pieces of storytelling to emerge from Indian streaming. With its refined sophomore outing, the series finds the coveted middle ground between arresting and meaningful — unputdownable, urgent storytelling paired with stirring philosophy.

In Sudip Sharma’s bleak, contemplative worlds, a murder investigation is merely an excuse to dive into the dark heart of the nation and examine the fractures in our society. In his work, the politics 

 the plot. And then there are the indescribable highs of watching one of our finest actors deliver one of modern Hindi cinema’s greatest creations: Jaideep Ahlawat as Hathi Ram Chaudhary, the tragic lone warrior in an indifferent system who refuses to give up the good fight, even while knowing the war is already lost.

It wouldn’t be a stretch to say we haven’t seen anything quite like writer-director Pushkar Sunil Mahabal’s dazzlingly inventive 

 emerge from Hindi cinema. This playful, clutter-breaking “true crime” thriller is a triumph of form, plotting, and subtext — and some of the most fun I’ve had watching anything this year.

Across six deliciously bingeable episodes, the series uses the language and packaging of a true-crime docu-series to mount a compelling murder mystery, while interrogating our willingness to blindly submit to well-packaged media narratives. The thrill lies not just in following the investigation, but in investigating the show itself — constantly questioning what is true and what isn’t. This is one of the coolest, most distinctive, and most enjoyable Indian streaming shows in recent memory, keeping us on edge right up to that unforgettable final frame. And even then, the question lingers: did he do it?

, from creator Smita Singh, is the kind of singular, distinctive storytelling we always hoped streaming would enable. Despite its ghosts, spirits, and supernatural flourishes, nothing here is as bone-chilling as placing us on a bus in Delhi with a young woman pressed against a sea of men.

When the series simply follows Madhu — played by a terrific Monica Panwar — navigating suffocating public spaces, it becomes genuinely terrifying. Long walks down dark alleys. Metro tunnels at night. Strangers offering lifts. The constant feeling of being followed. The exhausting vigilance. The supernatural almost feels quaint compared to the everyday horrors of the city.

What is the relentless experience of being stalked, watched, objectified, commodified, belittled, and unsafe — something women live with daily — if not a slowly unfolding horror narrative? To watch 

 is to momentarily experience what it means to live in fear.

 follows the true story of two men, played by Mohammad Zeeshan Ayyub and Manav Kaul, who set out to start Kashmir’s first-ever professional football club. It’s a heartfelt underdog sports drama that finds its strength in patience, examining the nuts and bolts of building a team and a club from scratch.

Refusing to compress a difficult, messy journey into a rousing montage or package itself as a conventionally “sexy” sports drama, the series uses football as a lens to explore the lives, challenges, hope, and spirit of the people of Kashmir. If you’ll excuse a brief sporting metaphor switch, with this one SonyLIV lands yet another home run.

The Best Hindi Streaming Shows of 2025

The actor Jr NTR has publicly welcomed a recent order by the Delhi high court that extends legal protection to his personality rights, calling the decision an important safeguard in an era increasingly shaped by digital misuse and artificial intelligence.

In a statement shared on social media on Monday evening, the Telugu cinema star thanked the court for issuing what he described as a “protective order” designed to prevent unauthorised commercial and public exploitation of his identity. He also acknowledged the efforts of his legal team, praising their consistent and committed support throughout the proceedings.

The ruling places Jr NTR among a growing list of prominent figures from Indian cinema who have sought judicial intervention to curb the misuse of their name, image and likeness. In recent years, the Delhi high court has emerged as a key forum for celebrities attempting to rein in unauthorised endorsements, manipulated images and deepfake content circulating online. Actors including Amitabh Bachchan, Aishwarya Rai Bachchan, Akshay Kumar, Hrithik Roshan, Karan Johar, R Madhavan and Rishab Shetty have all approached the court seeking similar protections.

Personality rights, while not explicitly codified under a single statute in India, are rooted in broader principles of privacy, dignity and intellectual property. They allow individuals to control how aspects of their identity — such as their name, photograph, voice, signature or distinctive mannerisms — are used, particularly for commercial gain. Legal experts generally divide these rights into two strands: the right of publicity, which guards against unauthorised commercial exploitation, and the right to privacy, which protects individuals from intrusive or misleading representations.

The issue has gained urgency amid the rapid spread of AI-generated content, including deepfakes and fabricated endorsements, which can blur the line between authentic public presence and manufactured imagery.

On the professional front, Jr NTR continues to maintain a high-profile presence across regional and national cinema. He was last seen in Koratala Siva’s 

, released in 2024, and recently expanded his footprint in Hindi cinema with Ayan Mukerji’s action film 

, alongside Hrithik Roshan and Kiara Advani. 

He is currently working with director Prashanth Neel on a new project that is widely reported to be titled 

Jr NTR Praises Delhi High Court Order on Personality Rights Protection

 has joined the cast of Ram Charan's upcoming Telugu drama, 

. The film’s cinematographer, R Rathnavelu, shared a behind-the-scenes still welcoming Irani to the cast, thereby confirming his presence in the film’s exciting cast. Directed by Buchi Babu Sana, 

also stars Janhvi Kapoor as the female lead, with Kannada superstar Shiva Rajkumar, Jagapathi Babu and Divyendu Sharma in key supporting roles.

In the picture, Irani and Rathnavelu are joined by 

’s director, Buchi Babu Sana. According to reports, in 

, Irani will be seen as a middle-aged man with a mysterious connection to the rural world of Peddi. Rathnavelu, sharing the photograph on social media, described the collaboration as an “absolute honor” and called Irani a “perfect choice” for Buchi Babu’s screenplay. “An absolute honor working with this legend and true cinema lover, Boman Irani sir! A perfect choice for Buchi Babu’s script,” Rathnavelu had captioned the post.

is mounted on a large scale and features music by Oscar-winning composer AR Rahman. Ram Charan was last seen in Shankar’s political drama 

(2025), co-starring Kiara Advani and SJ Suryah. 

Janhvi Kapoor recently appeared in Shashank Khaitan’s Hindi romantic comedy 

, opposite Varun Dhawan, following her theatrical outing in Neeraj Ghaywan’s Homebound.

, Ram Charan is also preparing for a high-profile reunion with director Sukumar. The yet-untitled project is scheduled to go on floors in July 2026. The duo last collaborated on 

, a landmark Telugu blockbuster released in 2018. 

, Sukumar has already started developing the screenplay for his next and is currently focused on refining its narrative structure. The project is said to be in the pre-production stages. ukumar’s core team has reportedly begun preparations well ahead of schedule, laying out the logistical and creative framework required for the film. 

Boman Irani Joins the Cast Of Ram Charan’s 'Peddi'

, Prabhas exists across timelines, slipping between past and present, equal parts action hero and (sort of) ghostbuster. He’s both Batman and Joker rolled into one. The film’s '2.0' trailer firmly anchors itself on his star power, with 

 doing the heavy lifting as he juggles action and drama, takes on demons and ghosts, and even wrestles an alligator along the way.

Written and directed by Maruthi, the film also stars Sanjay Dutt, Boman Irani, Malavika Mohanan, Nidhhi Agerwal, Riddhi Kumar and Zarina Wahab.

The new trailer, over three minutes long, gives a glimpse into the supernatural world of 

, as it shows Prabhas and team dealing with a troubled spirit in a haunted mansion, which was once a palace in a kingdom.

"This is not a house but a palace of illusion," a voiceover is heard introducing the setting, "People come here of their own will, but leave only as per your grandfather's will," teasing Dutt as the mighty evil force that Prabhas will take on. 

The trailer, much like the previous visual asset, shows Prabhas' two characters: a younger version in the horror house as well as an older, cigar-smoking man. The 2.0 clip then ends with a 

-inspired look of Parbhas, as he sits with a giant hammer and reveals his face.

The film is directed by Maruthi and is gearing for a grand global release on January 9, 2026. Produced by TG Vishwa Prasad and Krithi Prasad, 

, Prabhas will be seen in two other films, including 

The film, billed as a dark cop action drama, stars Triptii Dimri and began filming this month, with a tentative 2027 release in sight. 

also co-stars Vivek Oberoi, Prakash Raj and veteran actress Kanchana.

'The Raja Saab' Trailer: Prabhas Fights Supernatural Forces and Teases Joker-Inspired Look

CIRCUS has been building toward this moment for a while. When the festival debuted in Goa in 2019, it positioned itself not as a genre disruptor but as a curator-led alternative to India’s increasingly formulaic electronic circuit. Its early editions leaned into techno, house, and left-field club sounds, prioritising flow and programming over mass appeal. That philosophy has evolved steadily over the years, and day one of CIRCUS 2025 in Mumbai marked the boldest expression of that evolution yet.

Much like many other marquee music festivals local to Goa, CIRCUS decided to make the move to Mumbai. Now, not a lot of these festivals have gotten it right. But CIRCUS certainly did. The festival arrived at NSCI Dome in Mahalaxmi with its most ambitious spatial and technical design to date. The setup transformed the venue into a 360-degree visual paradise, chucking out the idea of the traditional stage. Instead of orienting the night around the artists entirely, the setup treated the crowd to an immersive experience, and the sonics were backed by an L-Acoustics L-Series rig optimised for even coverage, paired with kinetic scenography and an architectural lighting grid.

The crowd behaviour reflected that the production was not an afterthought. For a majority of the time, the attendees were taken into a trance by the artists and movement became collective, almost ritualistic, with just a few phones in sight.

The tone of the night was set by Klangkuenstler, making his third visit to India, by now a familiar name to local techno crowds. Known for his high-BPM, hardgroove-driven vibes, his language was recognisable, drawing from the same sonic world that defines his master tracks like 'Totter Schmetterling'. The artist took to Instagram to express his love for India and how he wishes to bring his concept production OUTWORLD to India on his next visit. 

And what followed was absolute madness. With a seamless transition, I Hate Models,  headliner of CIRCUS, took over the booth with his signature mix of 'Paleta'. What proceeded is an hour of carnage on the dancefloor as the French DJ, making his debut in Mumbai, did what he did best: win the crowds over with his energy and showmanship. 

Beyond its opening night, CIRCUS 2025 used the rest of the weekend to expand its programming into different genres of techno. Day 2 shifted toward groovy territory, led by Jamie Jones and Maceo Plex, whose sets eased the intensity without flattening momentum. 

Day 3 introduced a more melodic approach with Monolink Live, offering a contrast in structure yet seamless transitioning through BPMs. The CIRCUS is set to close with an Afro Beats night headlined by Hugel and Yousef, rounding out a weekend that moved across genres without losing the audience.

Having followed CIRCUS closely over the years, particularly through its Goa editions, we have come to associate the festival with a certain curatorial confidence. When the move to Mumbai was announced, it felt like a genuine test of that philosophy. What unfolded instead was a reminder of why CIRCUS has earned its credibility. The festival didn’t just survive the shift; it came with a presentation the city had never seen before. For a homegrown platform to do that in Mumbai is no small feat, and it positions CIRCUS as one of the few festivals in the country worth watching closely in the years ahead.

Circus Festival 2025: I Hate Models and Klang Kick Off Day One in the Most Spectacular Way Possible

 star Yash, the upcoming action thriller features Qureshi as Elizabeth.

Yash took to X and shared the poster, writing, "Introducing Huma Qureshi @humasqureshi as ELIZABETH in - A 

" Qureshi quote-tweeted the poster—which features her in an old -world, gothic glamour setting— and wrote, "Let's go!"

This was the second such character poster of the film, after 

Advani's debut poster featured her wearing an off-shoulder gown, gaping at a mystical Cirque du Soleil-like atmosphere with streaks of mascara tears on her face.

is on track for a grand global release on March 19, next year. The much-awaited feature will release during a festive period, overlapping with Gudi Padwa, Ugadi, and Eid, which offers a strong four-day holiday box-office window. 

The upcoming feature, billed as a stylish, noir-inspired thriller, also stars Nayanthara and Tara Sutaria. This will be Yash's first film since he found nationwide popularity with the blockbuster 

franchise. Yash has also written the film, which will clash at the box-office with 

has been filmed simultaneously in English and Kannada and will also be dubbed in Hindi, Telugu, Tamil, Malayalam, and more. The film is being produced by Venkat K. Narayana and Yash under KVN Productions and Monster Mind Creations.

In terms of onboarding global technicians, Hollywood action director JJ Perry—celebrated for his work on Keanu Reeves' 

—along with national award-winning action directors Anbariv have crafted the film’s action sequences, with national award winner Rajeev Ravi leading the cinematography. The film's music is composed by Ravi Basrur, known for his previous collaboration with Yash on 

'Toxic': Yash Introduces Huma Qureshi as Elizabeth in New Poster

exited the film, just weeks before the third instalment of the popular thriller franchise was set to go on floors. According to the film's producer, Kumar Mangat Pathak of Panorama Studios, Khanna left the film a day before the release of 

There were speculations that Khanna exited the project as he was unhappy with his remuneration and had reservations about his look in 

. Khanna has been replaced in the film by 

, even predicting that the Ajay Devgn and Tabu starrer would do business of over ₹500 crore after he heard the narration.

The producer claimed Khanna was paid an advance on the finalised remuneration, but a day before 

 hit the screens, he backed out. “At least walk out graciously. How can you not respond to calls and messages?” Pathak fumed, stating that he tried to reach out to the actor several times, but there was no response.

Pathak doubled down on Khanna in another interview and claimed that "it doesn’t matter" whether the actor was in the film, as 

"Now, Jaideep Ahlawat has replaced him. By the grace of God, we have got a better actor than Akshaye, and most importantly, we have got a better person than Akshaye as well,” Pathak told 

 and added that since he has suffered losses due to his behaviour, he is going to initiate legal action and has already sent Khanna a legal notice.

will begin its next stint in Goa from January 8. The schedule is expected to continue till the end of February, which will feature the entire cast, including Devgn, Tabu, Shriya Saran and Rajat Kapoor.

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What Are The Ongoing Cinematic Universes in Indian Cinema?

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