Sikhya Entertainment, the Oscar-winning Indian production house behind 

, has announced its first collaboration with acclaimed 

. The yet-untitled feature began filming on Sunday in Madurai after a traditional pooja ceremony.

The project marks a significant crossover between two of Indian cinema’s most distinctive voices — 

 and Achin Jain’s Sikhya Entertainment, known for championing rooted, globally resonant storytelling, and Subbaraj, one of Tamil cinema’s most inventive contemporary directors.

Over the past decade, Sikhya has become a powerhouse of independent Indian filmmaking, producing titles such as 

. The banner’s global recognition peaked with 

, which became India’s first Oscar-winning documentary short in 2023.

Guneet Monga Kapoor’s Sikhya Entertainment Joins Forces with Karthik Subbaraj for new Tamil feature

For much of the post-pandemic period, Indian theatres appeared to have accepted a brutal binary. Either a film arrived as a ₹400–600 crore spectacle, made to explode on opening weekend, or it exited the conversation altogether — diverted to streaming, often without promotion. The mid-budget theatrical film, once the spine of Hindi cinema and a steady contributor across industries, seemed to have vanished.

And yet, 2025 has unsettled that assumption.

This year, while several heavily mounted tentpoles underperformed, a clutch of films in the ₹80–100 crore range — and, crucially, titles that didn’t announce themselves as “events” — have sustained footfalls, bridged calendar gaps, and in some cases become outliers. Theatres did not revive because of a single phenomenon, but because of an uneasy convergence: audience fatigue with hollow spectacle, the retreat of OTT safety nets, and exhibitors recalibrating programming in real time.

“2025 has dismantled long-held assumptions about what works and what doesn’t,” Niharika Bijli, Lead Strategist at PVR INOX Ltd, told 

“Audiences now prioritise sincerity over scale. They’re seeking intense, deeply felt experiences in theatres — whether it’s love, anger, nostalgia, or sheer unfiltered joy. Feeling over fluff is firmly back.” Bijli’s emphasis on emotional pull rather than production scale recurs across industries this year. Films that delivered a visceral experience — irrespective of budget — managed to draw audiences, often without the opening-weekend hysteria once considered non-negotiable. “That’s why films that delivered emotional force have performed,” she said, pointing to titles such as 

. “They have all been able to get their audiences to cinemas.”

The pattern is echoed by exhibitors on the ground. Akkshay Rathie, film exhibitor, described the return of the mid-segment film as not merely visible but essential. “The mid-segment film has made a return. Some of these films have actually become outliers in the best sense,” he tell us.

as an example — a film modest in scale that exceeded expectations within its genre. However, Rathie is careful to resist romanticising the mid-budget resurgence as a solution in itself. “What theatres truly need is not just mid-segment films, and not just tentpoles, but a very healthy mix of both,” he said. “Ideally, every month should have at least one tentpole — whether from Hollywood, the southern industries, or Hindi cinema. Between those tentpoles, you need mid-segment films that carry you from one big release to the next, keeping your operating costs covered.”

That distinction between survival and sustainability defines much of 2025. Mid-budget films may have kept theatres alive, but the absence or underperformance of expected blockbusters left exhibitors exposed. Rathie is blunt about this imbalance. “Had it not been for 

 — exhibitors would have been in really bad shape this year,” he said. “We were expecting much more from films like 

The fragility of the ecosystem becomes clearer when viewed through a trade lens. Ramesh Bala, trade analyst, situates 2025 within a longer arc of uneven recovery. “If you look at the post-pandemic recovery, the southern markets bounced back slightly faster than Hindi cinema,” he says. 

While none of the industries have fully returned to pre-pandemic levels, the south benefited from structural advantages — capped ticket prices, strong star-driven opening cultures, and clearly defined home markets. “In states like Tamil Nadu, ticket prices are capped, unlike in Mumbai or Delhi where multiplex tickets are extremely expensive,” Bala noted. “This ensures that audiences still turn up, at least over the weekend, and if the film is exceptionally good, even on weekdays.”

Volume also plays a decisive role. “Bollywood releases far fewer films now,” Bala said. “In contrast, in the south — across Tamil, Telugu, Kannada and Malayalam — you’ll see multiple releases every week. That volume keeps theatres active and audiences habituated to the theatrical experience.” Medium- and small-budget films such as 

may not dominate national discourse, but they keep the machinery running.

Perhaps the most consequential shift of 2025, however, lies outside box office charts altogether. The OTT-first model that once absorbed risk has receded. “Streaming platforms have become far more selective,” Bala said. “They are no longer buying films the way they did during the pandemic.” The result is stark: theatrical release has once again become the primary filter for streaming acquisition. “The safety net has almost completely disappeared,” Bala explained. “Today, in nearly 90 per cent of cases, producers are releasing films without any assured pre-release revenue.” What once allowed a ₹100 crore film to recover half its cost through satellite and streaming deals no longer applies. Theatres are once again the highest-risk, highest-stakes window.

This recalibration has also reshaped the role of re-releases, which started in 2025 not as desperation programming but as cultural events. “Re-releases have been far more than fillers this year,” Bijli said. “They kept screens active during weeks that might have otherwise felt lean, drawing in a younger audience eager to experience older films on the big screen.” 

Crucially, Bijli resists reducing re-releases to footfall math. “They serve a much larger purpose,” she said. “They allow us to revisit titles, restore them to our cultural memory, and spark conversations that go beyond box office numbers.” Films such as 

 may not have generated spectacular collections, but their afterlife — songs trending, renewed discussion — signals a broader cultural ripple.

Rathie concurs, but with a caveat. “Re-releases can’t just be paradrops,” he said. “They need to be well-planned, well-marketed properties — events, essentially.” He points to Shah Rukh Khan’s birthday re-releases as examples of intent and visibility making the difference between nostalgia and indifference.

Regional cinema, too, has altered the theatrical map. Gujarati films, once treated as niche, now travel beyond state borders. “Gujarati cinema has moved from a niche space to a steady performer,” Bijli said. Exhibitors have responded by offering better time bands, longer runs and integrated programming. Rathie situates this within a larger national opportunity. “Every regional fraternity in India has tremendous potential,” he said, citing industries from Chhattisgarhi to Assamese. “What’s missing is a more organised, audience-first approach.”

Not grand events, but consistency. Regular release intervals. Curated re-releases. Mid-budget films valued for intrinsic connection, not just cost sheets. And tentpoles that arrive when they’re ready — not clustered around festivals to cannibalise one another. “Story-driven cinema — rich in diversity, rooted in cultural resonance,” is how Bijli describes the road ahead. Rathie adds the cautionary note: without a steady cadence of big films, the system cannot hold. Bala, meanwhile, reminds us that theatres have reclaimed centrality, not by choice, but by default.

In 2025, the mid-budget film endured. And in doing so, it reminded the industry that survival, unlike spectacle, is built film by film.

Mid-Budget Films Revived Indian Theatres in 2025, What Will 2026 Look Like?

continues to run unchallenged in Indian cinemas. At the end of its three-week theatrical run so far, the spy actioner starring Ranveer Singh has earned ₹640.20 crore at the domestic box office, cementing its place as the highest-grossing Hindi film of 2025. The film has also become the second-highest-grossing Indian film of the year, behind

added ₹20.90 crore to its domestic collections, according to figures shared by production banner Jio Studios. The makers claimed in a press release that this is the highest Day 20 nett recorded by any film released in India. It has officially surpassed Vicky Kaushal’s historical drama 

, which previously held the top spot for an Hindi film this year.

has charted a remarkable ascent at the box office. The film opened with a strong first-week nett of ₹218 crore. Its momentum peaked in the second week, with collections rising to ₹261.5 crore. The film maintained its pace between Day 15 and Day 19, netting ₹139 crore and edging out competition from James Cameron’s 

With the Christmas holidays adding a boost to its performance, trade estimates suggest the film is likely to remain steady in the coming days, despite a new release on the block: Kartik Aaryan's 

Meanwhile, on Wednesday, the makers confirmed March 19 as the release date for 

, coinciding with Eid, Gudi Padwa and Ugadi. Unlike the first film, which released only in Hindi, 

 will release simultaneously in Hindi, Telugu, Tamil, Kannada and Malayalam.

Directed by Aditya Dhar and produced by Jio Studios and B62 Studios, 

 is currently in post-production. It is positioned as a major pan-India release in 2026 and one of the biggest Hindi films of the coming year.

'Dhurandhar' Surpasses 'Chhaava', Becomes Biggest Hindi Film of 2025

Telugu cinema experienced a natural ebb and flow this year. A few star-led films made a dent at the box office — Venkatesh Daggubati’s 

— while some surprised not too much with density, but with style (Pawan Kalyan’s 

). But the real mavericks this year have been the smaller films… titles that sneaked in terrific registers of performances all through 2025. 

Here’s a list of Telugu cinema’s best performances this year in no particular order:

 brings his characteristic lightness to the Telugu drama. But where he really surprises in 

 is with his range. Through the romance of two young adults, the 19-year-old Chandu, and the 17-year-old Jabili, we see a falsely implicated case under the POCSO Act play out. Pulikonda’s Teja, an assistant who is dying to come out of his mentor’s shadow, is forced to take up this complicated case — not for selfish hunger of recognition — but out of empathy for Chandu’s helplessness; a glimpse of which he sees in himself. Pulikonda is fantastic in the court scenes as the wordsmith, a side of him we’ve come to adore, but also as an immersive performer who rightfully gets his due. 

 has some of the most piercing depictions of women in it. We have the beautiful and self-assured Durga (Anu Emmanuel), who doesn’t shy away from being the first to profess her love. And then there’s Rohini, who plays Vikram’s mother, a mute, terrified shadow of a woman, conditioned by the men in her life. But 

’s Bhooma is perhaps one of the more intricately written women to come out of Telugu cinema this year. She might look demure, but Mandanna gingerly ensures that she isn’t reduced to a simplistic type. An apt reflection of any modern woman in a knotty relationship, Mandanna’s ability to effuse strength, naïveté and feverish rage moulds Bhooma and the film.

Dhanush’s knack for playing vulnerable men is well-documented. But there’s something about his character in 

—marked by a transformation as emotional as it is physical—that supersedes our understanding of the impeccable on-screen soft boy. His turn as Deva, a charming beggar who has been cheating death ever since his birth, is sensational. He can be dressed up in tailored linen or silk, but 

 wants you to know that he is a beggar with no shame. You see it in the way he assertively crouches on the floor when told to sit in a room, shares his biscuits with strays, and never forgets the hand that feeds. The lines between Dhanush and Deva blur so brilliantly in the Sekhar Kammula film, leaving us brimming with grief and relief at the end of it all. 

A romance about a young man and a woman, who, as a sidenote, is three years older than the guy, isn’t too far from your average love story. But what makes 

 refreshingly inventive is the performances. Mouli, who plays Akhil, a young but harmless loafer, lends unending amounts of wit and humour to the role. The film could’ve easily taken on an off-colour tone, considering it deals with complicated gender dynamics of a romance where the man relentlessly pursues the woman. But Mouli and the dynamic team of actors (including 

Shivani Nagaram as Khathyayani and Jai Krishna as Akhil’s friend) think on their feet and keep the mood enjoyably frothy. “It’s good that you’re older than me; you’ll take care of me,” remains Akhil’s simple yet darling philosophy. 

goes further and brings us the story of the relentless old man who wants to become an actor at 70. Sudhakar Reddy brings deep levels of complexity to Muthayya’s struggling actor. He is always seen with a smile, and greets everyone he meets with the “Did you eat?” civility (and he actually wants to know if they lunched). But he also can’t hide the feeling of profound sadness that often comes with being a failed actor. His story about going to Madras as a young man with ₹72 in his pocket moves his bestfriend Malli in equal measure. Malli describes Muthayya in a lovely line in the film, even if he means it as a taunt. He scoffs at him for being “obsessed with beauty.” All that incessant twirling of the handlebar moustache makes us agree with Malli. But which actor isn’t? Reddy pulls us in with his dreamer act, and by the end, we’re cheering him from the aisles. It doesn’t really matter whether he succeeds or not.

The Five Best Telugu Film Performances of 2025

, the upcoming Tamil film headlined by Rajinikanth and directed by Nelson. The development was indicated by veteran actor Mithun Chakraborty during a recent interview. 

’s cast is shaping up to be a grand, pan-Indian affair. It was recently reported that Vidya Balan and Mithun Chakraborty have joined the film’s cast. Mithun confirmed his appearance in the film in an interview with Bengali entertainment portal 

. Furthermore, he went on to name several high-profile stars associated with the project. “Mohanlal, Shah Rukh Khan, Ramya Krishnan, Shivarajkumar,” Mithun said, indicating that Khan is part of the film. 

However, the makers of Jailer 2 are yet to confirm the development. 

 is directed by Nelson Dilipkumar and features Rajinikanth in the lead role. Vidya Balan was recently reported to have joined the film's sets. The actor was last seen in Tamil cinema in Ajith Kumar’s 

had a thrilling, pan-Indian ensemble, including actors such as Shiva Rajkumar from Kannada cinema, Jackie Shroff from Hindi cinema, and Sunil from Telugu cinema.

Meanwhile, Rajinikanth’s 1999 blockbuster 

has been re-released in theatres in a newly remastered 4K version, to mark the star's 75th birthday and his 50 years in cinema. The film opened brightly across Tamil Nadu theatres, especially Chennai, where fans thronged to the screen to celebrate the Superstar's birthday. Wishing the actor on his 75th birthday, Sun Pictures recently released a video from the sets of Jailer 2.

Shah Rukh Khan did not have a release in 2025 (and 2024). His next, 

, an action drama directed by Siddharth Anand, is slated to arrive next year. The makers had earlier released an exciting teaser introducing Khan’s look and character.

Shah Rukh Khan To Make Appearance in Rajinikanth's 'Jailer 2', Reveals Mithun Chakraborty 

"In the end, death itself died, but could not kill her." Those are the closing lines from the powerful teaser of 

The makers of the film, billed as an emotional action thriller, launched its first visual unit on Wednesday.

"This is just the tip of the tip of the iceberg," Mandanna said as she shared the teaser on her official X account. The film aims to delve deep into the culturally rich and captivating world of the Gond tribes, with Mandanna transforming herself into a never-seen-before avatar of a Gond woman, playing her with "fierce intensity and emotional depth," the makers said.

Produced by Ajay-Anil Sayyapureddy, Veerasai Gopa, the film is written and directed by Rawindra Pulle, who had helmed the 2021 Telugu film 

"We just wanted to do something fun for an evening to show you the world now and the serious stuff? Ohhhhohohohooio you’ll see it in a couple of months. ❤️‍🔥 So have funnn!" she tweeted.

Jakes Bejoy is on board the film as its music composer, while Shreyaas Krishna, who worked for Suriya's 

, will be the DOP. The film's action is being designed by Andy Long of 

In an earlier post on X, Mandanna had opened up about choosing 

and said, "I always try to give you something new… something different… something exciting… And this… This is one of those.. A character I’ve never played before… a world I’ve never stepped into… and a version of me that even I hadn’t met till now.. It’s fierce.. it’s intense and it’s extremely raw.. I am so nervous and super excited, I genuinely cannot wait for you to see what we’re going to be creating.. This is just the beginning."

Mandanna had a packed 2025, starring in blockbusters like 

as well as critically acclaimed titles like 

'Mysaa' Teaser: Rashmika Mandanna Headlines A High-Octane Action Thriller

star — Akshaye Khanna — has pulled a similar move. According to reports, Khanna has stepped away from the cast of 

, the much-awaited third installment in the Hindi 

Khanna essayed the role of a dogged investigator,  IG Tarun Ahlawat, in 

 in the leading role of a man at odds with the law. Tabu, Shriya Saran, Ishita Dutta and Mrunal Jadhav also featured in the cast.

, rumour has it that the actor has dropped off from the project due to a mix of monetary and creative differences. Online reports claim that the actor, currently basking in the success of 

, demanded a 'substantial hike' in his fee. Furthermore, he reportedly demanded changes to his character's look in the film. As negotiations hit a roadblock, the actor decided to walk away from the project. However, an official confirmation regarding his exit is yet to arrive.

Khanna essayed the role of feared Karachi gangster Rehman Baloch in 

. The actor's charismatic performance was hailed as one of the film's highlights, with his entry sequence in the song 'FA9LA' by Bahraini rapper Flipperachi going viral on social media. Khanna also featured in a negative role in the year's other big hit, Chhaava, playing Mughal emperor Aurangzeb. Collectively, the two films have grossed close to 

 is scheduled to release in cinemas on October 2, 2026. Production on the film is currently underway across multiple cities, with the makers confirming that the film is being mounted on a larger scale than its predecessors. Tabu, Shriya Saran, Ishita Dutta, Mrunal Jadhav, Kamlesh Sawant, and Rajat Kapoor return alongside Ajay Devgn.

After 'Dhurandhar' Success, Akshaye Khanna exits 'Drishyam 3': Reports 

After delivering an acclaimed performance in 

Mammootty’s recent serial killer thriller 

, Vinayakan was all set to complete his portions in Midhun Manuel Thomas’ 

, in which he was said to reprise the role of Dude. 

, the injury is said to have occurred during the shoot of one of the many action sequences in the film. Vinayakan is said to have required medical attention  after he felt discomfort as the film’s shoot was progressing in Kochi. The report added that an MRI scan later revealed a serious muscle injury, following which doctors recommended complete. Details about how this injury will delay the shoot of the mega budget film is not yet known. 

franchise starring Jayasuriya and a host of ensemble cast. The first film was a famous flop in theatres but it gained popularity once it aired on TV. The second film was thus planned and it went on to become a massive hit upon release. 

As for Vinayakan, he was also expected to join the sets of 

. One is unsure if his injury will create delays for that film. We had reported earlier this month that even Mohanlal would join the sets of 

. Mohanlal was expected join the film’s sets in Goa after December 20, in what is reportedly a short three-day stint. He played the role of Rajinikanth’s friend, a gangster named Mathew, in the film’s first part.  Similarly, actor Vinayakan, who played the dreaded bad guy Varman in the first film, said during a recent press event that he would feature in 

. It is unclear at the moment if he will be reprising the same character, in what perhaps might be a flashback portion (Varman dies during the climax of the first film).

The film is being directed by Midhun Manuel Thomas, who made last year’s hit thriller 

, which was also released last year. When 

was first announced, there was speculation that it would be made in 3D. It is also a rare movie franchise in which the film got a second part, even though the first film was considered a flop when it was first released. The film’s sequel went on to become a blockbuster.

The ensemble cast of the first two parts of 

 included Jayasuriya, Shaiju Kurup, Bhagath, Vijay Babu, Vinayakan, Sudhi Koppa, Indrans, Dharmajan Bolgatty, and Sunny Wayne, among others. Akhil George is the film’s DOP, and the music will be by Shaan Rahman. Lijo Paul is the editor. Apart from Vijay Babu’s Friday Film House, the film is being co-produced by Venu Kunnappilly, who had earlier produced 2018, a blockbuster.

Meanwhile, the makers released a poster announcing the release of their upcoming comedy, slated for March 19. The three-part poster highlights the titular “Aadu” or Goat in the lead, with the film’s ensemble cast being restricted to the background. The poster also shows three different timelines, suggesting the film to based around time travel. In the past, we saw the goat being chased by a group of warriors on horseback. In the present, we’re taken to the world of the first two films, and the future shows the goat in what appears to be a few decades ahead in time. The caption reads, “When The Past Becomes The Present, The Future Changes The Past…!”

Actor Vinayakan Injured During The Shoot Of 'Aadu 3'

Telugu actor Sivaji has come forward to apologise for a comment he made about women actors in his industry. The actor, who played the central villain in 

, had addressed the audience while praising the female host for wearing a saree to an event. Along with a short video clip on X, the actor wrote, “I sincerely apologise for my words during the Dhandoraa pre-release event last night.  @itsmaatelugu.” (SIC)

His comments during this event had led to widespread backlash from the industry and the audience alike. After this comment, the actor is said to have ranted about women and how they must dress, talking about the host of the event. When translated from Telugu, the actor is said to have commented, “I request heroines not to wear revealing outfits. Please wear sarees that cover the body fully. Beauty lies in complete attire or a saree, not in displaying assets.”

A group of Telugu actors had come together to disregard his comment and his apology on Monday can be seen a response to the widespread response to his statement. 

In the emotional video, he said he had no intention to say something that would be interpreted in this manner and what he had wanted to say was with good intentions. He also regretted the way a few words slipped out of his mouth during the speech.” 

Meanwhile, the Telangana State Commission for Women issued summons to Sivaji over his derogatory comments on women, according to reports. The actor has been directed to appear before the Commission on December 27.

Among the people who took to social media to criticise his statement included  members of the film industry such as director Ram Gopal Varma, actors Lakshmi Manchu, Manchu Manoj, and Anasuya Bharadwaj. While a few of them called him out for his statements, others spoke up about women’s freedom and agency and the misogyny that was widespread in their industry.

Telugu Actor Sivaji Apologises For Misogynistic Comments 

The year is coming to an end, and a question remains to be answered: How did 

 actually fare at the box office in 2025? Realistically speaking, the year witnessed an unprecedented combination — the success of a tentpole franchise film that turned a coastal Karnataka tradition into a visual spectacle (

, which went on to make ₹645 crores in India, net) and a small-budget gem that wove a story of unmistakeable human kindness with horror and comedy (

, which amassed ₹92 crores across India, net). Does this signal clearer skies for an industry long caught in a dry spell, or is one letting recency bias get the better of them?

 did a box office check on the withering state of the Kannada box office at the half-year mark for the July edition. Have things looked up since then? 

, feels there’s still much to be desired. “I don’t see any change at all,” he says. “Just because two films make money, that doesn’t mean everything has changed in the industry. We are pessimistic and very optimistic, but we need to be logical. If films don’t do well, we blame the audience, saying people aren’t watching in theatres, and if they do well, we feel the industry has suddenly changed.”

Change is neither drastic nor miraculous — it is slow, he cautions.

The two films might be this year’s obvious box office winners, but that doesn’t mean the year was bereft of other compelling stories. The second half of the year gave the audience Punit Rangaswamy’s 

, which told the story of an interstate romance, set on the boundary of Tamil Nadu and Karnataka, a taut one-night thriller. Kannada filmmaker and producer Tharun Sudhir, who backed the movie, says he bet on the film’s content even though it didn’t have stars. And considering that, he’s happy with the film’s results. “We also got an offer for a Hindi remake. People appreciated the film on social media, and it was all organic. As a production house and a brand, it gave us a very good name and decent money.”

, but it still reinforced belief in good content. Somewhere along the way, the Kannada film audience began developing trust issues, Sudhir notes. “We have been feeding average and below-average films, and he [the viewer] has been spending his money and going back disappointed. So, now he has become very cautious.”

But even with good word-of-mouth, a film needs time in the theatre to grow — precious time that they aren’t often given. “For a film led by new faces to pick up, it might take nine to 10 days, and it might have a slow progression at the box office. But before that, the movie might be thrown out of the multiplex,” says producer Ravichandra AJ of Janani Pictures, a production house which made its mark in 2024 with the Kannada time travel film 

Making a good film today also costs a lot of money, points out Ravichandra, noting that it’s the kind of money that not many new producers or studios have. “We released 

on eight screens during the first week. We went up to 76 screens over the next seven weeks. For us, it was an incremental rise. A few years back, it was easy to reach our followers [on social media], but now we need to pay for ads and not everyone can afford this. I cannot promote my film the way Hombale [Films] does.”

Backing from established production houses might ease the process for newcomers, Ravichandra adds. “Production houses aren’t backing independent directors or producers. If they do, the visibility might be more for the content. If you look at 

 [the Malayali actor who produced the film] gave it a wide reach,” he says. “I have completed five years in the industry, where I have completed more than 10 films in Kannada itself, and most of them are content-driven films that have been critically acclaimed. But this isn’t converting into collections.”

Cinema isn’t always a fair business, Shetty points out. “It is always about talent, hard work and luck.” With Indian moviegoers open to consuming films from every language today, a Kannada film today must survive among Malayalam, Telugu and Tamil productions. “We are one or two among the 16 films [across languages]. It is like winning the lottery. The profits are huge, and the losses are, too.” But this isn’t always a bad thing — the hefty competition from films in other languages is a common talking point among fans and spectators. Still, Shetty thinks it’s time to move past this discourse. “Imagine I’m a hotelier opening a fish restaurant in Mangaluru. Do I now intend to close all the other restaurants so that this works better? We need to compete on the merit of quality rather than jingoism. It shouldn’t be ‘watch films because it is in Kannada,’ but ‘watch because it is a good film in Kannada.’”

, made on a small budget by a debutant director with roots in Tulu theatre, earned rich dividends at the box office. It was an experiment that made Shetty believe audiences are receptive to newcomers. “Even though it’s a mid-budget film, for a filmmaker who started his career with ₹30 lakhs, it’s a huge budget for us,” he says. Shetty has always believed newcomers could make a mark in the testing landscape. And he put this faith to test by producing a film filled with fresh faces. “The best thing about 

 is that the journey of many smaller films has now taken form.” Among these films, only a few might end up working, but it will at least create more jobs.

G. Venkatesh Reddy of Mukunda 4K Dolby Theatre, a popular single screen in Bengaluru, reaffirms that people will always come back to theatres for good films. “People were waiting for a film like

 to celebrate in theatres. It proved that if you make a good film, you can make big numbers. Stars don’t count anymore.” Between the releases of 

in 2022 and its prequel in 2025, there have only been three films that made a dent at the box office, he adds — Darshan’s 

While this year was better than last year, it’s still not time to celebrate yet, Reddy warns. “We had five decent films this year but had nothing last year. At this rate, it’s going to be difficult for theatres to sustain themselves,” he says. “We were all in the ICU when these films put us back into the ward this year. But we haven’t been discharged from the hospital yet.”

Reddy bats for government subsidies to theatre owners to help recover costs. “Instead of giving subsidies to production houses, the government should give subsidies to theatres. Once they do that, theatre owners will be interested in running them for another 10 years. We had 1,200 single screens in Karnataka at one point, but that has now come down to 400.” In another 10 years, not many single screens might be around to survive the drought, he adds.

 was released earlier this month, raking in ₹28.25Cr India net.

There is perhaps still some hope left for the year that hasn’t ended. Two more important films will see the light of day in December: Raj B. Shetty, Upendra and 

. “I always look at things from the perspective of an exhibitor more than anybody else,” says Shetty. “We don’t know if these films will do well or not, but it will be those films that will give a minimum guarantee to exhibitors. These films might bring more money to the industry, which I see as a change.”

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 bookstore or newspaper stand.

Kannada Cinema in 2025: A Step Forward, Barely

Actor Slimabarasan’s Youtube channel became the toast of the town as the makers of the star’s upcoming film released a behind the scenes making documentary about 

. In the two-minute 11 second video, we see the day getting ready for the arrival of Silambarsan to the sets and he gets ready to transform into what appears to be a fictionalised account of real-life Chennai- based gangster Mylai Sivakumar. The film is also set in the world if Vetri Maaran’s previous gangster saga 

, starring Dhanush. In this video, we see the world of the film transform from black and white to colour the moment Vetri screams action! The 90’s period setting too comes alive as the crew, including the cinematographer Velraj, make last minute changes to take up back 30 years in time. 

In late October, the same team had launched a retro first-look poster from 

. This title translates to ‘King.’ It is being produced by Kalaipuli S. Thanu, who had previously collaborated with Vetrimaaran and Dhanush on Asuran. This is Silambarasan’s first film with Vetrimaaran. The project’s tentative title was initially ‘STR 49’, and the team eventually released a new poster, hinting at the film’s mood and themes.

, is the owner of the film's intellectual property, the filmmaker said in a recent video announcement, adding that it's morally right for a person to ask for money for their copyrighted content. "The day after I met Simbu, I spoke to Dhanush about this and told him we could go two ways with this film, which is either set the film in the world of 

or do it as a standalone film and that it depends on him. He told me to do whatever is comfortable for me. He told me he would give NOC and said no money was needed."

We had also written about the news of actor Vijay Sethupathi joining the sets of 

a month ago. The makers of Vetrimaaran’s new film put out a poster welcoming Vijay Sethupathi to the sets of their under-production film. 

stars Silambarasan, and the gangster saga is part of the 

universe and is likely based on the life of real-life Chennai-based gangster Mylai Siva. Siva’s life is said to have been associated with gang violence in the Mylapore area of Chennai.  Vijay Sethupathi had played an important role in Vetrimaaran’s two previous films, 

(2024). It was the film’s producer, Kalaipuli S Thanu, who posted the announcement on social media with the caption, “Manidham inaigiradhu, magathuvam therigiradhu (Humanity connects, greatness is on display).”

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the actor has now reportedly walked out of the Farhan Akhtar directorial. The decision came shortly before the film was gearing up to go on floors by February.

Singh was on track to begin the film, which would have seen him stepping into the shoes of the OG 

Amitabh Bachchan and Shah Rukh Khan, who headlined the film's reboot version in 2006, helmed by Akhtar.

While the reason why Singh has stepped away from the film varies—a 

report claimed that the actor's commitment to an apparent additional shooting days of 

 was one of the roadblocks, apart from "a hike in his remuneration" after the historic success of 

’s budget. The parting of ways was amicable, albeit inevitable," the publication quoted a source. According to the report, there was a meeting between Singh, his management and Akhtar to discuss the way forward with 

Following this, Excel Entertainment's Ritesh Sidhwani informed all the department heads to halt the pre-production and communicated that the shooting schedule was officially pushed.

the actor is still committed to headline the 

which would go on floors between July and August. The film will be helmed by director Jai Mehta, who had co-directed 

with his filmmaker-father Hansal Mehta, and then made the show 

 as it put up another sensational number on its third Tuesday, netting ₹20 crore. According to the official figures, the spy actioner has minted ₹619 crore in India and is on track to comfortably cruise past the ₹700 crore mark domestically.

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 was released on December 23. The film, produced by 

. "Land, water, air and most of all money, their value keeps increasing. But when it comes to us and our people and us, we're nothing," says Sundeep's hero in the video.

Faria Abdullah stars as the female lead opposite Sundeep Kishan, while the supporting cast includes Raju Sundaram, Anbu Thasan, Yog Japee, Sampath Raj, Kiran Konda, and Magalakshmi Sudharsanan. Catherine Tresa will be seen in a special appearance in a high-energy song.

The film’s music is by Thaman S, and it is being produced by Subaskaran of Lyca. The film's poster, which eas released recently, features Sundeep as an injured lead character holding onto a big bunch of US dollars as it gets burnt. Elephant tusks, too, can be seen in the background.

film’s star Sundeep had spoken about working with Jason Sanjay

 for his debut. He had said, “So I had met Vijay sir during the pooja of 

 and he mentioned that his son was going to debut as a director, and added that Jason Sanjay really likes my work a lot. Lokesh laughed it off, saying that Vijay sir was just being nice to me. But then, just a few months later, I got a call about Sanjay wanting to narrate his story to me. It was a real surprise, but then Sanjay came down to Hyderabad and gave me a kick-ass narration that lasted for almost two and a half hours! I said yes immediately.”

a "new-age commercial entertainer with a lot of action, humour, and a very fresh filmmaking style. I think this will be my most commercial film so far, as some of my other projects have been a little dark in tonality. Sanjay’s film has a great new film language, and I'm really excited about it."

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Starring Matt Damon as the classic Greek hero, the trailer begins with a voiceover, saying, “After years of war … no one could stand between my men … and home … not even me.”

The trailer also offers glimpses of Anne Hathaway as Odysseus’s wife Penelope and Tom Holland as his son Telemachus.

The all-star cast includes Matt Damon, Tom Holland, Zendaya, Robert Pattinson, Lupita Nyong’o, Anne Hathaway, and Charlize Theron. The story follows Odysseus on his perilous journey home after the Trojan War, navigating encounters with gods, monsters, and temptations that test his resolve.

 marks Damon’s fourth collaboration with Nolan following 

(2023). Nolan has directed and written the screenplay for

 as well as serving as a producer alongside Emma Thomas under their Syncopy production company.

Universal Pictures confirmed that the film, described as a “mythic action epic,” will hit theatres worldwide on July 17, 2026. Shot across the globe using cutting-edge IMAX technology, the adaptation promises to reimagine the ancient Greek tale for modern audiences.

Fans have already begun drawing thematic parallels between 

 and Nolan’s recent work, particularly 

(2023), which explored the personal toll of pursuing greatness.

While Nolan has tackled period dramas before, 

 brings a new challenge for the filmmaker. Known for grounding fantastical concepts like shared dreams in 

(2014), Nolan is set to bring his signature realism to a story about gods, goddesses, and mythical creatures.

This is the first time Homer’s eighth-century BC epic will been adapted for IMAX, a medium Nolan has long championed. Previous adaptations include 

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