 is just ₹2 crore shy of becoming the first 

 to touch the ₹300 crore mark at the global box-office. In late September, the film had become the highest-grossing Malayalam film of all time, surpassing this year’s record set by 

, directed by Prithviraj, starring Mohanlal

 the second highest-grossing female-led Indian movie, behind 

Tracking website Sacnilk reported that the movie grossed a whopping ₹298 crore worldwide and is soon expected to enter the ₹300 crore club. Released on August 28, the film continues to draw packed audiences in theatres across Kerala, even a month after release. It has not yet been released on OTT, adding to its theatrical craze. Two other films that released this Onam, 

'Lokah Chapter 1: Chandra' All Set To Be First Malayalam Film To Touch ₹300 Crore 

In this business, desire is a suspicious currency. We are professionally (and defensively) trained to keep it at arm’s length. To interrogate the screenplay, to question narrative worth, to ask whether the feeling is “earned.” What if the writing collapses? What if the character exists only as a mood board? What if the story itself is not something you’d publicly endorse?

Crushes are gloriously unbothered by logic. Desire sneaks in through the fissures. It ambushes even the most disciplined critic, settling somewhere near the collarbone, lighting up the parts of us that don’t usually get column inches.

We spend so much time celebrating excellence that we forget to make space for softness — irrational, persistent, deeply unserious softness. So at 

, we decided to suspend good behaviour. Briefly. Tenderness, after all, deserves a seat at the table.

Here are our screen crushes of 2025 (be still, my beating heart):

Dev arrived early in the year and refused to leave — a volatile cop with partial memory loss, a permanently clenched jaw, and tight, 

khaki pants doing far more narrative work than strictly required. Kapoor wears the uniform like a second skin, the fit precise enough to feel almost aggressive in its own right (stop. Focus). It is, regrettably, impossible not to notice how perfectly those trousers hold their shape, and his. Okay. I’ll stop. Kapoor plays him as a walking contradiction. He leans fully into the greys with such ease that you’re convinced you’ve met this man before, probably to your own detriment. Dev is very much a red flag, but one rendered with such tactile specificity that resistance feels pointless. After 

, there was a solemn vow to retire any affection for men with violent streaks. That vow did not survive 

. It may be the posture. It may be the haunted eyes. It may, frankly, still be the pants. Those perfect — okay, I said I’d stop. 

Motion capture has rarely carried this much charge. Oona Chaplin infuses Varang — the ferocious leader of the Ash People — with a magnetism so potent it cuts straight through pixels. Her sensuality is a threat, her power is dangerously alluring. She is ruthless, commanding, and unapologetically violent — okay, 

 I have a problem. But Varang is fluent in dark arts and she is spellbinding. The film is fully aware of the erotic undercurrent it’s playing with, letting Varang exist as a figure of dominance. You have to submit to her. Eyes locked. Brain off. Respectfully undone. 

A generational crush, ala Hrithik Roshan, aka Rajesh Khanna, Ahaan Pandey and his green-flag boyfriend—who lets go of his career to nurse his girlfriend whom he doesn’t mind marrying, really, it is just a formality—in 

set a blueprint for desire at a time when masculinity was coming undone, with rage and restlessness becoming the image in which most men want to be made. Pandey's yearning performance in that deep and confident voice, and his physicality —a small mouth and searching eyes, a body that isn’t shredded but one that tries—came together to etch a paw-licking character that made yearning and brooding sexy, but also, tender. No woman was harmed in the making of this man. 

He definitely isn't your standard definition of hot. On-screen, he looks anywhere between 35 and 65, which is honestly part of the appeal — mysterious and tax-bracket-fluid. The man can act, obviously. But damn, Jaideep Ahlawat can dance too? The better-forgotten Jewel Thief on Netflix this year thrust him into the limelight as a gangster with smooth moves. The movie tanked harder than our annual New Year's resolutions, but Ahlawat definitely did some "Jaadu"— on us and our unsuspecting hearts. He closed out the year in Family Man S3, playing another gangster, this time with a ponytail. Which somehow made him hotter? We don't make the rules. There's just something about a man who can threaten someone's life and nail a complicated dance sequence in the same year. The confidence, the rhythm, the vague danger — we love it all. 

We fell in love with the father, and now we love the son. Nope, it isn't Saif Ali Khan and Ibrahim. It's Steve Irwin's son, Robert. He's a wildlife photographer, an actor, he loves animals, and literally has his own zoo. You know, normal guy stuff. He broke the internet back in April when he posed with spiders, snakes and lizards for underwear brand Bondi, proving that the real danger is how good he looked doing it. Oh, and he won the latest season of Dancing With the Stars. So what if he's a little young? After all, what's not to love about a man from Down Under who loves being shirtless, wrestles crocodiles and has better hair than us? Crikey, indeed. 

There’s something timeless about Bhagyashri’s beauty. When you see her, you feel like her beauty can only be fully contained on CinemaScope. The vertical frames of Instagram, struggle to capture the essence of her smile and a set of eyes, backlighting seems to have been invented for. In monochrome, her allure feels like the result of subtlety rather than spectacle. You may search for newer words to describe this quality, but you keep falling back on one we seldom use to describe actors today: graceful. And as Kumari in 

, you understand why the country’s biggest superstar would lose it all for her and why her mentor puts everything at stake, trusting almost entirely her beauty. 

It takes a certain type of whimsy and security to make a character like Chaathan

work, and Tovino, in just a tight runtime, displays luscious possession of both. Chaathan isn’t just a harmless trickster; he's someone with the ability to take down half the world, buried within him. A blend of Quicksilver and 

’s Loki, his modus operandi might be bubble guns, smokescreens and a hall of mirrors, but he cautions us not to be fooled by the tomfoolery. His gold-toothed smile hides a wickedness we don’t know anything about (and will probably be familiar with in his standalone movie in the universe). The man has a god complex and courts the wrong woman. But he chivalrously backs off. Well, after a tight slap. — 

Ishaan Khatter has always had 'rizz', but 2025 is the year it finally developed teeth. Ever since he first showed up in

, he’s been filed under “cute, talented, will probably break out any minute.” This year, he did. Could anyone forget a shirtless Ishaan Khatter riding a horse in his opening shot in 

? He played the role of the brattish, young Price Aviraaj 'Fizzy' Singh with every bit the conviction he did Mohammed Shoib Ali in 

 — a heart-wrenching portrayal that had everyone reaching for tissues. The charm is effortless, the chemistry criminal, and the screen presence? Let’s just say that if 2025 needed a new heartthrob to destabilise the crowd, Khatter understood the assignment and turned it in early.— 

 might have been a damn squib overall, but Nagarjuna sashayed into everyone's hearts (again) with the same arrogance and ease he's been brandishing for five decades. Simon's characterisation was undeniably short-charged, but the 66-year-old's moves in the 

theme (Ani with another banger) had a new generation of fans swooning over him - and then some. If only some of that swag had rubbed off on Dahaa too. — 

Kannada film duology a couple of years ago, Rukmini endeared to Tamil audiences this year not just with her roles in 

, but also her witty, funny and charming press tour in which she was an absolute delight. Then came her regal turn as Kanakavathi in 

, and there was no looking back for the RADA-trained star. If you thought she couldn't get more captivating, she's turning Mani Ratnam heroine next… — 

Painfully self-aware, self-deprecating and self-indulgent, Rachel Sennott's new comedy 

 (which she's created, written and starred in) is as much about her as it is a zillennial commentary. Much has been expected from Sennott after the likes of 

, and the comedian-turned-actor charts a hilarious humdinger of a performance as Maia; it's ironic, sexual and deadpan all at once. It remains to be seen if 

 of the 2020s, but Sennott is already a more than worthy successor to 

Lena Dunham's faltering throne. She really is

 promotions an event. Those saree looks? Unreal. Every appearance felt like a masterclass in looking ethereal without even trying. She was flawless, graceful and glowing, the kind of beauty that makes you go, “Okay finee, I’ll watch the film.” And that's exactly what I did. Bought a ticket, powered by her sheer presence. But that wasn't it. When she was done being divine, she turned up in 

’s 'Monica' song and set the screen on fire, with that smoking hot red dress! The dance was sharp, and the confidence was chef’s kiss. And of course, there was also 

, where she looked absolutely pretty and effortlessly charming. Pooja’s eyes, her style, her ease in front of the camera, everything just clicks. She doesn’t overdo it, she doesn’t force it, she simply shows up, looks stunning, and leaves you crushing hard. How is this even fair? — 

was pure screen magic. From her very first frame, she looked luminous, soft, radiant and instantly arresting in a way that felt natural and not manufactured. Like the camera just happens to love her (who wouldn’t?). What really elevated the crush factor was also how she held her ground in the film opposite a screen legend (Mohanlal). No shrinking, no overplaying, just calm assurance and sparkling ease. She looked completely at home, which somehow made her even more attractive. Her styling in the film was tasteful and flattering, enhancing that fresh, girl-next-door-meets-movie-star vibe. There’s something irresistibly attractive about that kind of ease, which translates even in her off-screen promotional appearances. Malavika, this year, was in major heart-eyes territory! — 

The thing about Cate Blanchett is that she can be the subject of anyone’s desire, regardless of what they identify as, or whether they even love her or not (but have you ever encountered a Cate Blanchett hater? Yeah, me neither). I first met her on screen as the wispy, ethereal elven queen Galadriel in 

 movies, gliding through the world like nothing could ever touch that impossible beauty she was born into. That vision holds your senses hostage and jackhammers your speech. Or at least she did mine. 

Nearly three decades on, I find myself feeling the exact same way about this femme fatale like no other. You watch her seduce Michael Fassbender in 

 and be timorous as the daughter of an overbearing matriarch in 

 — and look like a goddess who you would allow to step on you in a heartbeat all along, even when she’s brought out her big sexy guns. The thing is, she doesn’t have to — the lust for her feels so forbidden that you 

For years, Rohit Saraf lived comfortably in the ‘sweet, shy, soft-spoken’ corner of our collective memory, ever since Dear Zindagi. Cute, comforting, pure boy-next-door energy. Then Sunny Sanskari arrived and flipped everything. That opening shot of Vikram stepping off a helicopter, pure K3G SRK energy, is the exact moment you know it’s over. Now let’s talk about the kurtas — the many, many Indian kurtas, all leading up to the silver sherwani that closes the film and truly seals the deal. Crisp, romantic, perfectly tailored, each look lands harder than the last. And then there’s the Panwadi dance number, which didn’t just go viral, it did something irreversible for the girlies. The blushing starts early and honestly never lets up across the full two hours and fifteen minutes. It’s Rohit Saraf stepping into his leading man era, and us willingly falling in line. — 

From the moment Nick Wilde walked into Zootopia with that cynical smirk and the loose tie, our brain chemistry was permanently altered. He’s got undeniable real-life Ryan Reynolds energy, amplified by Jason Bateman’s criminally hot voice, which frankly feels like cheating. Cute, witty, smug, secretly soft and dangerously charming, he’s the bad boy who comes with a golden heart and just enough emotional damage to keep things…. interesting. The sarcasm is armour, the cynicism is a decoy, and beneath it all is a kindness that hits when you least expect it. That cocktail of intelligence, vulnerability and redeemable chaos is pure catnip. And yes, the dreamy green eyes absolutely help. No, you don’t have to be a furry. You just have elite taste, sweetheart! 

2025 Screen Crushes: Ahaan Pandey, Rukmini Vasanth, Jaideep Ahlawat — and Others Who Made Us Lose the Plot (Briefly)

, the upcoming comedy marking Vir Das’s directorial debut, was released on Tuesday. The film, co-produced by Das and Aamir Khan, is slated to arrive in theatres on 16 January 2026.

The short preview introduces its central character, Happy Patel, an aspiring intelligence operative whose career is defined less by competence than by persistence. When he is finally assigned a mission, it comes with an added complication: he appears unaware of his own Indian identity and is dispatched to India as part of an undercover operation.

What follows is a series of comic missteps as Happy attempts to “blend in”, with the trailer leaning into slapstick situations and social awkwardness rather than traditional spy-film spectacle. The humour draws on inversion, presenting espionage not as a realm of suave efficiency but as one of confusion, cultural dislocation and repeated failure.

Alongside Das, the film features an ensemble cast including Mithila Palkar, Mona Singh, Sharib Hashmi, Srushti Tawade, Imran Khan and Aamir Khan. At a recent public appearance, Khan revealed that he plays the role of Mona Singh’s father in the film, marking another collaboration between the two actors following 

 (2022). In the latter, Singh portrayed Khan’s mother.

The film is co-directed by Kavi Shastri, who also serves as a producer along with Aparna Purohit, Khan and Das. The screenplay has been written by Amogh Ranadive and Vir Das.

While spy comedies are not new to Hindi cinema, the trailer suggests that 

 is less interested in parodying specific franchises than in using the genre as a framework for character-driven humour. The emphasis remains on the protagonist’s ineptitude rather than any broader geopolitical stakes.

Further details about the film’s plot and tone are expected closer to its release early next year.

'Happy Patel: Khatarnak Jasoos' Trailer: Vir Das Plays an Unlikely Spy in Debut Directorial 

Roshan Meka is a football prodigy caught in the midst of intense political turbulence in the trailer of 

. Written and directed by Pradeep Advaitham, the upcoming Telugu film is set in 1948, in Hyderabad State, when Razakars ruled the streets and an inhumane massacre unfolded in Bhairanpally, a village in present-day Telangana.

In the period action film, Roshan plays Michael, a footballer who dreams of travelling to London. His life takes a decisive turn when he is drafted off to Bhairanpally, becoming an unlikely saviour of the oppressed populace. The film blends large-scale action sequences with elements of political intrigue and romance. Malayalam actor Anaswara Rajan makes her Telugu debut with 

. Meanwhile, Hindi cinema’s Kay Kay Menon appears in a key role.

Roshan Meka, the son of veteran Telugu actor Meka Srikanth, has previously acted in 

The trailer launch of Champion was graced by the likes of Ram Charan and Nag Ashwin. Ashwin’s wife, Priyanka Dutt, is a producer on 

. The film is backed by Swapna Cinema, Zee Studios, Anandi Art Creations, and Concept Films. Mickey J Meyer has composed the film's music. 

Meanwhile, Ram Charan, one of Telugu cinema’s biggest stars, is currently filming for Peddi, which will wrap up production by January. 

is being produced by Venkata Satish Kilaru under the banner of Vriddhi Cinemas and is proudly presented by Mythri Movie Makers in association with Sukumar Writings. The film commenced a new shooting schedule from December 12 in Hyderabad. This schedule will feature several pivotal sequences, some of which will be canned in Delhi. Filming will continue until the end of January, by which time the entire talkie part of the movie is expected to be wrapped up. 

"As planned, all aspects of production are progressing smoothly, with post-production work moving ahead at a good pace," a note from the makers had read.

'Champion' Trailer: Roshan Meka Leads a Historical Action Epic 

Indian cinema, for all its swagger, still feels a little breathless. Films like 

 have reaffirmed the star system, and juggernauts such as 

successfully continue to cross borders. Theatres are awake again, but just barely; streaming has gone from a haven to a symptom of a larger problem. Between the spectacle and the fatigue lies a deeper anxiety: can the stories keep up with the screens?

The box office jolts, the platforms surge, the algorithms hum — but sustained attention is harder to earn. Audiences are restless; loyalty is a relic. What the industry seeks is not merely another hit, but a way to hold attention across platforms and time.

That search has led, curiously, to the joystick.

Video games have consistently outpaced both film and music in global revenue. The numbers tell the story: 

 has earned over $7 billion since 2013, compared to the highest-grossing film ever,

, which peaked at $2.7 billion. Games don’t just make money differently — they make it longer, through content updates, in-game purchases, and sustained player engagement.

For Indian storytellers, long schooled in emotion and scale, that shift represents both opportunity and inevitability. The line between cinema and play has begun to blur, and Indian developers are starting to bet on the convergence.

Under PlayStation’s India Hero Project, Mumbai-based studio underDOGS is developing 

— India’s first narrative-driven video game that stitches live-action performances into playable architecture. Set inside a museum and built around the theme of human trafficking, it represents a test case for whether Indian storytelling can translate to interactive formats without losing its cinematic texture.

Director and developer Vaibhav Chavan, a self-described film buff currently bingeing Malayalam cinema, wanted the game to feel “raw, authentic, regional.” His influences range from 

 — atmospherics, mythmaking and the intensity of single-locations. At the centre of 

) playing a protagonist who resists the conventional hero mould. 

For Bamroo, the appeal lay in the medium’s depth. “The narratives in games are often far richer than what we see in mainstream films,” she says. “You’re able to engage with it in a way that is more immersive than cinema.”

That interactivity challenged screenwriter Ankita Narang, who adapted her writing process to a player’s perspective. “This is not a journey to be just seen,” she says. “It’s going to be lived by the player. The flow must come from action, not dialogue. It is storytelling by discovery.”

signal something larger than a single release.

Rohit Agarwal, founder and director of Alpha Zegus, sees it as “a compelling evolution in Indian gaming — melding cinematic narrative, live-action ethos and interactive mechanics into a single experience.”

Sony’s investment through the India Hero Project reflects a broader shift: the world’s biggest console brand now sees Indian talent and stories as sources of fresh IP and global appeal, not just localisation outposts.

It’s a turning point for an ecosystem that has long been defined by outsourced service work and mobile-first games. “For the Indian ecosystem, it signals that the market has matured: developers, gamers, infrastructure and ecosystem partners are all aligned for high-quality, global-grade output,” Agarwal says.

are positioning the project as transmedia — spanning game, live-action, and digital narrative. In India, that term often exists more in theory than practice, but Agarwal suggests the audience may already be primed. “Indian audiences are increasingly comfortable with this: we’ve seen it in OTT series, influencer-led extensions, mobile games spun out of films. For gaming, this is the natural next hill to climb,” he says.

Still, execution will matter. “The challenge will be synchronising release timing, maintaining quality across formats and ensuring the world feels unified rather than fragmented.”

Akash Menon, head of gaming and strategy at Tulsea, a talent agency bridging game developers and film producers, says, “Games don’t have a shelf life. You can keep adding content. The upside is limitless.”

Streaming saw a boom during the pandemic, but so did video games — because you can play them for hours, even years.

For a film industry caught between theatrical fragility and streaming fatigue, transmedia may offer a third path by building loyalty through IP, immersion, and interactivity.

The bet is both creative and commercial. On paper, a premium console title with an Indian setting, narrative depth, and Sony backing ticks a lot of boxes. The risk, naturally, lies in execution — quality, marketing reach, and post-launch support.

But the broader principle still holds: when 

does well abroad, it’s not because of spectacle alone. It’s because those films are rooted in authentic storytelling. Games are already immersive because the audience is inside the world. That makes hyperlocal stories instantly global.

Menon distils the logic simply: “Movie makers make movies; game makers make games. Together, they make IPs that travel across mediums. And everyone makes money.”

The question Indian entertainment has been circling for years may be reframing itself: what if the next great cinematic universe doesn’t begin in a theatre — or on OTT — but on a console?

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.

Lights, Camera... Gameplay: Is India Ready for The Magic of Transmedia?

y, was released offering a look at a contemporary romance that leans on humour, conflict and emotional uncertainty. The film is scheduled to release in theatres on 25 December.

Directed by Sameer Vidwans, the romantic drama centres on Ray and Rumi, two sharply different individuals who meet during what appears to be an impulsive holiday abroad. The trailer suggests a relationship shaped as much by friction as by attraction, with the pair repeatedly clashing over temperament, expectations and intimacy. Much of the film unfolds against the backdrop of a coastal European setting, with Croatia serving as a visual counterpoint to the characters’ internal turbulence.

The trailer was released today, with Panday sharing it on her social media alongside a caption that reads, "Kisse, kahabiya, charche, Dastaan...Adhoore ishq ke hi hote hai." In tone and structure, the trailer alternates between light banter and more reflective moments, hinting at a narrative that moves beyond the conventions of a breezy holiday romance.

 and Namah Pictures, the film features music by Vishal and Shekhar. While the trailer foregrounds the central pairing, it also introduces a supporting cast that includes Jackie Shroff and Neena Gupta, whose appearances suggest parallel emotional arcs that extend beyond the protagonists.

The film’s tagline frames a story concerned with immediacy and impermanence. Rather than positioning love as a simple destination, the trailer points to a narrative interested in uncertainty, vulnerability and the negotiations that underpin modern relationships.

was originally slated for a later release but has been advanced to Christmas Day 2025, placing it among the year’s major festive releases. 

which was set to clash with this film, has been postponed.

'Tu Meri Main Tera Main Tera Tu Meri' Trailer: Kartik Aaryan and Ananya Panday's Romance-Comedy Is All About Modern Relationships

was plagiarised from screenwriter Reji Mathew’s work, ruled the Commercial Court in Kottayam, ordering the makers to pay the writer ₹30 lakh as compensation.

, the court upheld a suit filed by Mathew claiming authorship over the film’s story, screenplay and dialogues. Released in 2012, 

was a Malayalam-language action thriller starring Mohanlal in the lead role. The film, directed by Major Ravi, followed an unhinged cop investigating the disappearance of a teenage girl.

was produced and positioned as a mainstream release and later sold across multiple platforms and formats. However, Reji Mathew was not credited as the film’s writer. 

As per reports, the dispute dates back to 2010–11, when the writer was approached to develop a screenplay for a proposed project. He submitted a complete story, screenplay and dialogues, handed over drafts, and remained in discussions about revisions, title options and remuneration. A token payment was made, and the writer claimed the work was accepted in principle, pending producer approval. However, communication later ceased.

In 2012, Mathew came across reports of a film being made and released with a storyline substantially similar to his script, without credit to him. He alleged infringement of his authorship rights and damage to his professional reputation. The filmmakers, however, denied the allegations. Following a prolonged trial, the court rejected the defence version.

The court also prohibited the screening or broadcast of 

, or any films made in other languages using the same story, screenplay or dialogues, without Mathew’s consent and credit.

Earlier this year, Mohanlal and Major Ravi were reported to reunite for a film based on Operation Sindoor. The announcement drew criticism on social media over the filmmaker’s poor track record as well as for capitalising on the aftermath of a national tragedy.

Court Rules Mohanlal’s 'Karmayodha' Script As Plagiarised, Orders ₹30 Lakh Compensation for Writer 

"They messed with you, so what's wrong with messing with them?" This is how 

 to his side, scheming to plot a heist together. The teaser of 

, which plays out with limited dialogue, gives us a glimpse into the lives of the characters played by Adivi and Mrunal, Hari and Juliet, an ex-prisoner and perhaps an ex-lover. The teaser also introduces Anurag Kashyap in what seems to be an antagonist role.

A remixed version of 'Kanne Pettaro' from 

, Ramya Krishnan and Soundarya’s hit 1994 film 

 is heard in the teaser, as Thakur and Sesh amp up the tension behind the wheel. 

Directed by Shaneil Deo and written by Adivi Sesh and Deo, the film also-stars Anurag Kashyap, Prakash Raj, Sunil, Atul Kulkarni, Zayn Marie Khan, and Kamakshi Bhaskarla. The film is produced by Supriya Yarlagadda. 

, which is set to be released in Hindi and Telugu, was earlier scheduled for a December 25 release. The date has now been shifted to March 19, 2026. 

While audiences compared the film to the iconic 

 (1967), Sesh, on X, had a witty response to the parallels. "

I think there’s more to their dynamic than Bonnie & Clyde. It’s called ANGER," he wrote on X. The actor also revealed that the film's Hindi teaser will be launched in Mumbai on December 18. "Hindi Teaser Loading. It’s a different cut, and a different SONG. But DOUBLE IMPACT. 

 HINDI Loading…This evening in Novotel Juhu, Mumbai," he wrote. 

Thakur, who is known for her performances in Telugu films such as 

(2023), was last seen in a special appearance in Nag Ashwin’s 

(2024). Sesh, on the other hand, is known for films such as 

'Dacoit' Teaser: Adivi Sesh and Mrunal Thakur Go Rogue

Filmmaker Sriram Raghavan's upcoming war drama 

has been pushed from its original release date of Christmas 2025. The film, headlined by Agastya Nanda and featuring the late 

in his final screen appearance, was initially gearing up to open on December 25 and clash with 

starring Kartik Aaryan and Ananya Panday.

will now release on January 1, when no major Hindi films are scheduled to release. The makers made the official announcement and wrote, "A powerful story of courage to open the New Year. 

There were reports that the makers didn't want the film to arrive during a crowded holiday period, which is already witnessing a historic box-office run 

Producer Dinesh Vijan had previously reshuffled release dates of his films, including 

, both of which benefitted from a clear theatrical run.

Amitabh Bachchan, Agastya's maternal grandfather, took to X and hinted that the reason for the delay of the film by a week could be due to astrology. The screen icon tweeted, "

was earlier set for the twenty-fifth (25), now it will be in the twenty-sixth (’26), on the first (1st). Some astrology-knowing folks said, 'Brother, the omen is good—keep moving, just keep moving.' (sic)"

marks Raghavan's first war film as he brings to life the extraordinary true story of Second Lieutenant Arun Khetarpal, India’s youngest Param Vir Chakra awardee. The film also stars Simar Bhatia and Jaideep Ahlawat. Agastya made his screen debut in 2023 with Zoya Akhtar's Netflix film 

which also marked the debut of Shah Rukh Khan's daughter, Suhana Khan.

'Ikkis' Moves From Christmas 2025 Date; Sriram Raghavan Film To Now Release on January 1

Director Vijay has confirmed helming a documentary on the motorsports career of Tamil superstar 

. Vijay, best known for directing films like 

, said in an interview with Motor Vikatan that he is currently documenting Ajith Kumar’s racing life. The project was initiated at the request of the actor and his manager, Suresh Chandra.

Vijay said the filming process offered an insight into the world of motorsports. Recalling his first day on set, he quoted Ajith Kumar as saying, “Welcome to my world.” 

Vijay added that while motorsport may appear straightforward to spectators, the reality is far more demanding. “When you look at it from outside, it might feel like it is simple. It is not like that at all. Everything is a do or die scenario,” he said.

The director spoke about the physical and mental challenges involved in racing, particularly the speed at which decisions must be taken. He said Ajith Kumar explained the challenges of changing drivers mid-race, a process that must be completed within 20 seconds. When asked about the risks involved, Ajith Kumar reportedly responded, “Yeah, you have to come out alive.” 

Vijay did not confirm whether the final product would be a documentary or a docu-film, stating that Ajith would take the final call on the output. “For now, we want to document it well,” he said.

. As a racer, he recently competed at Malaysia’s Sepang International Circuit in the opening rounds of the 2025–26 Asian Le Mans Series. Earlier this year in Valencia, his car flipped several times during the Southern European Cup. In an exclusive conversation with 

 he had remembered the sequence and the dangers of high-stakes racing. “Once you make sure you are okay and the car is okay, your adrenaline kicks in. The only thought is not wanting a DNF. I just think, ‘I want to finish (the race) today’,” Ajith had shared. 

Meanwhile, on the film front, Ajith is scheduled to begin filming 

in February next year, reuniting with director Adhik Ravichandran.

Director Vijay Confirms Documentary On Ajith Kumar’s Racing Life 

 was surrounded by a large crowd at Hyderabad’s Lulu Mall during the launch of a song from her upcoming film 

, prompting questions about crowd control and event safety. Videos of the incident, widely shared on social media, show the actor appearing visibly distressed as fans surged around her, attempting to take photographs and move closer.

The promotional event, which was attended by Agerwal and her co-star Prabhas, drew hundreds of people to the mall for the launch of the song 

. What was intended as a brief public appearance quickly escalated as the crowd swelled, leaving the actor hemmed in on all sides. In footage circulating online, Agerwal can be seen struggling to make her way through the gathering as fans pressed in, breaching her personal space.

Police later confirmed that the organisers had not obtained official permission for the event. According to officers cited by 

, no formal security arrangements had been put in place to manage the crowd or ensure the safety of those attending. “The event managers did not take any permission, and there were no official security measures,” police said, adding that the lack of planning contributed to the situation spiralling out of control.

Witnesses said that while mall security personnel attempted to intervene, they were overwhelmed by the sheer number of people who had gathered for a glimpse of the stars. Agerwal was eventually escorted to her vehicle amid continued jostling, with security forming a protective ring around her.

Neither Agerwal nor Prabhas has issued a public statement about the incident so far. However, the episode has renewed debate around celebrity appearances in public spaces and the responsibilities of event organisers to ensure basic safety protocols are followed.

Police said they are reviewing the circumstances surrounding the event and have reiterated the need for organisers to seek prior approvals and deploy adequate security for public gatherings.

'The Raja Saab': Nidhhi Agerwal Mobbed by Crowd at Hyderabad Mall During Song Launch

Karnataka will launch its own streaming platform, titled Namma Karnataka, in January 2026, according to 

. In an interview with the publication, Mehboob Pasha, chairman of Sree Kanteerava Studios, which oversees the streaming initiative, said a 10-member panel was working on an outline for the platform. “Karnataka’s own OTT platform will be launched by the last week of January. The Government of Karnataka has taken steps to develop this region-specific OTT platform and reserved ₹5 crore for the purpose in the budget presented in March 2025," he said. The platform was first announced in June 2024.

there will be a ticketed model for new releases. "This platform will not only release Kannada movies, but also screen documentaries and works on art and culture...The revenue will be shared with producers based on viewership, ensuring that filmmakers, artistes, technicians and new talent benefit," he added in the interview.

The launch of the platform is likely to coincide with the beginning of the Bengaluru International Film Festival (BIFFes) next year. As for Kannada cinema's run at the theatres this year, the 

 kicked off a string of star-powered Kannada films this December. 

Next up would be a box-office clash between 

, in which he is joined by an ensemble including Upendra, Shiva Rajkumar and Raj B Shetty. Both titles are locked for a December 25 release.

reunites the superstar with director Vijay Kartikeyaa after their 2024 blockbuster 

. Produced under Sudeep’s Kichcha Creations alongside Sathya Jyothi Films, 

is being positioned as a major holiday entertainer. 

, an ambitious action-fantasy drama marking music composer Arjun Janya’s directorial debut.

Karnataka All Set To Launch Streaming Platform By January 2026: Report

The question of entourage costs in Hindi cinema refuses to go away. It resurfaces every few months, usually when budgets spiral and producers quietly admit that too much money is being spent on things that never make it into the frame. 

's actors' roundtable, stripping it down to one essential question: what is necessary.... and what is luxury?

“I don’t know if actors can get together and cap it, but I feel like it has to be a combination of actors, entourages, producers— everyone cutting out what is not needed,” Sanon says.

Sanon is quick to draw a clear boundary between character-driven requirements and personal indulgence. “When it comes to a trainer or a dietitian, if it’s for the film, I understand that,” she says. Recalling 

, she adds, “I had a dietitian because I had to gain weight. That was very specific.” But beyond that, she doesn’t understand the logic. “If you’re taking a cook and all to set, I don’t understand that, to be honest. Then you’re doing it for yourself,” she adds. 

She also challenges the idea that excess is the norm. “I haven’t seen six vanity vans; I’ve heard about it, but I haven’t seen it on my sets,” she says. In her experience, producers do intervene. “Sometimes they do have a conversation when it’s getting out of scope or over budget.”

Kaushal echoes the need for immediate correction when costs spiral. “Anything that burdens the film financially should be course-corrected, 100 percent,” he says. At the same time, he acknowledges that some setups are practical rather than indulgent.

“If it’s an action film with a seven-to-seven schedule, and my only time to train is five in the morning, having a gym on set helps the film. That’s the distinction. If it’s helping the film, and every producer understands that, I believe,” he says.

When that line is crossed, Kaushal believes silence only worsens the problem. “If something becomes an issue on a film with a specific actor, it needs to be discussed directly,” he says.

, Sanon pointed out that any training she undertook for herself came out of her own pocket. “If I’m getting training, it’s my own money going there, which is fine. That’s personal. And that distinction matters,” she says.

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