Legendary Malayalam icons Mohanlal and Pinarayi Vijayan will come together for an interview soon. The Kerala Government recently released a teaser of their interaction, which is said to drop soon. "

Iruvar: An exclusive conversation between Mohanlal and Chief Minister Pinarayi Vijayan. ​Stay tuned," their caption read. 

In the teaser, Mohanlal jovially asks Vijayan to confirm whether the CM's favourite films are of Tamil superstar Rajinikanth's. He then asks the minister if he remembers any dialogue from Mohanlal's films. They also go on to reference famous lines from Mohanlal's films, such as 

The video was reportedly shot at Cliff House, the official residence of the Chief Minister.

Mohanlal will next be seen in a series of high-profile films, including Jeethu Joseph's 

 completed its shoot on December 2 in Kerala. Producer of 

, M Ranjith, spoke at an event and said that the close in figures for the pre-sales of 

 now stand at ₹350 crore. Starring Mohanlal as Georgekutty, 

wrapped filming last month and is now in post-production.

Mohanlal Interviews Pinarayi Vijayan; Discusses Love For Cinema, Rajinikanth Films And More In Teaser

The Karnataka High Court on Tuesday criticised actor Ranveer Singh for what it termed “reckless” remarks about a sacred daiva tradition portrayed in the Kannada film 

, while directing Bengaluru police not to take coercive action against him for now.

Passing an interim order, Justice M. Nagaprasanna said the actor must cooperate with the ongoing investigation into a first information report (FIR) alleging that his comments hurt religious sentiments. The court was hearing Singh’s petition challenging the FIR registered by the High Grounds police station in Bengaluru.

The magistrate had ordered the FIR following a private complaint filed by city-based advocate Prashanth Methal.

During the hearing, the bench orally observed that Singh should have exercised caution. “You were speaking about a deity. If you do not know you should study and speak… You can’t call the deity a female ghost. You have no right to hurt anybody’s religious sentiments,” the court said, noting the actor’s public influence.

When Singh’s counsel argued that the actor had already apologised, the court responded that an apology would not erase the impact of the remarks, adding that material shared online tends to persist.

Senior advocate Sajan Poovayya, appearing for Singh, submitted that the comments may have been reckless but were not intended to offend religious sentiments and therefore should not attract criminal prosecution. He told the court the actor would cooperate fully with the investigation.

The controversy stems from Singh’s appearance at the closing ceremony of the International Film Festival of Goa on 28 November 2025, where he mimicked Rishab Shetty’s performance from the 

 franchise and referred to the revered coastal Karnataka daiva Chavundi as a “female ghost.”

Following online backlash, Singh issued an apology on Instagram on 1 December 2025, stating he had intended to praise Shetty’s performance and had no intention of hurting religious sentiments.

Ranveer Singh 'Kantara' Row: Karnataka HC Pulls Up 'Dhurandhar' Actor Over ‘Reckless’ Remark, Bars Coercive Action

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

"It is a pleasure to be invited by you to the wedding of Vijay and Rashmika to be held on 26 February 2026. Heartiest congratulations, and greetings to the Deverakonda and Mandanna families on this truly joyous and auspicious occasion.

It marks the beginning of a new, beautiful chapter in the lives of Vijay and Rashmika. With the spirit of 'sakha saptapadi bhava', meaning having taken seven steps together, the couple become friends for life," he began his letter. "Neither Vijay, nor Rashmika is new to scripts in their films. But this divinely scripted chapter of their real lives, filled with love and affection, will surely outshine the magic they have created on the silver screen."

Ahead of the wedding, filmmakers like Sandeep Reddy Vanga and Tharun Bhascker were spotted arriving in Udaipur. 

A few days back, the Telugu actors finally made their relationship official. Ahead of speculations of a February 26 wedding, the duo put up a synchronised story on Instagram, confirming their wedding."Before we made any plans, before we chose anything for ourselves, you were already there. With so much love, you gave us a name. You called us VIROSH. So today, with full hearts, we name our coming together in your honour. We would like to name it 'The wedding of VIROSH'. Thank you for holding us with so much love. You are a part of us always," the note read.

The power couple, who have acted in films like 

, have been reportedly dating for a while. In an earlier interview with 

, when Mandanna chose to remain tight-lipped, especially on the subject everyone wanted her to address. When asked if she would confirm or deny her rumoured marriage to 

, she chose neither. “I wouldn’t like to do either; when it is to be spoken about, we shall,” she said with a smile.

PM Narendra Modi Congratulates Vijay Deverakonda And Rashmika Mandanna Ahead Of Wedding

Writer-director Tanmaya Shekhar—the ‘a’ at the end of Tanmaya is silent—cooked up a noise online with the marketing campaign for his upcoming film 

An independent film, crowded with debutantes—from the actors to the technicians—with no big name backing it, but big, some might even say delusional, dreams to have a hundred housefull shows, the journey of the making and marketing has been long, fuelled by a singular, dedicated, but productive frustration. 

Shekhar shafted his IIT Kanpur-to-data scientist pipeline and chose cinema, instead, swapping a cushy life in the USA for the Versova hustle. “I have been making short films since 2015, but nothing blew up,” he tells 

. He decided to reverse engineer his feature film. Having worked on the production of many low-budget indie projects in the USA—including one by Focus Features and two HBO shows—Shekhar “knew how to structure and scale a film based on the fact that I can only make it with a twenty person crew.” 

In the age of the filmmaker-entrepreneur, Shekhar has tried to further polish and push that idea, fitting his vision into the logistics within which he can make it come true, what he calls “controlled ambition”.  

 was conceived in 2022, and fundraised with the help of IIT alumni, seniors, and close friends. ₹40-50 lakhs were raised in the first round of fundraising. The film was shot at the IIT Dhanbad campus—made easily available given Shekhar’s father is the university’s dean, with Shekhar’s family providing lodging for the cast and crew, and Shekhar’s grandmother feeding everyone. This is a familiar story, where filmmakers pool together the resources and goodwill of the near and dear to, somehow, cobble a film together. But that is merely one piece of the shifting puzzle. 

“After that, we had to raise more money for the edit. This time, since we had a rough cut trailer from the footage, it was easier to fund-raise. We now started reaching out to people I didn’t know before,” Shekhar notes. An old man who saw them filming, and had a good feeling, told his daughter to pitch in. Another alumnus, hearing about a film being shot on his campus, parted with some funds. In December 2024, the film finally premiered at the Kolkata International Film Festival, where it bagged the Special Jury Award. 

To make a film might be one battle, but to get that film seen, is another war altogether. Shekhar spent the following eight months chasing producers and OTT platforms, to no avail. Barely a handful watched the film: one of them was writer-director Imtiaz Ali, who tried making some calls, with nothing materialising. 

“We were trying to do things behind closed doors, and we realised nothing was happening,” Shekhar notes. A second frustration brewed, and this led him to make the micro-drama series 

, on Instagram, about trying and not being able to crack it. Ali even made a cameo in this series. Sweet and idealistic, these clips spoke to the frustration of wanting to make movies without giving into any cynicism, upholding the romance of cinema over the rigour it demands of your patience and pockets. 

“We did the first season, and that did really well, and then, the pieces came together. Then, in October 2025 we realized we had to release the film ourselves; we cannot wait for anyone to come help us.” Inspired by Zohran Mamdan’s campaign for New York City’s mayor, “We realised we could pivot How To Enter Bollywood into the making of 

,” Shekhar notes. Instagram’s algorithm further helped spread the word of these videos which feature the lead actress Molshri, among others. With a groundswell of support, people tagging them, collaborating with them, their reach further grew. The trailer of 

 has over a million views on Instagram. (The trailer has 600,000 views and counting on YouTube.)

They even rented out a caravan for two months. With six team members, they charted a five-week yatra from Mumbai to Kolkata—through Ahmedabad, Baroda, Bhopal, Indore, Kota, Jaipur, Delhi, Kanpur, Agra, Bodh Gaya, and Dhanbad—meeting people everyday, going to schools, colleges, NGOs, singing songs from the film, spreading cheer. “We even screened our film in villages on the way.” They documented this, too, meticulously—when no one showed up to their meet and greet, or when people poured in. Each of these mini-episodes followed the same format—a set up of deep disappointment capped by a pinch of hope. 

They concluded this yatra on Sunday, February 22, with a walk from Versova, in North Bombay all the way to South Bombay. They began at 8 am, and kept walking, even performing in front of the Red Chillies Entertainment office. At Carter Road in Bandra, they took a detour, instead going to the Spoken Word Fest—“a lot of our peers, the kind who would watch Nukkad Natak would be there”. They spent a lot more time than expected there, and had to cheat, using the caravan to get to South Bombay in time for closing the yatra at Marine drive. “We must have spoken to about 300-350 people, 15-20 people even bought tickets on the spot.”

Distributing and marketing a film is an expensive affair, too. 

“These costs were substantial. We need 25 lakhs to get to the finish line. We still don’t have all the money. We even made a last-ditch crowdfunding ten days ago, for which I got a lot of flak.” They are still 15 lakhs short of the money they need, but Shekhar isn’t fazed. “Everything is in motion, ho jayega sab kuch (everything will work out), I don’t know kaise, but one way or another it will release”. They recently met the people at Cinepolis, who, impressed with the organic traction, opened up the advance booking for some shows a week prior to the release. These are small wins, which evoke hope, but the question of whether this is replicable or not hangs over it. 

“I have spent so many nights crying. You are not just fighting the system, but even the people you are working with—they are freelancers juggling five low-budget independent films to make ends meet. The edit, then, takes long, so even when the film is being made, you wonder if it will ever get finished. And even when it gets made, you wonder if it will be seen. You have to just figure out a way to power through—there is no other option,” Shekhar notes.

Exclusive | Cinema Yatra: How Indie Film 'Nukkad Natak' Ran A Sensational Cross-Country Marketing Campaign

Kannada filmmaker K Kiranraj’s next film will be with 

 has learnt. Kiranraj last directed Rakshit Shetty in the hit, heart-rending adventure drama 

 (2022), which followed the relationship between a lonely factory worker and a Labrador.

A source close to the upcoming project tells us that the film will go on floors once Dhruva Sarja finishes filming his upcoming Kannada film, 

. “A rough script is in place, and the full script will be finalised soon. The film will go on floors in the next three to four months,” the source tells

, an intense action film based on a “true love story” alongside Rachita Ram. The film was launched with a pooja ceremony in November last year. "It’s a wonderful collaboration with 

 for a fantastic script and I’m super excited to collaborate with the skilled team 

 n Team. Need all your blessing love and support as always!" she wrote. The film will be produced by Manish Shah and directed by B Rajguru. Rachita Ram, a popular Kannada actress, was last seen in Lokesh Kanagaraj's Coolie alongside Soubin Shahir. Sarja, on the other hand, was last seen in 2024’s 

 went on to win the National Film Award for best Kannada film the year it released. Kiranraj was the associate director for Rakshit Shetty’s 

(2016) before going on to work with Shetty on 

, Kiranraj also directed a film for the anthology 

 (2019). The film, produced by Paramvah Studios, co-stars 

Sangeetha Sringeri, Raj B. Shetty, Danish Sait, and Bobby Simha, among others, with Arvind Kashyap as the DOP. 

Exclusive | ‘777 Charlie’ Director Kiranraj’s Next Film Will Be With Dhruva Sarja

Hyderabad's Annapurna Studios has launched what it described as India’s most advanced Motion Capture facility, the A&M MoCap Lab, in partnership with Mihira Visual Labs and technology partner Animatrik Film Design. The facility was inaugurated by celebrated filmmaker SS Rajamouli on February 25.

Rajamouli said key sequences of his upcoming film 

, starring Mahesh Babu and Priyanka Chopra Jonas, were shot using the technology at the lab. He previously launched India’s first Dolby cinema processing facility at the studio.

“India has always had some of the world’s best technicians contributing to major global productions, but what we lacked was an advanced facility right here at home. When I look back at some of my previous films like Bahubali, Eega etc., I reminisce how I could have made them even better if I had access to motion capture technology back then in India,” Rajamouli said.

“With the introduction of A&M’s Motion Capture technology, that gap has finally been bridged. This will change how Indian filmmakers envision and execute their stories as we will no longer need to outsource. I have visited several Motion Capture facilities across the world, but what A&M offers is the perfect blend of precision and performance. We utilized this facility in the making of crucial sequences in Varanasi, and the results were simply fantastic,” he added.

Akkineni Nagarjuna called the formation of the lab a milestone. “For decades, Indian filmmakers have aspired to tell large scale stories that match global standards, but access to high end technology was often a limitation… With A&M, filmmakers can now bring everything from epic adventures to intricate science fiction dramas to life right here in Hyderabad," the actor-producer said

CV Rao, CTO of Annapurna Studios, said the facility would serve as a previsualization tool allowing filmmakers to plan camera blocking, lensing and movements before principal photography, reducing time and costs.

The launch coincides with Annapurna Studios completing 50 years in Indian cinema.

SS Rajamouli Launches Cutting-Edge Motion Capture Lab At Annapurna Studios; ‘Varanasi’ Sequences Shot At Facility

has wrapped up in Kerala. The film began the first schedule of its shoot in early October where a large portion of the action scenes where shot in a forest in Thailand. The shoot involved several sequences with trained elephants to complement the film’s ivory poaching backdrop and the film will also require extensive work with its CGI.

Several actors and crew members shared the poster announcing the final wrap of the film’s schedule. The new poster features several bikes and jeeps running straight into a forest with the background score playing in the backdrop.

According to a press note from the team, the shoot of the action film was stalled because the lead actor suffered an injury. “The incident occurred during the shoot in Thailand, while filming a combat scene involving an elephant.” The film is being directed by first-time director Paul George, and the action sequences involving elephants are being choreographed by Kecha Khamphakdee, known for their work in international action thrillers, including the Ong-Bak series.

The film’s music is composed by Ajaneesh Loknath, with the script being written by Joby Varghese, Paul George, and Jero Jacob. The film's dialogue is by Unni R. Kattalan and will be released in Malayalam, Tamil, Telugu, Kannada, and Hindi, with reports suggesting a May 2026 theatrical release.

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

Anthony Pepe’s 'Kattalan' Wraps Up Shoot

In the post-pandemic scramble to pull audiences back into cinemas, Hindi filmmakers appear to have rediscovered an old tool: time. Not metaphorically, but literally. Over the past three years, a noticeable cluster of high-profile releases has pushed well beyond the 150-minute comfort zone that defined much of the multiplex era, with some breaching the three-hour mark altogether.

The shift is not uniform across the industry. Mid-budget urban dramas still largely hover around two hours. But at the top end, the star-driven spectacles designed to justify a theatre trip, runtimes are inflating. The question now facing exhibitors, producers and editors alike is whether the three-hour film is becoming Hindi cinema’s most visible differentiator from streaming content, and whether the industry risks mistaking duration for depth.

For film editor Nitin Baid, the premise itself may be slightly misguided. The creative process, he suggests, rarely begins with a stopwatch. “I don’t think the intention is inherently to plan a three-hour film,” Baid says. “Most of the films you’re talking about, and this isn’t just in the north or south, you see it in Hollywood too, the duration has changed considerably because many of these stories are catering to a large number of characters.”

His framing aligns with what multiplex data has been indicating since 2023. Longer runtimes tend to cluster around ensemble-heavy, scale-driven projects rather than intimate dramas. In that sense, length is often a symptom of ambition rather than its cause.

More crucially, Baid locates the shift within a broader behavioural change. “Creatively, the effort is to ask: how do we create an experience that people want to show up for?” he says. “Even if it takes you hours to travel and watch a film… you still go because you want to be part of that experience.” The analogy he reaches for is telling. “It’s similar to going to a concert. Look at the 

film, one of the highest-grossing films last year. What are you going in for? The experience.”

In other words, theatrical cinema is increasingly positioning itself not against other films but against the full spectrum of digital distraction. As Baid puts it, theatres today are competing not just with OTT but “with Instagram and with everything else people are constantly consuming.”

This logic partly explains why recent Hindi tentpoles have leaned into sprawl. When audiences are already accustomed to binge-watching eight-hour series at home, the old anxiety around crossing the three-hour mark has weakened. Engagement, not brevity, is the new currency.

Inside the trade, however, there is growing unease that the industry may be learning the wrong lesson from a handful of long-form successes. Film distributor and exhibitor Akkshay Rathie is unusually blunt about the pattern. “One reason this is happening is our industry has, to some extent, been affected by what I call a herd mentality,” he says.

He traces the shift to a specific moment roughly three years ago, when multiple long films delivered strong theatrical runs. “When the conversation began that three-hour-plus films were working and audiences were savouring them, people took note,” Rathie explains. “After that, a lot of larger-than-life actioners started getting made, some by coincidence, but many by design, because of this notion that three-hour-plus films are what work.”

The distinction he draws is crucial. Some filmmakers, he says, have simply stopped rushing their narratives, a healthy correction after years of rigid runtime orthodoxy. But others appear to be reverse-engineering length itself. “So a few have done it for the right reasons, and many have done it for the wrong ones,” he says.

That tension is already visible in the current pipeline. Films like 

(two hours 47 minutes) are arriving pre-positioned as large-scale theatrical plays. Whether they justify that sprawl narratively, rather than merely structurally, is the question exhibitors are asking.

One of the more persistent myths around long films is that runtime itself drives footfalls. Rathie is unequivocal in pushing back. “More than duration, it’s the buzz created by the promotional campaign that decides whether people will watch a film,” he says. “If the promos for 

 had not been exciting, I don’t think audiences would have turned up in the numbers they did.”

Conversely, he notes, several shorter films have underperformed simply because awareness never reached critical mass. The implication is uncomfortable but clear: runtime is rarely the primary box-office lever. What matters more is whether audiences feel a sense of event-level urgency. The industry’s favourite acronym is FOMO. Length can amplify that perception, but it cannot manufacture it.

Rathie’s most intriguing observation situates the three-hour film within a wider media pattern. “If you look at consumption patterns today, not just in theatres but across the internet, the 26- to 30-minute format is actually declining,” he says. 

“What you’re seeing succeed are either very short formats like Instagram Reels and YouTube Shorts, or very long formats like three-hour podcasts.” The middle, in other words, is hollowing out. He even points to cricket’s evolving formats as a cultural analogue: the dominance of T20 at one end and renewed interest in five-day Tests at the other. Content consumption, he argues, is increasingly bipolar, and cinema is responding accordingly.

If that diagnosis holds, the three-hour theatrical film may be less a creative indulgence than a market adaptation, a bid to occupy the long-form event extreme of the attention economy.

Producers, however, still have to live inside spreadsheets. Film business analyst and producer Girish Johar stresses that runtime decisions remain tightly linked to monetisation maths. “Whether a film is two hours or three hours, monetisation, the rotation of shows and screens, ultimately depends on the film’s run,” he says.

A longer film does reduce the number of daily shows a multiplex can program. But Johar suggests the trade-off is acceptable if the content delivers. “If the runtime is proposed by the director, it immediately becomes a primary concern for the producer as well because his financial stake is involved,” he notes. “The makers collectively decide what the film demands and stand by it. The final test, of course, is the audience.” 

This is where the theatrical-versus-OTT debate becomes central. According to Johar, the pandemic blurred the lines between what belongs on the big screen and what can comfortably premiere at home. The industry is still recalibrating.

“There is still some confusion about what belongs in theatres and what can go to OTT,” he says. But the direction of travel is clear: theatrical films are being consciously engineered to feel immersive and experiential.

History, both Indian and global, suggests that runtime itself has never been the deciding factor. What matters is whether the film’s internal architecture justifies its duration.

Epic storytelling has always sustained longer cuts. From 

The Lord of the Rings: The Return of the King 

, audiences have repeatedly shown patience, even enthusiasm, when scale, character density and emotional payoffs align.

But the inverse is equally true. When narrative material is thin, extended runtimes can actively damage theatrical prospects by reducing repeat value and amplifying audience fatigue. Rathie puts it bluntly: “Ultimately, you can give audiences a fantastic entertainer in two hours. And God forbid, after spending good money on a ticket, cola and parking, if someone has to sit through three and a half hours of boring cinema, that’s even more punishing.”

What emerges from conversations across the trade is a more nuanced picture than the current runtime discourse suggests.

Yes, theatrical cinema is searching for a clear edge over at-home viewing. Yes, longer runtimes can support world-building and event positioning. And yes, audience tolerance for extended films has demonstrably increased in the post-pandemic era.

But none of the stakeholders interviewed believe duration itself is the magic variable.

As Baid puts it, the industry’s core question remains unchanged: how to create something compelling enough to pull viewers out of their homes. Length is merely one of the tools available, and often the most misunderstood.

Johar offers the longer historical view. When satellite television first arrived, he recalls, many predicted the death of theatrical exhibition. The panic eventually subsided. Cinemas stabilised. OTT, he suggests, may follow a similar curve. “The same applies to OTT,” he says. Audiences today are simply more selective. “Which means if you want to bring them back to theatres, you need a clear differentiator, whether that is storytelling, scale, immersion, larger-than-life characters, or simply the big-screen experience. That edge has to exist.”

Whether the three-hour film becomes that edge, or merely the industry’s latest reflex, will likely depend on what comes next. For now, Hindi cinema appears to be in a familiar phase, rediscovering that time, in movies as in markets, is only as valuable as what fills it.

‘Dhurandhar’ and 'O'Romeo' to ‘Animal’: Are Three-Hour Hindi Films Becoming the New Theatrical Strategy?

 approaches its scheduled theatrical release on February 27, the Kerala High Court has intervened in a growing legal dispute over its certification and portrayal of the State.

, on Tuesday (February 24, 2026), a division bench of the High Court, led by Justice Bechu Kurian Thomas, asked the film’s producers whether a screening could be arranged before the court ahead of its final consideration of multiple petitions challenging the film’s censor certificate. The court indicated it would view the film in order to verify claims made by the petitioners.

The petitioners have argued that the film’s title and promotional material suggest a portrayal of widespread regional discord and violence in Kerala — a contention they say isn’t reflected by the State’s lived experience. They also argue that the Central Board of Film Certification’s (CBFC) U/A certificate may have been granted without adequate assessment.

During the hearing, Justice Thomas expressed reservations about the narrative’s possible impact, emphasising the largely peaceful coexistence in Kerala “Kerala lives in total harmony. But you have portrayed that this is happening all over Kerala. There is a wrong indication and it can also incite passion. That is where the censor board comes into play. Have you considered that?” Thomas was quoted as saying. 

The judge noted that while courts typically do not interfere with the artistic freedom of filmmakers, the combination of the film’s claim to be “inspired by true events” and its title could, in his view, be inflammatory. In his remarks, he said, “…Normally, I do not interfere with any movie. Artistic freedom. But you are saying that it is inspired by true events and the name Kerala is given, which can create some communal tension. I will watch the movie tomorrow. You can arrange a screening of the movie tomorrow.”

The court asked the Centre to obtain instructions on whether a screening could be arranged and directed that this be communicated in the post-lunch session. Justice Thomas also stressed that presumptions arising from a CBFC certificate are not “absolute” and must be evaluated in light of a film’s actual content, particularly if it has the potential to stir public sentiment.

The controversy follows debates over the first installment of 

, which triggered nationwide discussion over representation and factual inaccuracies. Speaking to India Today, filmmaker Sudipto Sen, who helmed the first film, explained why he did not return for the sequel. "For the first film, I researched the subject for 10 years. I could stand by every word and visual in that film. If the sequel expands beyond Kerala into other states, I cannot rely on WhatsApp forwards or newspaper reports," Sen was quoted as saying by the publication. 

Kerala High Court Seeks Screening of ‘The Kerala Story 2’ Amid Legal Challenge

 unveiled the film’s title and first teaser on the birthday of Nani, offering an animated glimpse of the star in what is described as a “No. 1 gangster” role. The project marks the first collaboration between Nani and director Sujeeth, known for mounting stylised action dramas.

The two-minute animated teaser presents Nani in a chef-inspired avatar inside what is framed as a gangster den. The sequence shows the character preparing a meal — chopping onions, crushing garlic and seasoning with deliberate flair — while a group of gangsters convene nearby. The tone shifts as he places a hand grenade on a pressure cooker lid; the ensuing explosion wipes out the assembled men. The character then exits the building calmly, his cigar lighting up as he walks away.

The teaser closes with the tagline “He’s No. 1 Chef,” which is then struck through to read “He’s No. 1 Gangster.” The background track features an English-language song titled 

. The makers described the role as one with a strong streak of wit.

, written and directed by Sujeeth, is scheduled to begin principal photography in the summer.  Sujeeth’s previous directorial outing was 

, a Mumbai-set gangster action film headlined by Pawan Kalyan. Further casting and production details for 

Recent updates around Nani indicate a busy slate ahead. In addition to 

, directed by Srikanth Odela, which is positioned as a major upcoming release in his lineup. 

The action thriller, which was initially slated to hit theatres on March 26, 2026, will now arrive on August 21, 2026. The revised date was officially confirmed by SLV Cinemas and director Srikanth Odela through a social media announcement. 

‘Bloody Romeo’ Teaser Introduces Nani as a Chef-Turned-Gangster

Anil Kapoor is a former soldier taking on the sand mining mafia in the action-packed trailer for Suresh Triveni’s 

 stars Kapoor as Arjun Maurya, a retired military man struggling to adjust to civilian life, fighting against crime and corruption while navigating fractured family ties.

A series of humiliations in his own role as a mafia bodyguard pushes Maurya over the edge, returning Kapoor to action hero mode. Radhikka Madan, Saurabh Shukla, Faisal Malik and Mona Singh feature in the extended cast of 

, with Aditya Rawal chewing up scenery as the film’s central antagonist.

Suresh Triveni, known for the feature films 

, has co-written Subedaar with Prajwal Chandrashekhar. It is produced by Vikram Malhotra, Anil Kapoor and Triveni under the banner of Opening Image Films, in association with Anil Kapoor Film & Communication Network (AKFCN).

Kapoor revealed in a recent conversation that he was shooting an ad film with Trivedi and felt a certain 'energy'. “Main Suresh sahab ke saath ek ad kar raha tha aur kahin na kahin jab main kisi ke saath kaam karta hoon na, toh ek energy feel hoti hai, ek vibration milti hai. This filmmaker, I think, will do something too special. Not only with me, with anybody. And if I get the opportunity, to work with him, it'll be great for me." 

That instinct resurfaced when Triveni and producer Vikram Malhotra approached Kapoor with 

. His trust was so absolute that he did not listen to the script before assenting. "I said, 'I’m doing the film'.”

will be available to stream on Prime Video from March 5 and has been certified A (to be viewed by adults only). Kapoor was last seen in 

 (2025), playing the role of Colonel Vikrant Kaul. His upcoming projects include 

'Subedaar' Trailer: Anil Kapoor in Action Hero Mode in Gritty Drama

Akshay Oberoi and Sudev Nair have joined the cast of 

, the upcoming action drama fronted by Yash. The film, written by Yash and Geetu Mohandas, continues to expand its ensemble ahead of its planned worldwide theatrical release on March 19.

Oberoi will play Tony, a character positioned with a pronounced retro aesthetic. The role features visual cues such as long sideburns and fitted silhouettes, suggesting a persona shaped by conflict and volatility. Nair, meanwhile, takes on the role of Karmadi, described as more restrained in temperament. With a flat cap, sharp moustache and composed demeanour, the character is framed as quietly resolute and observant.

Mohandas, who directs the film, said Nair brought “quiet strength” and emotional depth to the part of Karmadi, adding that his presence on set was understated but effective. Speaking about Oberoi’s casting, she described the collaboration as a “rare experience”, noting his tendency to interrogate the script in a considered manner and approach scenes with preparation.

The film’s recently released teaser — which features Yash in a clean-shaven look as the character Ticket — has drawn attention online and prompted speculation about the film’s narrative direction. The teaser has circulated widely on social media, though the makers have yet to outline story specifics.

reported that in Kerala the film has secured a distribution deal with E4 Entertainment, a production and distribution banner headed by Mukesh Mehta and C.V. Sarathi. The financial terms of the agreement have not been disclosed. The company has previously backed and distributed titles such as 

, and has handled the Kerala release of major pan-Indian films including 

 is being shot in Kannada and English, with multiple dubbed versions planned for release. The project is produced by KVN Productions and Monster Mind Creations.

The film also features an ensemble cast including Nayanthara, Kiara Advani, Huma Qureshi, Rukmini Vasanth and Tara Sutaria. Further details about the plot and character arcs have not yet been disclosed by the producers.

 'Toxic': Akshay Oberoi, Sudev Nair Join Cast of Yash’s Film, Posters Out

Amitabh Bachchan shared a set of stills from the sets of the '

sequel on social media this week, marking a significant reunion: Bachchan and Kamal Haasan back together on a film set for the first time since 1985’s 

. Nearly four decades after they last shared screen space, the two actors are collaborating again, for one of Indian cinema’s most ambitious franchises. In a blog post on Tumblr, Bachchan shared stills from the sets of 

, signalling the reunion with the following caption: "...Meeting up with the great KAMAL HAASAN... we shall be working together after ages... last in 

This reunion is a historical one. Bachchan and Haasan last worked together in the powerhouse 

, an action drama that also featured Rajinikanth. At the time, the pairing of three major stars from different film industries was a notable crossover moment. While both actors went on to build formidable, independent legacies, they did not share screen space again — until now.

, directed by Nag Ashwin, introduced audiences to a dystopian future that blends mythology with high-scale science fiction. Featuring Prabhas, Deepika Padukone, Bachchan and Haasan, the film laid the groundwork for an expansive cinematic universe. Bachchan played Ashwatthama, while Haasan appeared in a pivotal antagonist role that is expected to expand significantly in the sequel. Although the two were key members of the cast, they did not share a scene in the first instalment. 

, currently in production, is set to pick up from the events of the first film and deepen the conflict at the centre of its futuristic narrative.

In recent years, both actors have remained active with high-profile projects. Bachchan was last seen in 

, where his portrayal of Ashwatthama was widely appreciated, cementing his ability to anchor large-scale spectacles. The actor also made his Tamil debut in 

, in which he reunited with Rajnikanth. Haasan, meanwhile, was most recently seen in the Tamil gangster-drama 

, before which he reprised his beloved role as Senapathy in 

, the long-awaited sequel to his 1996 vigilante drama. 

This reunion reaffirms the masters’ positioning as pan-Indian superstars, and fans are buzzing with excitement to see the two come together on-screen.

'Kalki 2898 AD' Sequel: Amitabh Bachchan and Kamal Haasan Reunite After 40 Years

 is out, and it gives us hints about the titular character and the film’s plot. It opens with this 

 (godmother) shouting at her relatives as they expect her to give away her ancestral property. We see her stating categorically that she will not let anyone else take advantage of her and her assets, as long as she is alive. As it progresses, we see her get bedridden as she struggles to convey a secret message or an important clue about her assets to her relatives. From what it looks like, the comedy will touch upon these relatives trying to get a hold of all her money, even as she struggles to hold on to dear life. Radikaa Sarathkumar appears in a character we have never seen before in this film.

The plot of the film is said to be based on the life of Pavunuthayi, “a fiercely independent, intimidating elderly woman in a rural village, known for being tough, ruthless, and blunt, especially as a moneylender whose strict enforcement of dues makes her feared by locals.” It is produced by Sivakarthikeyan, and it is being directed by Sivakumar Murugesan. He has also written the film. Illavarasu and Aruldoss play her relatives in the film. Nivas K Prassana has scored the film’s music.

The film’s release had been pushed at the last minute to the 27th of February. It was initially meant to be released last Friday, the 20th. Just last week, we saw the teaser launch of Sivakarthikeyan’s next film titled 

. In Seyon's meta teaser, Sivakarthikeyan paid homage to 

, Kamal Haasan's cult action drama from 2004. The teaser, which was released to mark Sivakarthikeyan's birthday on February 17, features the actor as Lord Viruman, a performer of God. Sivakarthikeyan released the teaser on his birthday with a caption thanking his fans.

'Thaai Kizhavi' Trailer: Radikaa Sarathkumar Plays A Fierce Old Lady In This Comedy

 in London as she presented the award for Best Film Not in the English Language. In the spirit of the category, the actor began by greeting the audience with folded hands and speaking in Hindi. She mined the moment for comic effect before switching playfully to English.

“Namaskar! Agla award ek aisi film ke liye hai, jo angrezi mein nahi hai (the next award is not a non-English film). Don’t reach for the subtitles just yet. I was only saying in Hindi that the next award is for a film not in the English language. Because while film speaks in countless voices, what we always celebrate is the language of cinema. And that one we all speak fluently," the actor said on stage.

Bhatt’s witty debut drew applause inside the venue and online, where clips of the moment were widely shared. Furthermore, Bhatt’s outfit — a Marilyn Monroe-inspired custom Gucci dress designed by Demna Gvasalia — was hailed as one of the evening’s standout looks.

The awards ceremony, hosted by the British Academy of Film and Television Arts, also marked a milestone for Indian cinema. The Manipuri-language feature 

directed by Lakshmipriya Devi and backed by Farhan Akhtar won the award for Best Children’s and Family Film, becoming the first Indian film to win in the category. A poignant tale of childhood and loss set in a Manipuri village, the film edged out big-ticket productions like 

One of the leading female stars of Bollywood, Alia Bhatt made her international debut with 2023’s 

, starring alongside Gal Gadot. She last headlined the 

and is attached to two upcoming marquee projects — Yash Raj Films’ spy universe standalone Alpha and Sanjay Leela Bhansali’s romantic epic 

Speaking about the projects, Bhatt said at the BAFTAs, “I have two very different films coming out this year. One is an action entertainer, 

 as well. Complete quintessential Sanjay Leela Bhansali movie with love, drama, and all of that. I mean a lot of years of hard work and love and honesty gone into making this movie. As it does with every movie. I'm curious actually to see the response to both the films. I can never tell while I'm in it. When it's out there, just hand it over to the world.”

Alia Bhatt Speaks Hindi at BAFTAs 2026, Shares Excitement for ‘Alpha’ and ‘Love & War’ 

An industry gathering spotlighting the achievements of South Asian creatives took place in London on Friday evening, timed to coincide with the EE BAFTA Film Awards weekend. Hosted by Product of Culture in partnership with Society O, the event brought together filmmakers, executives, nominees and emerging voices from across the global screen industries.

Positioned as a dedicated meeting point within the awards-season calendar, the convening reflected the growing international presence of South Asian storytelling in this year’s nominations, while aiming to foster industry connections at the centre of BAFTA weekend.

Among the attendees were Aziz Ansari, Dame Meera Syal, Sanjeev Bhaskar OBE, Nina Wadia OBE, Kulvinder Ghir, Daniel Francis, Adeel Akhtar, Varada Sethu and Gurinder Chadha OBE. The evening also marked a reunion of the cast of 

 — Bhaskar, Syal, Ghir and Wadia — who appeared together publicly for the first time in a decade.

The inaugural gathering was spearheaded by Product of Culture — led by Archana Misra Jain and Monika Sharma Abbas — the US-based marketing-first strategy and distribution platform known for awards-season campaigns and cultural initiatives supporting South Asian entertainment globally. It was staged in partnership with Society O, a British events platform founded by filmmakers Sukki Menon and Parvinder Shergill and dedicated to amplifying Asian voices.

In a joint statement, Jain, Abbas, Menon and Shergill said the BAFTA weekend represented “a moment where global storytelling converges”, adding that this year’s nominations demonstrated the range and impact of South Asian creatives — from internationally distributed documentaries and British shorts to regional cinema reaching wider audiences.

“By bringing together nominees, collaborators and industry leaders, we aimed to create a meaningful space that celebrates artistic excellence while strengthening the connections shaping the future of the screen industries,” they said.

, directed by Lakshmipriya Devi which won the Children’s & Family Film; 

, Geeta Gandbhir’s BAFTA-nominated documentary feature; and 

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