"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.

'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).”

'Arasan' Behind The Scenes: Into The World Of 'Vada Chennai'

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.

Ranveer Singh Walks Out of Farhan Akhtar’s 'Don 3': Reports

 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."

'Sigma' Teaser: Sundeep Kishan Leads An Action Drama About Power

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 

This announcement caps off a landmark year for Nolan. After winning his first Oscars for 

, including Best Picture and Best Director, he was knighted by King Charles earlier this month.

'The Odyssey' Trailer: Matt Damon Stars in First Footage of Christopher Nolan's Epic

The release of Sivakarthikeyan's upcoming historical drama 

has been advanced to January 10, 2026, production banner Dawn Pictures announced in a statement. The new date places the film in the crosshairs of 

, starring actor-politician Vijay, which is also scheduled for a Pongal release on January 9. 

In a statement, Dawn Pictures attributed the decision to sustained demand from theatrical stakeholders across the globe. The film was earlier scheduled to arrive on January 14. 

"We wish to inform the media, trade, and audiences that the release of 

has been preponed to January 10, 2026," read the statement from the producers. "This decision has been taken after extensive discussions and repeated requests from exhibitors and distributors worldwide, who have expressed strong confidence in the film’s theatrical potential during this period. 

 will now release in theatres worldwide on January 10, 2026." 

, directed by Sudha Kongaraj, is set in the 1960s and revolves around the anti-Hindi agitations in Tamil Nadu. A synopsis on the website of the International Film Festival of Rotterdam reads, "Tamil superstar Sivakarthikeyan plays Chezhiyan, who becomes involved in a student movement and finds himself in a life-and-death struggle with a ruthless intelligence officer. In her latest historical film, Sudha Kongara combines action, intrigue, romance, and songs into a captivating drama." 

With both films targeting the same window, Pongal is shaping up to be an eventful weekend in Tamil cinema.

, a political drama directed by H Vinoth, will be Vijay’s final cinematic venture before he transitions to full-time politics. The actor wrapped up filming his portions for the film in June this year. Alongside Vijay, actors Pooja Hegde, Bobby Deol, Mamitha Baiju, Gautham Vasudev Menon, Prakash Raj, Narain and Priyamani are also a part of 

Sivakarthikeyan delivered a hit with 2024's 

a military action drama where he essayed the role of Major Mukund Varadarajan. His last release, 

Sivakarthikeyan's 'Parasakthi' Preponed to January 10, Eyes Clash With Vijay’s 'Jana Nayagan'

Vijay Deverakonda and Keerthy Suresh's upcoming film

 got an exciting update ahead of Christmas. The film, titled 

, will be released in December 2026, the makers announced on December 22. "The biography of a wounded man," wrote the actor, on X, along with a link to the film's title teaser.

The teaser shows the actor threatening a large crowd of rivals with a daunting speech. "Have you ever heard of a demon who devoured a cartload of rice and gulped down a potful of blood?" the actor, who dons a mullet in a retro look, asks in the teaser. "When death stood before him, he rose like a blade and struck," he can be heard saying in the video, which depicts the tenacity of the hero's rowdiness. 

Directed by Ravi Kiran Kola and produced by Dil Raju and Shirish, the film will be released in Telugu, Hindi, Tamil, Kannada, and Malayalam. 

 recently kicked off the film's launch. The film was launched with a pooja ceremony in Hyderabad earlier in October. Dil Raju and Shirish are backing the project under the banner Sri Venkateswara Creations.

Deverakonda had posted this on X.“Every time I encounter him, I feel an urge to kick off the film right away and channel Ravi's enthusiasm and vision… now we are finally heading to the sets this month.” Anend C Chandran, who had shot Malayalam hits such as 

(2015), is handling the camera. Cristo Xavier will compose music for the film, while the additional screenplay has been contributed by Janardhan Pasumarthi. Ravi Kiran Kola is known for helming films such as 

Deverakonda was last seen in Gowtam Tinnanuri's 

'Rowdy Janardhana': Vijay Deverakonda's Next Film Gets A Title Teaser

, one of the greatest lyricists of modern times, says success has never felt easy to him. “It always scares me,” admits Kamil, who has penned some of the most memorable albums, including 

“When something works out of the blue, you feel nervous. You start thinking—will this happen again?” he says at 

, which broke records. It was a song he didn’t expect to take off the way it did. “Sometimes you make something without any big expectation and suddenly it becomes something much bigger,” he says. Instead of relief, the first response is anxiety. “We all get scared of good things.” 

became a huge success, he remembers sitting with music director Pritam Chakraborty and director 

, feeling confident and ready to begin again. 

“We said, okay, let’s do another movie,” he recalls. They went to Khandala to work on music, convinced that something would come together quickly. It didn’t. “Three or four days, we were just sitting there. 

 [Nothing came to us].” That phase stayed with him. “You realise then that great music or hit music is not in your control,” he says. 

 wasn’t very different—same people, same conversations, same 

. At first, it felt ordinary. “You think, okay, this is just another song,” he says. Then suddenly, something shifts. “You look back and think— what just happened? Now you again think—will I be there next time? Will I be chosen again for something like this?” he says. 

Kamil believes that every new project begins from scratch. “You top the class and then you take admission in the same class again,” he says. 

Irshad Kamil on ‘Saiyaara' Track's Unexpected Success and Why it Still Scares Him

 never imagined music would make him visible, but the chartbuster title track of 

changed everything for him. “My primary and only goal was to make music. I didn’t come to Mumbai to sell my songs,” he says at 

's musicians' roundtable. Becoming a public figure was never part of the plan, and yet, that’s what followed.

His journey began almost accidentally. ‘Jhelum’, his first song, wasn’t meant to gain the traction it did. “I wasn’t ready to start my musical journey,” he admits. At the time, he was working on a short film and needed a song for it. When that arrangement fell through, he decided to make one himself.

“I spent three months making that song. I thought ten thousand people would watch it in Kashmir. Instead, it became one of the biggest hits there,” he recalls. Things began to change more steadily in 2023, when he signed with a label and released ‘Ishq’. Yet even then, fame felt abstract. “People didn’t really know me by my face,” he adds. Songs like ‘Sajde’ and ‘Ehsaas’ grew slowly, finding listeners over time. 

arrived and everything shifted. “That was like a rocket and a lot of things changed in my life,” he says.

With that came a new identity he hadn’t anticipated. “People started calling me a celebrity. I didn’t know how to be one. I still don’t,” he says. Even those closest to him began to see him differently. “I would really love people to address me as an artist. This balance between being an artist and being a celebrity is very difficult. It exhausts you,” he says.

For someone who had intentionally remained under the radar, the exposure felt overwhelming. “I didn’t even show my face earlier; now cameras are sticking in my face!” he says. Still, he didn’t resist the change entirely. “I think I was open to it all,” he says, describing himself as selectively introverted.

Faheem Abdullah on Becoming a Celebrity After ‘Saiyaara’: 'It Was Like a Rocket; It Changed My Life'

 has always believed in storytelling through music. What worries her now is how little space the actual storytelling is being given. “The algorithm is killing storytelling in music,” she says, not because audiences don’t care anymore, but because the system no longer allows them the time to do so.

's musicians' roundtable, Haasan said her relationship with social media wasn’t always uneasy and recalled how she was drawn to it early.

“When I was studying music in the US, we had MySpace. Before social media was even a term,” she says. To her, it felt personal. You could choose the song on your page, change the look and create a mood. “The minute someone came to your page, they knew what kind of musician you were.”

That sense of discovery still exists, but there is a sense of "limitation". “You still find incredible artists, and that part is amazing," she says, recalling coming across a young musician from Ukraine who suddenly blew up in the funk scene. But it now sits alongside something more limiting. “There’s another arm of the octopus, and it’s strangling the music business,” she admits.

“People don’t have the bandwidth anymore to listen to more than 30 seconds or a minute,” she says. For artists invested in narrative and emotional build, the format itself becomes a problem. “How am I supposed to put a story into that?”

The imbalance is visible even in numbers. “I have reels for ‘Vinveli Nayaga’ or ‘Sanchari’, and I’m extremely grateful for that. But an English song I’ve written, where I’ve poured my entire soul and organs into it, doesn’t even get 30,000 hits. That’s where you see the discrepancy of the algorithm,” she says.

At this point, she feels, artists are less in control than they like to believe. “More than social media, we’re at the mercy of the algorithms,” she says.

When it comes to performing, Haasan has a fun little ritual. “Potatoes and prayer. I need potatoes before I sing,” she says. She laughs, amused by how unglamorous it sounds, and sums it up quickly. “The three Ps — potatoes, prayer and practice.”

Shruti Haasan on Why Algorithm is 'Killing' Storytelling in Music: 'People Don’t Have Bandwidth to Listen to More Than 30 Seconds'

Somewhere along the way, making music stopped being enough. Today, every song demands a reel, a hook step, a performance for the algorithm. For 

, that shift has been unsettling. “I’m a singer; I was never trained for this,” she says at 

Bagchi, who has voiced popular chartbusters like 'Aaj Ki Raat', 'Peelings', 'Tum Mere Na Huye' and 

clear about where the discomfort begins. 

“I’ve done my job in the studio. I’ll do it again in my live shows. The moment a song comes out, the pressure is to dance on the hook step. And I’m thinking—why?” she says. The expectation, she admits, makes her uneasy. “I almost feel like a circus animal. I’m not supposed to be doing this.”

It isn’t just about social media. The pressure has entered the creative process itself. “Even when we’re recording a song, there are three people in the room taking BTS. I’m like, we need to focus here! This is music,” she says. But she knows that in today's day and age, you have to do it. “It’s part and parcel of making music now.”

For artists outside the film space, she says the challenge runs deeper. She prefers calling it “non-film music” rather than “independent.” 

“Because truly, independent music is really hard to do. When people invest huge amounts, they will have opinions. Then you’re not an independent musician anymore.”

Along with that comes a rigid image of what success should look like. “Certain narratives are being pushed. This idea of what a pop star should be,” she says. Music, she notes, is curated for listeners. “You don’t even know how you came across it, but you did.” Doing your own thing is not really being encouraged," she adds.

Her own rise came through playback singing, and the sudden visibility was overwhelming. “Vocally, I was always ready. If you ask me to record a song right now, I can do it,” she says. What drained her was everything else. “If someone says there’s one more photoshoot, I’m like—come on. I’m not built for this.”

The attention made her retreat. “I became more introverted. It was scary. You’re suddenly supposed to know what to say, how to dress, how to behave. Mentally, it took me a year.”

Madhubanti Bagchi on Facing Pressure to Perform Beyond the Music: 'I Almost Feel Like a Circus Animal'

Sunburn has always understood scale better than most festivals in this part of the world. For nearly two decades, it has positioned itself as Asia’s biggest electronic music festival; a brand that doesn’t just book DJs, but builds a universe around them. This year, that universe made a decisive shift, bringing its flagship experience to Mumbai for the first time. On paper, the move felt inevitable. Mumbai is now firmly on the global touring map, a city that consumes live music voraciously and expects international spectacles as a given, not a luxury. In practice, Sunburn Mumbai’s debut was a reminder that scale alone doesn’t guarantee transcendence.

Set against the industrial sprawl of Infinity Bay, Sewri, the festival opened with ambition. Day one unfolded like a carefully paced overture: a crowd that mixed Sunburn loyalists with first-time festival-goers, stages warming up through the afternoon, and a line-up that leaned confidently into techno and underground-adjacent sounds. Sets by Nirvaan, Ana Lilia, Mathame, Richie Hawtin and Houdini carried the day forward, creating a steady build rather than a rush to spectacle. Between performances, Sunburn’s familiar ecosystem was on display — arcade zones, flea markets, curated food districts, chill-out spaces — all signalling a festival that wants to be lived in, not just attended.

The visual centrepiece, Beyond Infinity, was impossible to ignore. A towering monolith wrapped in nearly 15,000 square feet of LED, Sunburn asserted that Indian festivals can now match global production benchmarks. When Sara Landry took over for her first-ever India performance, that ambition found its sharpest expression. Her set was unrelenting — dark, industrial, and unapologetically hard — pulling the crowd into a hypnotic techno tunnel that refused to soften. Tracks like Girlboss, Pressure, Play With Me and Legacy drove the crowds wild along with the visuals and lighting locked so tightly to her tempo that the outside world briefly dissolved. It was a genuine high point, and one that cemented the fact the Sunburn continues to be the festival bringing global talent to Indian stages.

Day two leaned into mass appeal. With performances spanning melodic house, big-room anthems and psy-trance, the festival grounds stayed in near-constant motion. Artists like Layla Benitez, DubVision b2b Third Party, Vini Vici, and Indian mainstays such as Kunal Merchant and Kahani ensured that the energy never dipped. As night fell, the Beyond Infinity stage came alive again with the world's pre-eminent DJ.

David Guetta’s return to India after eight years was treated as the moment it was meant to be: monumental. His Monolith Experience unfolded like a greatest-hits reel engineered for triggering nostalgia — Titanium, Play Hard, Without You, Together — punctuated by contemporary reworks. A highlight of the set was the surprise appearance of Nora Fatehi, teasing a collaboration with David Guetta and Ciara. This further cemented EDM’s belief in India’s reach. Although the set marked a monumental moment in India’s EDM scene, many expressed disappointment in David Guetta’s set. The performance fell short of expectations, which have been raised by the numerous artists that have performed in India already this year and surprised the audience with their hypnotic energy.

For all its polish on stage, Sunburn Mumbai struggled to deliver a fully convincing environment off it. Infinity Bay’s dusty terrain became a recurring point of discomfort across the weekend. By nightfall, the air itself felt abrasive, with many attendees complaining of sore throats, coughing fits, and general fatigue that had less to do with dancing and more to do with the conditions. For a festival that positions itself as premium, these fundamentals matter. Add to that the logistical friction — access, movement, and the sense of being perpetually aware of the terrain while trying to enjoy a festival for what it is.

Sunburn is not new to scrutiny, and its Mumbai debut arrived amid public protests and debates about large-scale festivals in the city. When you claim cultural leadership, the margin for missteps narrows. To its credit, the festival delivered on music, production, and star power. It reaffirmed India’s place on the global electronic touring circuit and proved, once again, that audiences here will show up in force.

But Sunburn Mumbai also revealed the next challenge for live music in the city. The hunger is unquestionable. The artists are ready. The crowds are willing. What remains unresolved is infrastructure — how to create festival sites that feel breathable, humane, and designed for bodies, not just numbers. 

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