 will be released on October 17. The makers made the announcement on X with a small video teaser featuring actors including Jonalagadda, Srinidhi Shetty and Raashii Khanna.

the film will explore the “nuances of relationships, self-love, and sacrifice.” The video features the three leads, who seem to be playing characters in a love triangle.

“Neither the red nor the green. He’s the yellow light in between. Proceed with caution if you love him. Bringing the celebration early this Diwali. 

 Grand Release Worldwide on October 17th,” the makers, People Media Factory, wrote on X.

Thaman S and will have producers TG Vishwa Prasad and Krithi Prasad backing the film. Jonalagadda was last seen in spy action comedy 

 (2025), alongside Vaishnavi Chaitanya. The actor is also known for his turn as Bala Gangadhar Tillu alias DJ Tillu in the romantic comedies 

Siddhu Jonalagadda’s ‘Telusu Kada’ To Release on October 17

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.

Kriti Sanon and Vicky Kaushal on Entourage Culture: 'Anything That Burdens the Film Financially Should be Course-Corrected'

 wasn’t just about liking its storytelling

 it was about what its success represents. “I saw 

 recently; it’s a really nice film,” he says. What stayed with him was the confidence of its storytelling. “It’s made on a very small budget. [It has] No big stars or anything.”

Joseph was quick to single out its lead, Sandeep Pradeep. “He’s a good actor for sure. An upcoming talent to really look forward to,” he says. But more than individual performances, it was the audience response that moved him. “Such a small film getting that kind of reception— it collected five times its budget or something. That just makes you feel so happy,” he adds.

The film’s success, Joseph believes, signals a larger shift. “You feel confident about making good attempts,” he says. Especially films that don’t rely on familiar commercial beats. “It’s a slow burner. It’s not very commercial. It’s just a 

 mystery thriller.” And yet, audiences stayed invested. “People are involved. They want to crack the puzzle of what’s happening,” he says. 

 bring back a sense of shared viewing. “People are talking to each other. That’s another kind of community viewing,” he says. He contrasted it with more emotional collective experiences. “With 

, people are crying together. That’s also community. Here, you’re asking the person next to you, ‘Why did that happen?’ You’re discussing the puzzle,” he adds.

Joseph likened the experience to watching shows like hit German project 

(2017). “You start writing notes, like 'This guy’s father is this person, his son is there, and so on.' Or even a 

. “If someone says, ‘I didn’t understand,’ there’s this reaction from people that goes somewhat like, ‘You didn’t understand?' Then you’re also prepared because you feel like, no, I should understand this film,” he says with a laugh.

Basil Joseph on Why 'Eko' Worked: ‘People Wanted to Crack the Puzzle Together’

 can be traced back to a recommendation by 

. “To be very honest, the first person who told me to do this film was Basil. He was supposed to be a part of the film initially, and he didn’t have dates. He didn’t give us dates for a long time!” she tells 

Joseph’s scheduling delays meant his involvement never materialised. What did remain was his confidence in the project and his insistence that she should be part of it.

Being part of a suave, experimental superhero franchise like 

 almost meant having complete faith in director 

. “All of us trusted Dominic. I don’t think this film could have been made without that trust. Otherwise, you’re constantly doubting yourself,” she says. It was an environment that allowed room for risk, including changes made deep into the process.

One of the biggest shifts came with the film’s interval block. While most of 

 followed the script closely, the interval was reworked during filming and on the edit table. “We weren’t satisfied with how some sequences were coming out,” she explains. Arun decided to restructure the section, intercutting scenes in a way that wasn’t originally planned.

For Priyadarshan, that moment summed up the film’s approach. “Preparation gives you structure, but spontaneity gives you soul,” she says. The decision proved crucial, with the interval block emerging as one of the most 

She also credits the film’s visual strength to the collaboration between Arun and cinematographer Nimish Ravi. Seeing how the film was being shot gave her confidence, even as the usual uncertainties lingered.

 of whether people are going to like this, or take it the wrong way? But once you’re in a film, you commit fully,” she says. "Naslen and I were super nervous. On the day of release, we didn't step out. At 3 pm, when we knew it was getting good reviews, we called each other and said 'Okay, I think we can step out now,'" she laughs.

Kalyani Priyadarshan: Basil Joseph Was The First to Suggest I Do 'Lokah'

 was playing the complicated and scheming Kanakavathi. “I was very anxious about the fact that she turns out to be a negative character,” she admits in an interview with 

That anxiety, she says, came from something many actors hear early in their careers, even if it’s never stated outright. “In the early stages, you don’t really delve into the grey. There’s this idea of what a traditional heroine should be, the values she should embody, and where in the film you’re meant to exist,” she says. 

The fear wasn’t about the role alone, but what it might lead to. “You’re not just taking on this one film. It feels like it has a compounding effect on the rest of your career,” she says.  At that point, she explains that an actor is constantly aware of what might come next. “You don’t want to threaten future work because you don’t know what opportunities will come your way.”

Rukmini acknowledges that the pressure often comes disguised as 

 advice. “Maybe it’s the fallacy of the ‘nice girl,'" she says, reflecting on the idea that experimentation is something one is expected to do later on in their career. “Once you’ve done the whole spectrum, then sure, you can experiment. But early on, it feels dangerous.”

Interestingly, she says that fear didn’t follow her onto set. “Once you take on a film, you’ve taken it on. You’re either fully immersed in the world of the film, or you’re thinking, ‘Oh, there’s a leech on my foot.’ Those are the two realities,” she says, referring to filming in the thick of the Kundapur forests for the Kannada magnum opus.

It was only closer to the release that the anxiety returned. “You start wondering, ‘Am I going to spend the rest of my career playing the bad guy?’” she says, adding that it wasn’t necessarily a bad outcome, just an unknown one.

The response after the release changed everything. “I’m thrilled. People are talking about my range,” she says. Instead of being boxed in, she found herself reassured. “They’re not saying, ‘Stick to good girl roles.’ They’re saying they loved both sides; I don’t think I need to be so scared anymore.”

Rukmini Vasanth on the Anxieties of Playing a Negative Role in ‘Kantara: Chapter 1’

 understanding of entourage culture changed the moment he stepped onto a Hollywood set. Speaking about 

, shot in Cape Cod, the actor described a working environment that removed every familiar layer of insulation. “They gave me a house and a car and then asked me to drive myself to set,” he says.

There was no personal team, no assistants, and no safety net. “I was doing my own laundry every day. I was cleaning, cooking for myself, learning my lines while driving to set,” Khatter says. “For over three months, he worked without anyone from his entourage. “I didn’t know a single person there; I didn’t have a single person from my team.”

The experience, he said, was revealing. “We are very coddled, especially as actors.” While Khatter acknowledges that access to domestic help in India is also cultural and employment-driven, he questions how easily comfort turns into entitlement. “Where is the limit? That should be an individual question. It can’t be the expectation generally,” he says. 

Khatter also points out that context matters. “It also depends on the project,” he says. On 

, he recalls, “Neeraj was very specific. We had one hair and makeup team for all the actors because there was a set look. I was very happy to let go of my people."

At the same time, he acknowledges that some roles demand investment. “For 

 , they needed me to look like a prodigy horse rider in two months. So they had to get me a coach,” he adds.

The problem, Khatter argues, begins when costs exceed purpose. “If it’s beyond what you need for the film, you shouldn’t incur that cost,” he says. His larger argument points to the fact that unless actors consciously question what they truly need, excess will continue to masquerade as necessity.

Ishaan Khatter on Absence of 'Entourage Culture' in Hollywood: 'Actors Are Very Coddled in India'

 can be intimidating for any actor, but for 

has been defined less by pressure and more by creative exhilaration. The actor, who has teamed up with Bhansali for the first time, says the freedom to collaborate with a director who’s completely in command of his craft—and characters—was unparalleled.

"I’m getting to learn so much,” Kaushal said during the 

 which also stars Ranbir Kapoor and Alia Bhatt.

What stands out most for Kaushal is the freedom Bhansali creates within his vision. “I just feel like I go in so much more relaxed. I don’t feel the need to cement my thought process on the character so much,” he says. The actor is clear that preparation comes first, but he leaves space for discovery. “Of course, I know the character. But how to enter a scene, how to approach it, how to commit to it emotionally— that’s where he’s such a master,” he says.

Kaushal describes Bhansali as a director who pushes actors to explore not just one interpretation, but many. “He’s a master of exploring the possibilities of what this character, or these two characters, or these three characters, could do in a given circumstance. There’s so much joy and so much adrenaline in exploring, and he really makes you do that as an actor,” he says about the film, which is gearing up for a grand global release next year.

The result, Kaushal says, is a sense of creative fulfilment that stays with him long after the shoot day ends. That high, however, doesn’t come without discomfort. Kaushal admitted that the process can be unsettling at first. “It’s very nerve-racking in the beginning,” he said, especially when the actor hasn’t yet committed to a single emotional choice. “Some of those possibilities are not coming naturally, but you’re reaching for them, going there.”

Vicky Kaushal on Working with Sanjay Leela Bhansali in 'Love & War' and Why There's 'Adrenaline' in Exploring His Character

 sat down for a wide-ranging conversation ahead of 

, which opens in cinemas worldwide on December 19.

During the conversation, SS Rajamouli reflected on his experience of watching Cameron's latest, describing it as a reminder of why he fell in love with cinema in the first place. He said he felt “like a child in the theatre,” praising Cameron for repeatedly pushing the boundaries of visual storytelling. Rajamouli also noted the sustained theatrical impact of the Avatar franchise in India, recalling that Avatar played in IMAX theatres in Hyderabad for nearly a year.

Cameron, for his part, expressed admiration for Rajamouli’s work and filmmaking sensibility. Praising the Baahubali and RRR director’s command of scale and emotion, Cameron shared his interest in visiting Rajamouli’s upcoming film Varanasi.

Starring Mahesh Babu and Priyanka Chopra Jonas in the lead, Varanasi is a genre-bending fantasy adventure mounted on a massive canvas. The film is currently under production and is expected to hit theatres in 2027.

“I think it's important for filmmakers to talk and compare similarities in their mental creative process and in their technique. I’d love to come to your set. May I come to your set sometime and watch you create your magic?” Cameron asked Rajamouli during the conversation.

To this, Rajamouli gladly responded, “That will be an absolute pleasure. You are most welcome. Not just me and my unit, but the entire Indian film industry will be thrilled.” He revealed that 

will take 7-8 more months to complete filming. 

 is the third instalment in the blockbuster Avatar franchise, continuing the story of Jake Sully and his family on the planet Pandora. The new film is releasing in Indian theatres in multiple formats and languages, including English, Hindi, Tamil, Telugu and Malayalam.

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Siddhu Jonalagadda’s ‘Telusu Kada’ To Release on October 17

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