Actor Sonam Kapoor Ahuja and husband Anand Ahuja announced the birth of their second child, a baby boy, on March 29, 2026. The couple released a joint statement via their team confirming the news and expressing their gratitude.

“With immense gratitude and hearts full of love, we are delighted to announce the arrival of our baby boy on the 29th of March 2026," the statement read. "Our family has grown, and with his arrival, our hearts have expanded in the most beautiful way. Vayu is overjoyed to welcome his little brother, and we feel deeply blessed by this precious new life who has filled our home with happiness and grace. Sonam and Anand are grateful to begin this beautiful new chapter as a family of four. With love, Sonam, Anand & Vayu,”

Sonam Kapoor, Anand Ahuja Welcome Their Second Child, A Baby Boy 

’s first wedding pictures went up on their Instagram in February, fans relished the union of their screen icons. But this was also a wedding that made connoisseurs of fashion and design sit up and take notice. The couple, who married in a traditional Telugu ceremony, let their roots gleam through their jewellery. SHREE Jewellers, who made these pieces come to life over the course of ten months, takes 

 through the collaborative process that made these creations a reality.

The brief was to create something deeply rooted in South Indian heritage, yet entirely fresh in its expression, say Abhishek Agarwal and Kaushik Kumar, managing directors of the brand. “Both Vijay and Rashmika came into the process with a strong sense of what they wanted. They were clear that the jewellery should not feel predictable or overly traditional in a conventional sense. Instead, it had to evolve with each function, shifting in mood, materiality and form, while still feeling cohesive as one story. There was also a shared desire to push boundaries, especially with Vijay’s jewellery, where the idea was to move beyond minimalism and explore a more complete, expressive language for the groom.”

Vijay’s jewellery choices went beyond just bold accessorising. With his stacked gold pieces, telling a story head to toe, he pushed the boundaries of groom jewellery. “Vijay’s wedding jewellery was conceived as a complete, intentional composition, not as isolated accents, but as a full ceremonial language for the groom,” say Agarwal and Kumar. At the core were the layered haars and neckpieces, which established the visual weight of the look. “The waistband, or vaddanam, extended this narrative further. Rather than being treated as a purely ornamental addition, it was designed to anchor the silhouette, adding a sense of regality and completeness to the ensemble. The bajuband and hand pieces introduced a more sculptural dimension. These elements were particularly significant because they are rarely explored in groom styling at this scale.”

The design language in these pieces included motifs of elephants, tigers and floral elements. “Techniques like deep Nakshi carving and detailed texturing ensured that each piece carried dimension and character.”As for Mandanna’s look, they worked on a fully realised composition with over thirteen pieces that worked together as one seamless silhouette. 

“Every element, from the layered harams to the jada billa, champasaralu, hathphool and vaddanam, was designed with precision, allowing the jewellery to feel sculptural yet fluid. Her look drew from a divine narrative, inspired by the iconography of Goddess Lakshmi, creating a presence that felt both powerful and ethereal.”

The process involved constant dialogue, multiple fittings and a shared commitment to refining every detail. “What made the journey particularly special was how involved both Vijay and Rashmika were, despite their demanding schedules. They approached each look with thought, curiosity, and a willingness to experiment, which allowed the designs to evolve organically,” they elaborate. 

When asked to recall the first reactions from the couple, they immediately have a memory to share. “Rashmika’s reaction, in particular, stayed with us. When she saw the wedding jewellery fully assembled, she paused, took it in, and smiled before saying, “You’ve done it.” It was simple, but deeply reassuring. There was a sense that she saw the vision exactly as it had been imagined, and that quiet acknowledgement meant a great deal after such an involved process.

SHREE Jewellers also worked on Aisha Rao’s showcase at the recently-concluded Lakme Fashion Week. For this collection, they brought together Art Deco influences and modern styling, reinterpreted through a contemporary lens. A few pieces from this collection stand out as strong indicators of where jewellery is headed, they add. 

“The oversized handcuff is one; it redefines jewellery placement, making it more sculptural and fashion-forward. The delicate ear cuff introduces a softer, more modern femininity, allowing for a statement without heaviness,” they say, noting that the naked setting stone is a move they were particularly excited about.

Exclusive | Behind Vijay Deverakonda and Rashmika Mandanna’s Wedding Jewellery: ‘They Approached Every Look With A Willingness To Experiment’

Actor Sayani Gupta is stepping into a new phase in her career with the launch of her production house, Sayani Gupta Movies (SGM). The actor's debut directorial short film, 

will become the maiden project under the banner.

"The reason I have always wanted to produce was so I could build a community of like-minded people and, together, create an enabling, nourishing space for collaboration," said Gupta, who has built her 14-year career across several acclaimed feature films and streaming titles.

An alumna of the Film and Television Institute of India (FTII), Pune, Gupta’s varied body of work ranges from films such as 

"I have always believed that casting the crew is the most important thing. With the right collaborators, film sets can be magical. I constantly meet filmmakers who are looking for a home where they feel seen, and for partners they can trust, who will enable them to tell stories their way. It has been a long dream to one day create a space for that to happen. Hopefully, this is the first baby step in that direction," she added.

 has been written, directed and produced by Gupta. The film also stars Daria Bedi and Abhay Kaul.

Although she had previously co-produced feature films like 

 (2019), and several short films, backing 

, she said, was the "first step towards that intentional path of creating stories that I want to put out into the world, and most importantly, films that I would like to watch."

The actor said that as her first production, it was a mammoth task because of the sheer scope and scale of the shoot across distant locations. The team conducted a recce for over a year and found incredible locations across Maharashtra, with Pune becoming their base as it felt like her "second home from my alma mater, FTII."

"I was managing a set while also directing my first film, which was absolute madness, but in hindsight, deeply gratifying. We lucked out with a fantastic crew and a marvellous cast. I had incredible producing partners in Nikkhil Advani (Sumitra Gupta Foundation for Arts), and Dia Mirza and Ananya Rane (One India Stories). I am also currently producing two films through foreign co-productions, both in completely different genres," she added.

Exclusive | Sayani Gupta Launches Production Banner of Sayani Gupta Movies; Sets ‘Aasmani’ as First Project

There are no doubts about the intrigue the first few episodes of 

manufactures within you, right from the moment it begins with the smiling decapitated head of Vijay Sethupathi. This severed head is placed at a certain height with a backdrop of mountains right behind it, as the camera cuts to extreme wides that remind one of just how odd it all is. And yet, the image we’re left with is anything but macabre. As we pause to observe Muthu’s (Vijay Sethupathi) contended smile in his final resting place, we recall visions of the laughing Buddha. Instead of worrying about how his head got there and what happened to his missing body, it’s this smile that gives rise to a dozen intriguing questions. As setups go, one can’t think of a better place to begin for a puzzling character study.

Puzzling also seems to be the operating term to understand the real structure of M Manikandan’s 10-part limited series. Like blind men groping in the dark, we listen to multiple interpretations of each character’s memories of Muthu and the events that make him unforgettable, even after years. From a saviour to gangster, a madman to an empath, we try to piece together the man behind the myth; Manikandan’s writing is such that we’re not expected to have one answer to all the questions about Muthu. Oftentimes, the best way to answer these are by accepting that Muthu is all of the above. 

The mood is that of a dark comedy and the characters chosen to investigate Muthu’s whereabouts add several layers to the first few episodes. For one, this head appears to have emerged at a village that is so devoid of drama that this place does not even require a police station anymore. These police officers are shocked at the discovery, and they appear clueless about where to begin with the investigation. And beneath this layer is that of a group of aimless, directionless police officers, gradually finding meaning in their lives thanks to the meaningful pursuits of a criminal.  

Some of these are surprisingly touching, like the incident where Muthu chooses to buy out an entire restaurant, after he witnesses the owner treating an aged waiter poorly. For this waiter, this chance meeting with Muthu turns his life around, giving Muthu the place he had reserved only for Gods. Although not as pious, this is pretty much how Sittu (Abi Nakshatra) remembers Muthu, too. As a dancer, it was Muthu’s support that ensured she could travel all along Tamil Nadu without getting harassed by lecherous men. 

But it’s Muthu’s alter-ego as the feared 

that creates doubts about who he really is. As long as we think of Muthu as a man in repentance, trying to find peace after all that he’s been through, the series takes the form of a spiritual personal drama about awaiting death. But the moment the show shifts gears to tell you all about Kaattaan, we’re in a space that feels too familiar to matter. From a saviour on his route to redemption, the older timelines present Kaattaan as just another rogue, turning into a gangster’s handyman and nothing more. 

The series also loses its way and transforms into an elaborate backstory about gang rivalries,  stolen money, and acts of revenge. But just as the action shifts from rural Tamil Nadu to urban Kerala, the characters begin to lose their edge and their texture. It’s also a show that suffers from a sudden loss of quality in this shift. Dialogues feel stilted and basic and the performances of smaller characters are further worsened by untrained actors. The rivalry between gangs is not worth taking seriously and the switch between three languages (Hindi, Tamil and Malayalam) further alienate us from the character study it first sets out to be.

So, when the show finally returns to Tamil Nadu to take us into the final chapters of the real Muthu, it feels like it’s too little, too late. His love story leaves no impact on us, and we do not fully understand the need for Muthu to have been so devoted to a gang that has no redeeming qualities. The interpersonal relationships do not matter either nor do we care about the big massy devolution the show takes to prop Muthu up as an action hero. What begins as a novel about the last years of a man who could only smile upon his death, the series deviates and turns into just another star vehicle. What begins with real promise, becomes as lifeless as Muthu with each new episode. 

 A mysterious character study loses its way

Muthu Engira Kaattaan

'Muthu Engira Kaattaan' Series Review: Vijay Sethupathi Powers A Spectacular Setup That Deserved A Deeper Series   

There is an animal abandon in the dance choreography of Telugu mass cinema—male actors jumping, squatting, bouncing with a reckless frequency, sliding across the floor, using every muscle of the leg to prop every seizure of movement. In 

’s ‘Aaya Sher’, for example, Nani moves forward by squatting on one leg, bouncing on it, flapping his other leg like a wind-wiper to lug him forward, gathering dust with his motion, while lighting a cigarette, hands in the air, triumphant. In ‘Rai Rai Raa Raa’ from 

, Ram Charan stamps the floor with such ferocious frequency he spends just as much time on the ground as he does hovering above it.

This boisterous male energy and lithe slugs of celebratory movement weren't always present in Telugu cinema. “In the 1950s and 1960s, it was usually the heroine who would be seen dancing,” film scholar SV Srinivas tells 

 (1971) might be the first example of a hero dancing in Telugu cinema, though this must be verified.” 

According to Srinivas, while the hero’s dance emerged as a notable feature of Telugu cinema in the 1970s, it was in the 1980s and 1990s that the ‘group song’ mounted on a massive scale became popular—where "a hero’s popularity and greatness is embellished by others around him. The focus, here, is on the hero’s body, rather than the heroines.” The number of bodies in the crowd increased, in tandem with the scale and spectacle of the film, whose budgets kept ballooning. “If you have so many bodies on screen you cannot have them do slow movements,” Srinivas notes.

The actor’s physique, too, changed, increasingly squeezed, shaped, and polished in the gym. While yesteryear star-actors like Chiranjeevi, too, were known for dancing —break-dancing in

 the new choreography required a different kind of body and focused labour, impossible when you are doing multiple films a year, being pulled from one set to the other, the way actors were in the 1990s and prior. 

“These songs require hours of practice to pull off a dance number on screen. A native bodily intelligence is not enough. You can have ‘Naatu Naatu’ precisely because these are accomplished bodies performing these dances. We don’t see Prabhas doing these songs, for example,” Srinivas notes. 

(2021, 2024) punctuated this trend, where the male body became a perfectly tuned instrument, as though part of the percussive highs of the music. This is the kind of choreography that is both endearing and edifying for the fandom—unembarrassed by the absurd, unintimidated by the acrobatic. Tamil cinema, however, took a diversion.

In the 2000s, you had new stars—Vijay, for example—who were willing to bend their bodies, and new choreographers—Prabhu Deva and Lawrence Raghavendra—who were willing to put these bodies to test. Prabhu Deva was also an actor-choreographer, through the 1990s, who buoyed films to commercial success merely by his brand of slick acrobatics. 

But now, choreographer Sathish Krishnan notes, “In Tamil cinema, there is the story’s narration along with the song. Before, the movies would have one introduction, and maybe two foreign-set songs. That would also be the time for the audience to go out for a smoke. In a 2.5 hour film, there used to be 20 minutes for just songs. Now even those 20 minutes are used for a story you need to follow.” As a choreographer these days, he also “directs” songs, a new demand made on choreographers.

Telugu cinema, though, has retained the centrality of the song and dance. “Songs are still important as a breather. They don’t make you understand the storyline, they are there only to entertain the fans,” Sathish notes. 

Have the demands made by Tamil fans on their superstar shifted, then?  

In Tamil cinema, the actor Vijay is an exception. “His fans want to watch him dance, so there are not too many montage songs in his films,” Sathish notes. 

(2022), for example, had only one song—‘Arabic Koothu’, where all the energy, abandon, and madness was densely packed into one explosion of absurd choreography. Directors like Mani Ratnam and Shankar, known for their music, too, have largely given up on choreographed dance sequences. 

 (2018), for example, only had an end-credits song, and Ratnam’s 

(2018) used music only as a montage—the first Ratnam film without lip sync songs. When Shankar made 

 (2025), though, his Telugu film with Ram Charan, he went back to the formula—the film was promoted on the basis of how exotic and expensive the song sequences were to shoot.

“Tamil actors don’t dance these days, with the exception of Dhanush and Sivakarthikeyan. The young bloods who are coming show their promise in their action choreography, but they don’t understand that only dancing for a song will take you into everybody’s house. Songs always have a better reach. Take ‘Rowdy Baby’. The kids love it,” Sathish notes. 

The superstars still acting—Kamal Haasan and Rajinikanth—are also a lot older, the former 75, the latter 71. Their bodies cannot afford to expend the same energy. “I feel like Rajinikanth’s songs, in the past few decades, are sped up by 1.25x,” Srinivas notes.

Even as the number of songs reduced, the energy within the song seems to have expanded. One argument is that the choreography in the 2010s changed because the music changed. Like AR Rahman introducing new sounds and rhythms into cinema in the 1990s, new-age composers of the 2010s unleashed new percussive highs, a shift in tempo. 

“It is a progression of sorts,” Srinivas notes. “Bappi Lahiri's music was fast-paced for its time. Rahman’s ‘Chaiyya Chaiyya’ was, perhaps, one of the fastest-paced songs of the 1990s. With each generation, music is getting faster, with new influences like EDM and hip-phop being Indianised into a hybrid form.” 

Shrasti Verma, a choreographer who assisted on blockbuster songs in 

, “With songs from composers like Anirudh, Thaman, and DSP, we have to give more energy to the choreography. The high tempo requires a lot of dancing.” 

The choreography that wraps the body around beats, has, naturally, increased its vocabulary of movement. “Earlier, there was jazz and salsa, but now, we have Latin, hip-hop, tap dance, waacking,” choreographer Baba Baskar says. “Choreography now is a lot faster. The instruments used are also different, there are computerized instruments now making unheard sounds. 

Aana thol addikikara madhari onnum illai 

(But there is nothing like hitting the hide of a percussive instrument)." The prominent use of the drum, Srininvas notes, is a predominant feature of these songs. 

Like in the aughts, Tamil film choreographers are also migrating North, bringing with them their idiom. When Prabhu Deva choreographed Katrina Kaif for ‘Suraiyya’ in 

’s (2000) ‘Kay Sera Sera’ it was distinctly different, in taste and conception, from any such song Kaif or Dixit had performed. ‘Mein Aisa Kyon Hoon’ in 

(2004) and ‘Chinta Ta Chitha Chitha’ in 

 (2012), too, were unlike anything Hindi cinema was secreting, the former leaning into Michael Jackson and the latter into koothu, both of which Prabhu Deva internalised into a messy, but joyful fusion, the seams seen. The #MeToo-accused choreographer Jani Master, who often choreographed for Salman Khan,  was engaged in 

(2025) for ‘Aashiqon Ki Colony’ and ‘Paan Ki Dukaan’. 

The way Tamil-Telugu film choreographer Shobi Paulraj shaped Shah Rukh Khan’s body in 

’s ‘Zinda Banda’ and the way Hindi cinema choreographers Bosco-Caeser framed the same body in 

’s ‘Jhoome Jo Pathaan’ is an instructive contrast—the former, a tinny, percussive Anirudh composition, in an Atlee film, and the latter, a Vishal and Sheykhar composition in a Sidharth Anand film, that allowed for close-ups and frozen, glamorous tableaux. The bodies in the crowd are doing different kinds of work—the former is to prop the heroism of the hero; the latter, to serve as a dynamic backdrop. What distinguishes the choreography of Hindi from Tamil songs? Are we looking at a possible confluence of styles? 

Baskar simply responds, “Style and swag is with them. Power and mass is with us.” He notes that Tamil cinema does not have situations like Hindi cinema, and besides, “the rhythm of the music is entirely different.” Describing Hindi film heroes as “stylish, slim, and trim,” he notes, “Even if they walk, it is like a dance.” This notion of grace associated with Hindi cinema heroes is echoed by Sandy. 

Choreographer Brinda Master, too, acknowledges this stark difference, “Tamil cinema is inspired by folk traditions; it is very raw. Hindi cinema choreography, on the other hand, is more graceful, simple movements will be fine—easier for the audience to catch. In Tamil and Telugu, though, you need a lot of energy.”

Ultimately, though, songs are spaces of fabulation, where the movement of bodies is dictated by and dictates unique cultural fantasies. The loss of these songs, as it is being seen in Tamil cinema, is, thus, a loss of fantasy. As Telugu cinema expands its idiom, and Tamil cinema’s shrinks, shipping part of it to Hindi cinema, it is the question of fantasy that dangles. 

“Films today want you to be in a conscious state. After watching ‘Arima Arima’, I was sitting on my bike smoking, wondering what the hell did I watch?” Sathish notes. 

From Nani's 'Aaya Sher' to Ram Charan's ‘Rai Rai Raa Raa’: Decoding The Male Hero’s Dance Choreography in Indian Film Songs

Were you ready for this? Filmmaker Aditya Dhar's 

has grossed over ₹1000 crore worldwide since it hit the screens on March 19. According to the makers, the Ranveer Singh-led film has emerged as the fastest film to enter the ₹1000 crore club, breaking all previous records. 

The Jio Studios and B62 Studios’ spy action thriller set several box-office records, including the biggest opening weekend for an Indian film worldwide.

In India, the film netted ₹466 crore in its first weekend, followed by a record-setting Monday of ₹64 crore, ₹58 crore on Tuesday, ₹49 crore on Wednesday, and  ₹53 crore on Thursday. The 8-day India total stands at ₹690 crore (nett), while the overseas gross is an estimated ₹274 crore. The global box-office gross is ₹1088 crore.

has already entered the top 10 highest-grossing Indian films globally. It has already surpassed other biggies on the list, including 

This weekend, it will hunt down the record of Shah Rukh Khan's 

which had grossed around ₹1354 crore globally.

will then set its eyes on the big records, including Allu Arjun's 

, which stands as the highest-grossing Indian film of all time at ₹2070 crore, out of which close to ₹1,300 crore came from its China release.

will be chasing these records without a release in China as well as the Middle East.

Produced by Jyoti Deshpande and Lokesh Dhar, the sequel continues the journey of Indian intelligence agent Hamza Ali Mazari, also known as Jaskirat Singh Rangi, who operates undercover in Karachi, infiltrating criminal syndicates and political power structures to dismantle a terror network threatening India.

'Dhurandhar 2' Box-Office: Aditya Dhar Film Chasing Aamir Khan's 'Dangal' Record, Crosses ₹1000 Crore Globally

The IMAX screenings for the science-fiction film 

have been significantly expanded across India after fans criticised the film’s limited availability on the format during its opening day.

The film, starring Ryan Gosling, opened in Indian cinemas on Thursday but initially secured only five IMAX screens nationwide, despite being shot specifically for the large-format presentation. Most of the country’s IMAX theatres were instead occupied by 

, the Ranveer Singh–starrer that has dominated screens since its release earlier in March.

India currently has 34 IMAX theatres, yet the Gosling-led film had just 13 shows scheduled across them on its first day. The limited rollout prompted criticism online, particularly from viewers who argued that the film’s visual scale made it best suited to the premium format.

By Friday, however, the number of IMAX shows had increased sharply, with more than 60 screenings listed across theatres. Tickets for several of the new shows began selling out quickly after they were made available.

Some cinema-goers took to social media to express both excitement and frustration. People criticised what they described as awkward scheduling, noting that many of the added screenings were either early morning or late-night slots. Cinema chain PVR INOX also acknowledged the increased demand, announcing on Thursday evening that additional IMAX shows had been added.

 collected ₹2.25 crore net on its first day across 1,324 shows in India. This brings the film’s total India gross to ₹2.70 crore and its net collections to ₹2.25 crore so far.

Directed by Phil Lord and Christopher Miller, the film is based on the bestselling novel by Andy Weir. Gosling plays Ryland Grace, a scientist who wakes up alone aboard a spacecraft with no memory of how he arrived there, only to discover he may be humanity’s last hope of preventing an extinction-level threat.

The film also stars Sandra Hüller, James Ortiz and Lionel Boyce.

continues its strong run at the box office, having reportedly collected more than ₹675 crore net in India.

'Project Hail Mary': IMAX Shows Expanded from Five to 60 Across India After Fan Backlash

The release of Pradeep Ranganathan's next film, the sci-fi romance

Starring Ranganathan and Krithi Shetty in the lead roles and directed by Vignesh Shivan, t

he release date of April 3 was announced by the film’s makers on social media after months of uncertainty about its theatrical plans. The project had previously faced several postponements before settling on its new slot in early April.

 is set to blend romance with science fiction, unfolding in a futuristic version of Chennai in the year 2040. The narrative imagines a world where relationships are increasingly shaped by technology, with dating platforms claiming to predict compatibility and emotional outcomes through data-driven systems.

At the centre of the story is a young man who holds on to traditional notions of love, placing his faith in emotional connection rather than algorithms. His beliefs put him at odds with a society that has largely embraced technology as the foundation of modern relationships. The conflict deepens when he meets Dheema, a technologically adept woman whose perspective on love is shaped by the very systems he resists.

Their relationship soon draws the attention of Suriyan, the chief executive of a powerful dating platform that treats love as a monetisable commodity. As the story progresses, the protagonist finds himself confronting a corporate ecosystem built around predicting and controlling human emotion, setting up a larger clash between instinct and technology.

The film features a supporting cast that includes SJ Suryah, Seeman, Yogi Babu, Gouri G Kishan and Shah Ra, alongside lead actors Ranganathan and Shetty. The music and background score are composed by Anirudh Ravichander, who also lends his voice to a robot character in the film.

Initially scheduled for release on September 18, 2025, the project underwent multiple delays, first moving to a Diwali release window before being postponed again due to scheduling changes.

Shivan’s previous directorial venture was 

, starring Vijay Sethupathi, Nayanthara and Samantha Ruth Prabhu. Meanwhile, Pradeep Ranganathan was last seen in 

last year, both of which were box-office hits.

‘Love Insurance Kompany’: Release of Pradeep Ranganathan's Sci- Fi Comedy Pushed Again to April 10


have released a new look of its lead star Ram Charan, introducing the character “Peddi Pehelwan” to coincide with the actor’s birthday.

The newly released visual shows Charan in the role of a wrestler, marking a shift in the film’s narrative after earlier promotional material presented him as a village cricketer. The image forms part of a series of content releases from the production that have gradually revealed different facets of the film’s setting and central character.

Directed by Buchi Babu Sana, the sports drama centres on the titular character 

and appears to chart his journey across different arenas of competition. Early footage and posters showed the character playing cricket in a rural setting, while the latest reveal introduces wrestling as a major element of the story.

The film also stars Janhvi Kapoor, Jagapathi Babu, Shiva Rajkumar and Divyendu Sharma in supporting roles.

Music for the film is composed by A. R. Rahman. Its first single, 

, was released earlier this year and drew significant online attention, contributing to growing anticipation around the project. A second track, 

, followed with a more energetic tone and also gained traction on video platforms.

The latest reveal places emphasis on Charan’s physical transformation for the role, presenting him in a traditional wrestling setting. Wrestling, or 

, has long been associated with rural sporting culture in parts of India, and the imagery suggests the film will incorporate elements of that tradition into its narrative.

Charan, who achieved international visibility following the global success of 

, is headlining the project in what is positioned as a major release in 2026.

is produced by Venkata Satish Kilaru under the banner Vriddhi Cinemas in collaboration with Mythri Movie Makers.

The film is scheduled to release in cinemas on 30 April 2026.

'Peddi' First-Look: Ram Charan is a Wrestler With A Mace 

Producer Namit Malhotra has confirmed that the next reveal from the upcoming epic 

will be unveiled on April 2, coinciding with the Hindu festival of Hanuman Jayanti.

The announcement was shared by Malhotra on social media on Thursday, the occasion of Ram Navami, where he posted a note reflecting on the scale and responsibility of adapting one of India’s most enduring mythological texts for the screen. “This is a story that belongs to all of us,” Malhotra wrote, adding that the project had been approached with “responsibility, devotion and care” in order to bring the epic to life “in its truest spirit and scale”. He confirmed that audiences would see the next glimpse, titled 

, on 2 April, describing the reveal as a “grand world launch with fans”.

Directed by Nitesh Tiwari, the two-part film is among the most closely watched Indian productions currently in development. The project aims to reinterpret the ancient Indian epic, traditionally attributed to the sage Valmiki, through large-scale visual effects and an international production pipeline.

Malhotra’s Prime Focus Studios is producing the film in association with the visual effects company DNEG, which has won multiple Academy Awards for its work on Hollywood films. The production is also backed by Monster Mind Creations, the banner associated with actor Yash.

The film brings together a high-profile cast, with Ranbir Kapoor playing Rama, Sai Pallavi as Sita and Yash portraying the antagonist Ravana. Sunny Deol is set to appear as Hanuman, while Ravi Dubey will play Lakshman.

 recounts the exile of Prince Rama, the abduction of his wife Sita by the demon king Ravana, and the subsequent battle to rescue her. The story remains one of the most widely told narratives in South Asian culture, with countless adaptations across literature, theatre and cinema.

The film’s first instalment is scheduled for a global IMAX release during Diwali 2026, with the second part planned for Diwali 2027.

‘Rama’ Glimpse from 'Ramayana' to Launch on Hanuman Jayanti, Producer Namit Malhotra Confirms

Actor couple Rajkummar Rao and Patralekhaa’s first film under their banner

 Kampa Film, is ready to release. Netflix on Thursday announced that the upcoming dark comedy 

  will release on the platform on April 15. The film also stars Sanya Malhotra, Abhishek Banerjee and Archana Puran Singh. 

According to the streamer, the Vivek Das Chaudhary directioal takes an everyday object, a toaster

 and turns it into the centre of an "increasingly ridiculous chain of events. What starts as a petty fixation quickly spirals into a situation far bigger than anyone expected."

"Most wedding gifts are given, exchanged with a smile, and eventually forgotten. But what happens when the wedding gets called off after the gift exchange — and someone simply refuses to forget their gift? That’s where the madness of Netflix’s upcoming entertainer, 

said stepping into production with Kampa Film has been an incredibly meaningful milestone and added that 

finds humour in the most unexpected places, and, "the moment we read it, we knew it was a story we wanted to bring to life."

"Being our very first film makes the experience even more personal for us. Having such a wonderful ensemble come together for this journey has been truly exciting, and we can’t wait for audiences to dive into this entertaining and unpredictable ride," she said.

Ruchikaa Kapoor Sheikh, Director of Original Films, Netflix India, said the film is a quirky dark comedy that begins with a simple miser whose life spirals into complete mayhem in pursuit of getting back his toaster. 

"It’s the kind of inventive storytelling we love to champion at Netflix. With Vivek Das Chaudhary making his directorial debut and Patralekhaa & Raj stepping into the producer’s role for the first time with Kampa Film, the project reflects our continued focus on championing emerging talent behind the camera while bringing an exciting burst of fresh creative energy."

also stars Farah Khan, Upendra Limaye, Vinod Rawat, Jitendra Joshi and Seema Pahwa. The film is written by Parveez Shaikh, Akshat Ghildial and Anagh Mukerjee.

Rajkummar Rao, Sanya Malhotra's 'Toaster' To Release on Netflix in April

In an unprecedented move, Mohanlal has announced that his film 

 will release in theatres for the first time on April 10. The sequel, directed by Jeethu Joseph had premiered exclusively on Amazon Prime Video in 2021 during the heights of Covid 19 pandemic. 

This will be the first time in Malayalam that a movie that was sold exclusively to an OTT platform would find a theatrical re-release, giving audiences the chance to experience the film on the big screen. 

Mohanlal posted a new poster of the second film announcing the re-release and called it the film’s “Big Screen Debut”. 

April 10 was the originally slotted date for the release of 

. But this date had to be pushed to May 21 owing the crisis in West Asia. 

’s release is expected to take a portion of the screens that were allotted for the third film in the franchise. It would also be getting a wider, India-wide showcasing on this date. 

The franchise, which began with the success of the first film in 2013, features a cast which includes Meena, Ansiba Hassan, Esther Anil, Siddique, Asha Sarath, Murali Gopy and Sai Kumar. It was then remade in several languages across the world, including a hit version in Chinese as well as Hindi, which starred Ajay Devgn and Tabu.

 has closed its pre-release distribution sales at a whopping cost of ₹350 crore, which is ₹50 crore more than the total collection of Kalyani Priyadarshan’s 

, currently the highest-grossing Malayalam film of all time. 

 will release in cinemas on October 2; it also stars Shriya Saran, Ishita Dutta, Mrunal Jadhav, Kamlesh Sawant, and Rajat Kapoor.

In other news, it was recently announced that director Priyadarshan and Mohanlal are teaming up again. The film is being produced by Mohanlal’s Aashirvad Cinemas with Anthony Perumbavoor and Binu George Alexander as co-producers.

In A First, Mohanlal’s 'Drishyam 2' To Get A Theatrical Release Next Month 

Filmmaker Vivek Ranjan Agnihotri and producer 

, inspired by the Indian Armed Forces' military attack on terrorist infrastructure in Pakistan and Pakistan-occupied Jammu and Kashmir last year.

Based on Lt Gen KJS ‘Tiny’ Dhillon’s book Operation Sindoor: The Untold Story of India’s Deep Strikes Inside Pakistan, the film will be backed by Kumar's T-Series and Agnihotri's I Am Buddha Productions. 

Agnihotri, whose credits include films like 

"We have conducted extensive, ground-level research in collaboration with multiple wings of the Indian Armed Forces to understand not just what happened, but how and why it happened," the filmmaker said, adding that what emerged was a "reality far more complex, far more precise, and far more unsettling than what is available in the public domain."

"I have always believed in telling stories that are uncomfortable but necessary. My effort is to bring this story of courage, professionalism, and strategic clarity to audiences with authenticity, while also presenting it as an edge-of-the-seat cinematic experience," he said, noting that his intention with the film is not to "create noise, but to confront it—with facts, with clarity, and the magic of cinema.”

 chose the team and said it demands to be told with "honesty, courage, and responsibility."

"This is not just a film. It is a revelation. When a nation goes through events of such magnitude, it becomes important to document them truthfully," the producer added.

Further details about the project are currently under wraps and will be announced soon. Agnihotri last directed 

, which starred Mithun Chakraborty, Pallavi Joshi, Darshan Kumar, Anupam Kher and Simrat Kaur. Released in 2025, it was the third and final installment in Agnihotri's The Files Trilogy.

Vivek Ranjan Agnihotri, Bhushan Kumar Team Up for ‘Operation Sindoor' Film

The first trip after a wedding rarely looks the way travel brochures imagine it. The couple in question is often less interested in itinerary than in something simpler: time together, good food, and the company of the people who know them best. 

In Airbnb’s latest campaign, Vijay Deverakonda and Rashmika Mandanna take exactly that kind of trip, trading ceremony for a sunlit escape in Koh Samui.

The film follows the pair as they check into an oceanfront villa booked through Airbnb—a sprawling property with an infinity pool, open living spaces and indoor-outdoor design that makes island life feel effortless. Instead of the usual travel montage, what we see are the small pleasures that make a holiday memorable: breakfast conversations that stretch longer than planned, music playing in the kitchen, and afternoons that slip by beside the water.

Running through the film is a voiceover taken from the couple’s wedding notes to each other, lending the narrative a distinctly personal texture. “My husband… still getting used to saying that,” Mandanna says with a laugh. Later comes a line that feels less performative and more reflective: “My best friend. That part hasn’t changed.” These fragments turn everyday moments—dancing in the living room, teasing each other over breakfast—into something unexpectedly intimate.

Friends drift in and out of the frame throughout the trip, filling the villa with the easy bustle of a shared holiday. The setting lends itself to exactly that: large communal spaces, sun-drenched terraces and a pool that naturally becomes the centre of the day’s plans.

That dynamic mirrors a broader shift in the way people are travelling. According to Airbnb, nearly 40% of summer searches by Indian travellers are now for group stays, pointing to a growing appetite for trips that double as reunions. The trend even has a name: the “buddymoon”, where newlyweds celebrate their first holiday alongside their closest circle.

For Deverakonda and Mandanna, the appeal is straightforward. “Travel for us has always been about making memories with friends and family,” they say. “Staying in an Airbnb makes it easy because everyone can be together in one place—playing games, swimming, watching the sunset, sharing meals. It feels less like visiting somewhere and more like living there.”

Inside Vijay Deverakonda and Rashmika Mandanna’s Koh Samui Holiday Escape with Airbnb

HBO has unveiled the first teaser trailer for its upcoming 

 television series, offering a first look at a new cast stepping into some of the franchise’s most iconic roles. Beginning with 

, the footage introduces a reimagined Hogwarts and fresh portrayals of Harry Potter, Hermione Granger, Ron Weasley, Albus Dumbledore and Severus Snape, signalling a new chapter for the globally popular wizarding world.

The series is conceived as a multi-season adaptation of J.K. Rowling’s seven novels, with each season dedicated to one book. The first instalment will adapt 

Harry Potter and the Philosopher’s Stone

, opting for the original U.K. title rather than the U.S. version, 

, which was used for the 2001 film directed by Chris Columbus. The teaser revisits several key moments from Harry’s first year at Hogwarts, reinterpreted for a longer-form television format.

Dominic McLaughlin leads the cast as Harry Potter, alongside Arabella Stanton as Hermione Granger and Alastair Stout as Ron Weasley. The adult ensemble includes John Lithgow as Albus Dumbledore, Janet McTeer as Minerva McGonagall, Nick Frost as Hagrid and Paapa Essiedu as Severus Snape.

In a notable update, the trailer confirms a premiere date of December 2026, earlier than the previously announced 2027 window. JB Perrette, CEO and president of global streaming and games at Warner Bros. Discovery, described the project as “the biggest streaming event in the history of HBO Max — and arguably in streaming, period,” adding that it ranks “number one, two and three in many ways.”

 writer Francesca Gardiner as showrunner, with 

 director Mark Mylod directing multiple episodes. Rowling, whose books have sold over 600 million copies worldwide, serves as an executive producer but has remained a controversial figure in recent years due to her views on trans rights issues.

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