 star Yash, the upcoming action thriller features Qureshi as Elizabeth.

'Toxic': Yash Introduces Huma Qureshi as Elizabeth in New Poster

CIRCUS has been building toward this moment for a while. When the festival debuted in Goa in 2019, it positioned itself not as a genre disruptor but as a curator-led alternative to India’s increasingly formulaic electronic circuit. Its early editions leaned into techno, house, and left-field club sounds, prioritising flow and programming over mass appeal. That philosophy has evolved steadily over the years, and day one of CIRCUS 2025 in Mumbai marked the boldest expression of that evolution yet.

Much like many other marquee music festivals local to Goa, CIRCUS decided to make the move to Mumbai. Now, not a lot of these festivals have gotten it right. But CIRCUS certainly did. The festival arrived at NSCI Dome in Mahalaxmi with its most ambitious spatial and technical design to date. The setup transformed the venue into a 360-degree visual paradise, chucking out the idea of the traditional stage. Instead of orienting the night around the artists entirely, the setup treated the crowd to an immersive experience, and the sonics were backed by an L-Acoustics L-Series rig optimised for even coverage, paired with kinetic scenography and an architectural lighting grid.

The crowd behaviour reflected that the production was not an afterthought. For a majority of the time, the attendees were taken into a trance by the artists and movement became collective, almost ritualistic, with just a few phones in sight.

The tone of the night was set by Klangkuenstler, making his third visit to India, by now a familiar name to local techno crowds. Known for his high-BPM, hardgroove-driven vibes, his language was recognisable, drawing from the same sonic world that defines his master tracks like 'Totter Schmetterling'. The artist took to Instagram to express his love for India and how he wishes to bring his concept production OUTWORLD to India on his next visit. 

And what followed was absolute madness. With a seamless transition, I Hate Models,  headliner of CIRCUS, took over the booth with his signature mix of 'Paleta'. What proceeded is an hour of carnage on the dancefloor as the French DJ, making his debut in Mumbai, did what he did best: win the crowds over with his energy and showmanship. 

Beyond its opening night, CIRCUS 2025 used the rest of the weekend to expand its programming into different genres of techno. Day 2 shifted toward groovy territory, led by Jamie Jones and Maceo Plex, whose sets eased the intensity without flattening momentum. 

Day 3 introduced a more melodic approach with Monolink Live, offering a contrast in structure yet seamless transitioning through BPMs. The CIRCUS is set to close with an Afro Beats night headlined by Hugel and Yousef, rounding out a weekend that moved across genres without losing the audience.

Having followed CIRCUS closely over the years, particularly through its Goa editions, we have come to associate the festival with a certain curatorial confidence. When the move to Mumbai was announced, it felt like a genuine test of that philosophy. What unfolded instead was a reminder of why CIRCUS has earned its credibility. The festival didn’t just survive the shift; it came with a presentation the city had never seen before. For a homegrown platform to do that in Mumbai is no small feat, and it positions CIRCUS as one of the few festivals in the country worth watching closely in the years ahead.

Circus Festival 2025: I Hate Models and Klang Kick Off Day One in the Most Spectacular Way Possible

exited the film, just weeks before the third instalment of the popular thriller franchise was set to go on floors. According to the film's producer, Kumar Mangat Pathak of Panorama Studios, Khanna left the film a day before the release of 

There were speculations that Khanna exited the project as he was unhappy with his remuneration and had reservations about his look in 

. Khanna has been replaced in the film by 

, even predicting that the Ajay Devgn and Tabu starrer would do business of over ₹500 crore after he heard the narration.

The producer claimed Khanna was paid an advance on the finalised remuneration, but a day before 

 hit the screens, he backed out. “At least walk out graciously. How can you not respond to calls and messages?” Pathak fumed, stating that he tried to reach out to the actor several times, but there was no response.

Pathak doubled down on Khanna in another interview and claimed that "it doesn’t matter" whether the actor was in the film, as 

"Now, Jaideep Ahlawat has replaced him. By the grace of God, we have got a better actor than Akshaye, and most importantly, we have got a better person than Akshaye as well,” Pathak told 

 and added that since he has suffered losses due to his behaviour, he is going to initiate legal action and has already sent Khanna a legal notice.

will begin its next stint in Goa from January 8. The schedule is expected to continue till the end of February, which will feature the entire cast, including Devgn, Tabu, Shriya Saran and Rajat Kapoor.

'Drishyam 3' Producer Sends Legal Notice to Akshaye Khanna; Claims Actor Exited Film a Day Before 'Dhurandhar' Release

Actor Allu Sirish has announced that he will marry his fiancée, Nayanika Reddy, on March 6 — a date that already carries significance within the household. It is the same day his brother, Telugu superstar Allu Arjun, married Sneha Reddy.

The announcement was made on Instagram, where Sirish shared a photograph of himself with his nieces and nephews. The image, informal and affectionate, leaned away from spectacle and towards something more intimate: a portrait of continuity, family and inherited rituals. It was quickly met with warm reactions from fans and members of the film fraternity.

In a statement, Sirish explained that the coincidence emerged only after logistical considerations were settled. “When our wedding dates were being arrived at as per charts and kundalis, we were given two favourable dates,” he said. “The deciding factor became venue availability, which led us to March 6. It was only later that we realised we would be sharing the date with Bunny and Sneha.”

The date, he added, has come to symbolise more than coincidence. Watching the life his brother and sister-in-law have built together, Sirish said, has been “deeply inspiring”. As he and Reddy prepare to begin their married life, he hopes for a partnership rooted in “love, understanding and, above all, mutual respect”.

Sirish has, over the years, carved out a career marked by variety rather than predictability, working across 

 and balancing commercial projects with more content-driven films. While he has remained less high-profile than his older brother, his choices have earned him a reputation for persistence. Nayanika Reddy, meanwhile, is a well-known professional in the construction and real estate sector. Friends of the couple have described the pairing as complementary.

The March 6 ceremony is set to remain intimate, while also coinciding with a significant family milestone: Allu Arjun will be marking 15 years of marriage on the same day, celebrating alongside his brother and new sister-in-law.

Allu Sirish Sets Wedding Date That Mirrors Brother Allu Arjun’s

It wouldn’t be wrong to call 2025 an eventful year for 

. Granted, only two films were able to make a dent at the box office, but the range — the glittering period fantasy 

 — is perhaps indicative of how far the industry has come. Let’s take a look at five of the performances that made us hopeful for the better days to come.

, the prequel to 2022’s exquisite Kannada land drama, knowing what we’re going to see. But the prequel, which comes with additions of characters and plotlines, still manages to surprise us. Its grasp on the VFX, opulence and intricate plotting blows us away. And the jig isn’t really up. One of the main reasons behind that is Shetty. As opposed to the original, the actor plays two main characters here: Berme, the messiah of his forest community, and Mayakara (

 is unrecognisable here), the indestructible elder who leads Berme to light. Shetty’s Daiva portions are undoubtedly the highlight of the film, but his hold on the film’s world and its potential make Berme a brilliant coming-of-age hero.

Sumanth Bhat’s Kannada feature is a moving meditation on grief. And it's hard to believe that the leading man evocatively anchoring the film is a child actor. The film follows the life of 

 (Athish Shetty), who is suddenly displaced from his hometown after a sudden personal tragedy. Too young to understand the death of his parents, but too old to start afresh in a new city, Shetty reflects the uncomfortable truth and solitude of Mithya’s adolescence with staggering depth.

Shaneel Gautham aces the classic toughest softie aesthetic in 

. The horror comedy depends so much on community humour that it’s easy to slip under the radar in the midst of such a talented ensemble. But Shaneel’s Ravi Anna will arguably go down in history as the most memorable small-town guy. 

Shaneel Gautham plays Ravi Anna with so much depth and effortlessness, almost instantly making us fall for his bashfulness. He takes on many roles in 

: village grump, bitter bachelor, fun drunk, unofficial sarpanch, and, biggest of all, a late bloomer who learns to give love a second chance. 

 over Kanakavathi, the coy princess, could be comprehended perhaps only after a second viewing of the 

film. When the big reveal comes, we feel cheated. But a second after that, we also go, “Of course she’s the bad guy,” immediately revisiting the signs we missed. Kanakavathi is a tough nut to crack. A few notes askew, her character could’ve come undone, but Rukmini makes sure she isn’t reduced to a vixen hexing curses. While her backstory could've been done with a lot more time, she ensures we stay transfixed with the time that she has in the intricate film. 

Underneath layers of romance, action, and a terrific one-night thriller template, 

 is a story about the kindness of the human heart. And Raanna, whose story acts as the beacon for the film’s subject, fills us with sympathy and respect almost as soon as we see him. The film revolves around Harisha (Raanna), a man running against the clock to reunite with his lover, and runaway bride Revathi (Priyanka Achar). But the moment they pick, in the borderlands of Karnataka and Tamil Nadu, is politically charged and awfully wrong. Harisha and Revathi hardly come together on screen, but we feel their love, angst and desperation in their individual agony of being apart. Raanna is especially convincing as the lovesick young man who doesn’t just have to make it in time to see his lover, but also needs to get out of an unfortunate prison mix-up.

The Best Kannada Film Performances of 2025

, which was held at the National Stadium Bukit Jalil in Malaysia on Saturday, the actor-politician said he was giving up everything he had earned in his film career for his fans.

"When I entered the cinema, I thought I was building a small sand house here. But you all have built me a palace. The fans helped me build a fort; that’s why I’ve decided to stand for them. For the fans who gave up everything for me, I’m giving up cinema itself," said the actor on stage.

Vijay also made indirect references to his political motives going forward. "

I may or may not have friends, but I certainly have many opponents. I cannot waste my time fighting everyone. Standing up to the powerful is what truly proves our strength. There has been a lot of discussion about whether I will stand alone. For 33 years, I have had your unwavering support, so how can I ever be alone?"

drew nearly one lakh fans and entered the Malaysian Book of Records for the largest audience at such an event, according to reports.

H Vinoth addressed if the film would end up being a remake of actor Balakrishna's 

, "A lot of people are curious about whether 

will truly do justice to the fact that it is Vijay's last film. Some are calling it a remake, others are unsure if it is partly inspired, and a few are even trying to spoil the experience. To all of them, I want to say just one thing; this is a Thalapathy Vijay film," he told everyone.

 "a 100 per cent engaging and entertaining."

"There are moments meant to be celebrated with song and dance, and there are moments that will make you pause and reflect on the message being conveyed. The final 15 minutes are designed as a farewell, but without heaviness or tears. Instead, they will leave the audience with hope, because there is no ‘the end’ for Thalapathy Vijay," he concluded.

The event was graced by the film's cast and crew, including Pooja Hegde, Mamitha Baiju, Priyamani, music director Anirudh Ravichander, lyricist Vivek, as well as several singers such as 

Vijay Yesudas, Anuradha Sriram, SPB Charan, Tippu, 

Shweta Mohan who performed a tribute concert. Vijay's former directors 

Lokesh Kanagaraj, Nelson Dilipkumar and Atlee also attended the event.

is set for a Pongal theatrical release on January 9, 2026, and will clash at the box-office with 

'Jana Nayagan' Audio Launch: Vijay Says He's 'Giving Up Cinema' For His Fans

 treated fans to the teaser of his upcoming film, the 

. Set during events in 2020, when Indian and Chinese troops clashed in the Galwan Valley on the Indo-Sino border, the film is described as a tribute to India’s frontline soldiers and their indomitable spirit.

In the teaser, Khan appears as an injured but determined Indian Army officer, leading a ragtag group of soldiers against a swarm of advancing Chinese men. Outnumbered and armed with clubs and stones, Khan’s men look nonetheless braced for battle. 

The 2020 Galwan Valley clash was a deadly hand-to-hand skirmish between Indian and Chinese troops along the Line of Actual Control. During the clash, soldiers could not use firearms like guns and explosives owing to longstanding bilateral agreements between the nations. As such, they fought with improvised melee weapons and bare hands, leading to fatal casualties on both sides. 

As revealed earlier, in the film, Khan essays the role of real-life hero Colonel B. Santosh Babu, who bravely led the Indian soldiers and was killed in action during the clash.

is directed by Apoorva Lakhia. Khan is joined in the cast by Chitrangda Singh, Abhilash Chaudhary, Ankur Bhatia and others. A synopsis of the film reads, “At over 15,000 feet above sea level, in one of the harshest terrains, courgae was tested like never before

 brings to life a defining chapter of Indian history, a conflict fought in conditions where restraint, resolve and sacrifice became the ultimate weapons. Are you ready to witness this tale of courage?” 

 is scheduled to release on April 17, 2026. Earlier, 

from that date, thus avoiding a clash with Khan's film.

'Battle of Galwan' Teaser: Salman Khan Is Ready To Rumble In Indo-China War Film

For much of the post-pandemic period, Indian theatres appeared to have accepted a brutal binary. Either a film arrived as a ₹400–600 crore spectacle, made to explode on opening weekend, or it exited the conversation altogether — diverted to streaming, often without promotion. The mid-budget theatrical film, once the spine of Hindi cinema and a steady contributor across industries, seemed to have vanished.

And yet, 2025 has unsettled that assumption.

This year, while several heavily mounted tentpoles underperformed, a clutch of films in the ₹80–100 crore range — and, crucially, titles that didn’t announce themselves as “events” — have sustained footfalls, bridged calendar gaps, and in some cases become outliers. Theatres did not revive because of a single phenomenon, but because of an uneasy convergence: audience fatigue with hollow spectacle, the retreat of OTT safety nets, and exhibitors recalibrating programming in real time.

“2025 has dismantled long-held assumptions about what works and what doesn’t,” Niharika Bijli, Lead Strategist at PVR INOX Ltd, told 

“Audiences now prioritise sincerity over scale. They’re seeking intense, deeply felt experiences in theatres — whether it’s love, anger, nostalgia, or sheer unfiltered joy. Feeling over fluff is firmly back.” Bijli’s emphasis on emotional pull rather than production scale recurs across industries this year. Films that delivered a visceral experience — irrespective of budget — managed to draw audiences, often without the opening-weekend hysteria once considered non-negotiable. “That’s why films that delivered emotional force have performed,” she said, pointing to titles such as 

. “They have all been able to get their audiences to cinemas.”

The pattern is echoed by exhibitors on the ground. Akkshay Rathie, film exhibitor, described the return of the mid-segment film as not merely visible but essential. “The mid-segment film has made a return. Some of these films have actually become outliers in the best sense,” he tell us.

as an example — a film modest in scale that exceeded expectations within its genre. However, Rathie is careful to resist romanticising the mid-budget resurgence as a solution in itself. “What theatres truly need is not just mid-segment films, and not just tentpoles, but a very healthy mix of both,” he said. “Ideally, every month should have at least one tentpole — whether from Hollywood, the southern industries, or Hindi cinema. Between those tentpoles, you need mid-segment films that carry you from one big release to the next, keeping your operating costs covered.”

That distinction between survival and sustainability defines much of 2025. Mid-budget films may have kept theatres alive, but the absence or underperformance of expected blockbusters left exhibitors exposed. Rathie is blunt about this imbalance. “Had it not been for 

 — exhibitors would have been in really bad shape this year,” he said. “We were expecting much more from films like 

The fragility of the ecosystem becomes clearer when viewed through a trade lens. Ramesh Bala, trade analyst, situates 2025 within a longer arc of uneven recovery. “If you look at the post-pandemic recovery, the southern markets bounced back slightly faster than Hindi cinema,” he says. 

While none of the industries have fully returned to pre-pandemic levels, the south benefited from structural advantages — capped ticket prices, strong star-driven opening cultures, and clearly defined home markets. “In states like Tamil Nadu, ticket prices are capped, unlike in Mumbai or Delhi where multiplex tickets are extremely expensive,” Bala noted. “This ensures that audiences still turn up, at least over the weekend, and if the film is exceptionally good, even on weekdays.”

Volume also plays a decisive role. “Bollywood releases far fewer films now,” Bala said. “In contrast, in the south — across Tamil, Telugu, Kannada and Malayalam — you’ll see multiple releases every week. That volume keeps theatres active and audiences habituated to the theatrical experience.” Medium- and small-budget films such as 

may not dominate national discourse, but they keep the machinery running.

Perhaps the most consequential shift of 2025, however, lies outside box office charts altogether. The OTT-first model that once absorbed risk has receded. “Streaming platforms have become far more selective,” Bala said. “They are no longer buying films the way they did during the pandemic.” The result is stark: theatrical release has once again become the primary filter for streaming acquisition. “The safety net has almost completely disappeared,” Bala explained. “Today, in nearly 90 per cent of cases, producers are releasing films without any assured pre-release revenue.” What once allowed a ₹100 crore film to recover half its cost through satellite and streaming deals no longer applies. Theatres are once again the highest-risk, highest-stakes window.

This recalibration has also reshaped the role of re-releases, which started in 2025 not as desperation programming but as cultural events. “Re-releases have been far more than fillers this year,” Bijli said. “They kept screens active during weeks that might have otherwise felt lean, drawing in a younger audience eager to experience older films on the big screen.” 

Crucially, Bijli resists reducing re-releases to footfall math. “They serve a much larger purpose,” she said. “They allow us to revisit titles, restore them to our cultural memory, and spark conversations that go beyond box office numbers.” Films such as 

 may not have generated spectacular collections, but their afterlife — songs trending, renewed discussion — signals a broader cultural ripple.

Rathie concurs, but with a caveat. “Re-releases can’t just be paradrops,” he said. “They need to be well-planned, well-marketed properties — events, essentially.” He points to Shah Rukh Khan’s birthday re-releases as examples of intent and visibility making the difference between nostalgia and indifference.

Regional cinema, too, has altered the theatrical map. Gujarati films, once treated as niche, now travel beyond state borders. “Gujarati cinema has moved from a niche space to a steady performer,” Bijli said. Exhibitors have responded by offering better time bands, longer runs and integrated programming. Rathie situates this within a larger national opportunity. “Every regional fraternity in India has tremendous potential,” he said, citing industries from Chhattisgarhi to Assamese. “What’s missing is a more organised, audience-first approach.”

Not grand events, but consistency. Regular release intervals. Curated re-releases. Mid-budget films valued for intrinsic connection, not just cost sheets. And tentpoles that arrive when they’re ready — not clustered around festivals to cannibalise one another. “Story-driven cinema — rich in diversity, rooted in cultural resonance,” is how Bijli describes the road ahead. Rathie adds the cautionary note: without a steady cadence of big films, the system cannot hold. Bala, meanwhile, reminds us that theatres have reclaimed centrality, not by choice, but by default.

In 2025, the mid-budget film endured. And in doing so, it reminded the industry that survival, unlike spectacle, is built film by film.

Mid-Budget Films Revived Indian Theatres in 2025, What Will 2026 Look Like?

continues to run unchallenged in Indian cinemas. At the end of its three-week theatrical run so far, the spy actioner starring Ranveer Singh has earned ₹640.20 crore at the domestic box office, cementing its place as the highest-grossing Hindi film of 2025. The film has also become the second-highest-grossing Indian film of the year, behind

added ₹20.90 crore to its domestic collections, according to figures shared by production banner Jio Studios. The makers claimed in a press release that this is the highest Day 20 nett recorded by any film released in India. It has officially surpassed 

, which previously held the top spot for an Hindi film this year.

has charted a remarkable ascent at the box office. The film opened with a strong first-week nett of ₹218 crore. Its momentum peaked in the second week, with collections rising to ₹261.5 crore. The film maintained its pace between Day 15 and Day 19, netting ₹139 crore and edging out competition from 

With the Christmas holidays adding a boost to its performance, trade estimates suggest the film is likely to remain steady in the coming days, despite a new release on the block: 

Meanwhile, on Wednesday, the makers confirmed March 19 as the release date for 

, coinciding with Eid, Gudi Padwa and Ugadi. Unlike the first film, which released only in Hindi, 

 will release simultaneously in Hindi, Telugu, Tamil, Kannada and Malayalam.

Directed by Aditya Dhar and produced by Jio Studios and B62 Studios, 

 is currently in post-production. It is positioned as a major pan-India release in 2026 and one of the biggest Hindi films of the coming year.

'Dhurandhar' Surpasses 'Chhaava', Becomes Biggest Hindi Film of 2025

Telugu cinema experienced a natural ebb and flow this year. A few star-led films made a dent at the box office — Venkatesh Daggubati’s 

— while some surprised not too much with density, but with style (Pawan Kalyan’s 

). But the real mavericks this year have been the smaller films… titles that sneaked in terrific registers of performances all through 2025. 

Here’s a list of Telugu cinema’s best performances this year in no particular order:

 brings his characteristic lightness to the Telugu drama. But where he really surprises in 

 is with his range. Through the romance of two young adults, the 19-year-old Chandu, and the 17-year-old Jabili, we see a falsely implicated case under the POCSO Act play out. Pulikonda’s Teja, an assistant who is dying to come out of his mentor’s shadow, is forced to take up this complicated case — not for selfish hunger of recognition — but out of empathy for Chandu’s helplessness; a glimpse of which he sees in himself. Pulikonda is fantastic in the court scenes as the wordsmith, a side of him we’ve come to adore, but also as an immersive performer who rightfully gets his due. 

 has some of the most piercing depictions of women in it. We have the beautiful and self-assured Durga (Anu Emmanuel), who doesn’t shy away from being the first to profess her love. And then there’s Rohini, who plays Vikram’s mother, a mute, terrified shadow of a woman, conditioned by the men in her life. But 

’s Bhooma is perhaps one of the more intricately written women to come out of Telugu cinema this year. She might look demure, but Mandanna gingerly ensures that she isn’t reduced to a simplistic type. An apt reflection of any modern woman in a knotty relationship, Mandanna’s ability to effuse strength, naïveté and feverish rage moulds Bhooma and the film.

Dhanush’s knack for playing vulnerable men is well-documented. But there’s something about his character in 

—marked by a transformation as emotional as it is physical—that supersedes our understanding of the impeccable on-screen soft boy. His turn as Deva, a charming beggar who has been cheating death ever since his birth, is sensational. He can be dressed up in tailored linen or silk, but 

 wants you to know that he is a beggar with no shame. You see it in the way he assertively crouches on the floor when told to sit in a room, shares his biscuits with strays, and never forgets the hand that feeds. The lines between Dhanush and Deva blur so brilliantly in the Sekhar Kammula film, leaving us brimming with grief and relief at the end of it all. 

A romance about a young man and a woman, who, as a sidenote, is three years older than the guy, isn’t too far from your average love story. But what makes 

 refreshingly inventive is the performances. Mouli, who plays Akhil, a young but harmless loafer, lends unending amounts of wit and humour to the role. The film could’ve easily taken on an off-colour tone, considering it deals with complicated gender dynamics of a romance where the man relentlessly pursues the woman. But Mouli and the dynamic team of actors (including 

Shivani Nagaram as Khathyayani and Jai Krishna as Akhil’s friend) think on their feet and keep the mood enjoyably frothy. “It’s good that you’re older than me; you’ll take care of me,” remains Akhil’s simple yet darling philosophy. 

goes further and brings us the story of the relentless old man who wants to become an actor at 70. Sudhakar Reddy brings deep levels of complexity to Muthayya’s struggling actor. He is always seen with a smile, and greets everyone he meets with the “Did you eat?” civility (and he actually wants to know if they lunched). But he also can’t hide the feeling of profound sadness that often comes with being a failed actor. His story about going to Madras as a young man with ₹72 in his pocket moves his bestfriend Malli in equal measure. Malli describes Muthayya in a lovely line in the film, even if he means it as a taunt. He scoffs at him for being “obsessed with beauty.” All that incessant twirling of the handlebar moustache makes us agree with Malli. But which actor isn’t? Reddy pulls us in with his dreamer act, and by the end, we’re cheering him from the aisles. It doesn’t really matter whether he succeeds or not.

The Five Best Telugu Film Performances of 2025

, the upcoming Tamil film headlined by Rajinikanth and directed by Nelson. The development was indicated by veteran actor Mithun Chakraborty during a recent interview. 

’s cast is shaping up to be a grand, pan-Indian affair. It was recently reported that 

Vidya Balan and Mithun Chakraborty have joined the film’s cast

. Mithun confirmed his appearance in the film in an interview with Bengali entertainment portal 

. Furthermore, he went on to name several high-profile stars associated with the project. “Mohanlal, Shah Rukh Khan, Ramya Krishnan, Shivarajkumar,” Mithun said, indicating that Khan is part of the film. 

However, the makers of Jailer 2 are yet to confirm the development. 

 is directed by Nelson Dilipkumar and features Rajinikanth in the lead role. Vidya Balan was recently reported to have joined the film's sets. The actor was last seen in Tamil cinema in Ajith Kumar’s 

had a thrilling, pan-Indian ensemble, including actors such as Shiva Rajkumar from Kannada cinema, Jackie Shroff from Hindi cinema, and Sunil from Telugu cinema.

 in theatres in a newly remastered 4K version, to mark the star's 75th birthday and his 50 years in cinema. The film opened brightly across Tamil Nadu theatres, especially Chennai, where fans thronged to the screen to celebrate the Superstar's birthday. Wishing the actor on his 75th birthday, Sun Pictures recently released a video from the sets of Jailer 2.

Shah Rukh Khan did not have a release in 2025 (and 2024). His next, 

, an action drama directed by Siddharth Anand, is slated to arrive next year. The makers had earlier released an exciting teaser introducing Khan’s look and character.

Shah Rukh Khan To Make Appearance in Rajinikanth's 'Jailer 2', Reveals Mithun Chakraborty

"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.

Produced by Ajay-Anil Sayyapureddy, Veerasai Gopa, the film is written and directed by Rawindra Pulle, who had helmed the 2021 Telugu film 

"We just wanted to do something fun for an evening to show you the world now and the serious stuff? Ohhhhohohohooio you’ll see it in a couple of months. ❤️‍🔥 So have funnn!" she tweeted.

Jakes Bejoy is on board the film as its music composer, while Shreyaas Krishna, who worked for Suriya's 

, will be the DOP. The film's action is being designed by Andy Long of 

In an earlier post on X, Mandanna had opened up about choosing 

and said, "I always try to give you something new… something different… something exciting… And this… This is one of those.. A character I’ve never played before… a world I’ve never stepped into… and a version of me that even I hadn’t met till now.. It’s fierce.. it’s intense and it’s extremely raw.. I am so nervous and super excited, I genuinely cannot wait for you to see what we’re going to be creating.. This is just the beginning."

Mandanna had a packed 2025, starring in blockbusters like 

as well as critically acclaimed titles like 

'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.”

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