 (2025) features a shot of Vicky Kaushal galloping on a horse, with a sword in his hand. In an upcoming episode of THR Talks with 

, the actor recalled that particular day of shooting, as a hundred horses were running behind him.

Kaushal admitted to being afraid of riding horses initially, having fallen off them a couple of times. He revealed, “I had been learning to ride a horse for a few films [by that time] which did not get made, and then finally, 

 came along. I was training before the shot, but I still hadn't reached the galloping stage…”

Vicky Kaushal's 'Chhaava' Dance Sequence Deleted From Film Amid Outrage

With a laugh, he added, “We were on set when the day came, and I had to gallop the horse… with 100 horses behind me. So if anything went wrong, the horses weren’t going to stop!”

Director Utekar made himself clear that he wasn’t going to cheat or compromise on filming the horse riding scenes. “He said I could take as much time as I needed and we could start the shoot once I was very confident,” said Kaushal. “Six months later I had to give the go ahead.. how much more could I make him wait?”

The day arrived, and Kaushal found himself behind a gate, sitting on his horse Azaad, with the other horses behind them. “I was genuinely talking to him. With my hand on his head, I said ‘Azaad, we’re been together for six months, buddy, and today’s the day. We’re going to do something for the first time together — we’re going to gallop. You run as fast as you want and I’m going to make sure I stay on top of you.’”

'Chhaava' Trailer: Vicky Kaushal's Maratha Roar Clashes With Akshaye Khanna's Aurangzeb In This Historical Epic

The actor admitted to chanting a small prayer also. “It was a long patch and the camera was on a car, following me. We kept going, and then, I crossed the car and said, "Azaad, I love you!” Kaushal added that it was on that day he truly fell in love with horse riding.

Stay tuned for the full conversation on February 10, only on The Hollywood Reporter India.

Vicky Kaushal On Forging A Bond With His Horse Azaad In 'Chhaava'

 in conversation with Anushka Shah, founder of Civic Studios, for an evening that traced the emotional and cultural threads running through Chadha’s body of work. Speaking to a packed room, the 

. She reflected on how diasporic memory, identity, and the feeling of “carrying your parents with you” continue to shape her filmmaking. Chadha also revealed that her film’s contemporary Scrooge is inspired by a close friend from Uganda who arrived in the UK as a refugee — a reminder, she noted, of the lived histories that underlie her stories.

Gurinder Chadha on Diaspora and 'Christmas Karma' — and the Film Culture That Soho House Is Building in Mumbai

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.

James Cameron Wants to Visit The Sets of SS Rajamouli’s ‘Varanasi’

After genuine social media hype and a near-empty release window, 

 re-release just six days after it came out. The film raked in ₹11 crore in its opening weekend.

, the other top Indian re-releases include 

coincided with the Superstar’s birthday on December 12, which also marked his 50th year in the movie business. The star himself had launched a video announcing the re-release. It included Rajinikanth’s daughter Soundarya, announcing the re-release of the 1999 blockbuster. The film was directed by KS Ravikumar, and it went on to become the biggest hit of the year when it was released. The re-release coincided with Rajinikanth’s 50 years in the film industry, a career that began with a negative role in K Balachander’s Kamal Haasan-starrer

In the same video, Rajinikanth also announced the launch of a sequel to 

, which will focus on the story of Neelambari, the iconic villain played by Ramya Krishnan in the first film. In this video, the Superstar also spoke about the craze the first film created upon release, especially with the female audiences who had broken through the gates of movie theatres to watch the original. He also said the Neelambari character would get an exciting return in the new film. In this 37-minute video, he also said that his team was discussing the story of the new film and that they would proceed with making it once they lock a script.

Superstar Rajinikanth was most recently honoured with the prestigious Lifetime Achievement award

 at the closing ceremony of the 56th International Film Festival of India (IFFI) in Goa, marking his 50-year journey in the film industry. The 74-year-old attended the ceremony with his family members: wife Latha, his daughters, Aishwarya and Soundarya, and grandchildren.

Rajinikanth’s 'Padayappa' Becomes The Fifth Highest Grossing Re-Release 

 was launched in Kochi on December 16, a little more than a week before the release of the period fantasy film. It opens with a psychologist breaking down what might be happening to Mohanlal. He wakes up one day 

 vivid dreams of living the life of a kind person from centuries ago. His son begins to worry about these visions, and the film aims to connect an event from several centuries ago to the events troubling the father-son duo in the present day. 

At the event in Kochi, Mohanlal spoke about how he hadn’t yet been involved in such a different film, and hoped the audience too would be seeing a new him in this film. Talking about taking on the role of a mentor to Samarjit Lankesh, who plays his son in the film, he added that it was simply his duty to extend the same care, love and respect to Samarji that was extended to Mohanlal by the great actors of an older generation, including Prem Nazir, Sivaji Ganesan, Rajkumar and more.

The Telugu-Malayalam bilingual will also 

 is jointly produced by Connekkt Media and Balaji Telefilms, in association with Abishek S Vyas Studios, and is written and directed by Nanda Kishore. Kishore has previously directed Kannada films such as 

 (2014), and Kichcha Sudeep, Prakash Raj-starrer 

 (2015). His latest release was the 2021 action drama 

 starring Dhruva Sarja and Rashmika Mandanna. Mohanlal’s next release in Malayalam will be 

, which was initially set for a November release, the makers put out a note on social media, with the tagline, “The Preparations Must Be Grand.” The film will be released on December 25.

'Vrusshabha' Trailer: Mohanlal In A Tale Of Reincarnation and Revenge

 will premiere on Netflix on January 14, 2026, the platform has announced.

Created by Neeraj Pandey and directed by Raghav Jairath, the series centres on the high-pressure operations of Indian customs officers tasked with intercepting smuggling activities across international airports. Hashmi’s character, Superintendent Arjun Meena, is described as “razor-sharp, calm, and calculating.” He leads a specialised customs unit dealing with contraband. Their job is to intercept everything from luxury goods concealed in everyday luggage to busting complex crime syndicates operating across borders.

marks the first collaboration between filmmaker Neeraj Pandey and Emraan Hashmi. This is Pandey’s fourth with Netflix. He previously created two seasons of the Khakhee series.

Pandey shared his excitement for unveiling the fascinating world of 

.  “Airports are familiar to all of us, yet what unfolds behind the scenes is rarely seen. The world of customs is not something that has been explored on screen, and that was part of the appeal in our endeavour to introduce our audiences to a new unexplored world which is quiet, disciplined, and high-pressure. With 

, we bring together an ensemble that could reflect the complexity with depth and conviction. And as always Netflix continues to be a strong partner in supporting stories that are rooted, authentic, and built for scale,” the filmmaker-creator shared. 

Reflecting on his role, Emraan Hashmi said, “Taskaree was exciting for me on many levels. It’s my first time working with Neeraj Pandey, and stepping into his world. Playing a customs officer is new territory for me, and Arjun Meena isn’t loud or flashy, he’s calm, observant, and always thinking two steps ahead. I enjoyed stepping into that space.”

Tanya Bami, Series Head at Netflix India, states the show offers “sharp and quirky tones and unpredictable twists,” filmed across four countries and multiple international airports, unpacking “an intricate smuggler’s network in classic Neeraj Pandey style.”

The series also features Sharad Kelkar, Amruta Khanvilkar, Nandish Singh Sandhu, Anurag Sinha and Zoya Afroz. 

Hashmi had previously starred in the Netflix series 

, and was noted for his hilarious cameo appearance earlier this year in 

'Taskaree: The Smuggler’s Web': Emraan Hashmi Crime Series Gets Premiere Date

 in the Best International Feature Film category. Backed by Karan Johar, the film is among the 15 titles on the Oscars 2026 shortlist, from which five will advance to the final nominations, set to be announced on January 22.

With Martin Scorsese serving as an executive producer, 

stars Ishaan Khatter, Janhvi Kapoor and Vishal Jethwa. Johar took to Instagram and wrote that he was "over the moon" with the news.

“I am not sure I can articulate how proud, elated and over the moon I am with the journey of 

. All of us @dharmamovies are privileged to have this proud and important film in our filmography. Thank you @neeraj.ghaywan for making so many dreams of ours come true. From Cannes to being on the Oscar shortlist this has been such an overwhelming journey! Love to the entire cast and crew and teams of this special special film! Upwards and onwards," Johar added.

finds itself in strong international company on the shortlist, which also includes Argentina’s 

Ghaywan also took to X to share the news and write, "We’re deeply grateful for the extraordinary love and support we've received from around the world."

The film’s story—of two friends from marginalised communities aspiring to become police officers in search of dignity and stability

is inspired by a 2020 New York Times op-ed, ‘Taking Amrit Home’, by noted writer-journalist Basharat Peer. In the next round, Academy members from all branches will be invited to watch the 15 shortlisted films to vote.

began its global journey with its premiere at the 

Toronto International Film Festival (TIFF)

. The film was released theatrically in September.

Oscars 2026 | Neeraj Ghaywan’s ‘Homebound’ Shortlisted in Best International Feature Film Category

Saregama India Ltd, India’s oldest music label and a leading entertainment company, on Tuesday announced a strategic partnership anchored in a significant equity investment in filmmaker 

, scripting a new chapter in the Indian entertainment landscape.

As part of this partnership, Bhansali Productions will exclusively sell all its future film music to Saregama, based on a pre-agreed formula. The structure guarantees Saregama a steady pipeline of premium, marquee film music, eliminating competitive bidding, thereby securing long-term market share in new music and controlling acquisition costs. Aligned with its evolving content strategy, Saregama will gradually streamline its in-house film production activities over the next 1–2 years, focusing instead on such strategic partnerships.

Commenting on the alliance, Avarna Jain, Vice Chairperson, Saregama India Ltd, said, “This partnership underscores Saregama’s strategy of aligning with India’s finest creative minds while delivering long-term value to shareholders. Bhansali Productions’ excellence in storytelling and content creation perfectly complements our leadership in music and entertainment.”

The partnership brings together Bhansali Productions’ distinctive and unmatched cinematic storytelling with Saregama’s leadership position in Music and Live Events, setting the foundation for a next-generation media and entertainment house.

Sanjay Leela Bhansali said he has found a trusted partner in Saregama for his visionary cinematic endeavours.

“For me, powerful and meaningful cinema requires time, trust, and a deep respect for the process. In Saregama, we have found a partner that understands this philosophy. We share a deep respect for art, music, and story telling that is both grounded in tradition and resonates with audiences across generations,” Bhansali said.

Bhansali Productions has a pipeline of over 10 feature films planned over the next three years. Their upcoming release 

 and starring Ranbir Kapoor, Alia Bhatt and Vicky Kaushal; and 

, a romantic drama directed by Ravi Udyawar, starring Siddhant Chaturvedi and Mrunal Thakur.

Saregama and Bhansali Productions Announce Strategic Partnership

 guns for glory in the action-packed teaser for 

, a sequel to JP Dutta's beloved 1997 classic. Directed by Anurag Singh, the sequel highlights major engagements from the 1971 Indo-Pak War, spanning land, sea and sky-bound skirmishes. 

, Varun Dhawan and Ahan Shetty play the other bravehearts in what is described as a rousing tribute to the Indian armed forces. Amid guns, tanks and explosions, we get glimpses of the soldiers' personal lives, with Mona Singh, Sonam Bajwa, Anya Singh and Medha Rana playing their wives and lovers. 

Deol, as expected, looms over the enterprise, firing a rocket at enemy battalions and extolling the might of the Indian army. "Awaaz kaha tak jaani chahiye?" he thunders, to which the response comes, "Lahore tak." 

 was released on occasion of Vijay Diwas, which commemorates the Indo-Pakistani war of 1971. The film is slated to release on January 23, 2026. 

 aims to recreate the emotions and scale that made the original film a landmark. The story is expected to celebrate the heroism and unity of soldiers while adding a contemporary layer through new characters and perspectives. The film is produced by Bhushan Kumar, Krishan Kumar, J.P. Dutta and Nidhi Dutta under T-Series and J.P. Films.  Releasing ahead of the Republic Day weekend, it's is positioned as one of the biggest theatrical releases of 2026.

, was also a box-office sensation. He's the only returning actor from the original cast of 

. Incidentally, Ahan, who plays a Navy fighter in 

, is the son of Suniel Shetty, one of the leads of the 1997 film. 

The iconic song 'Sandese Aate Hai' has been recreated in

 with Sonu Nigam, Diljit Dosanjh, Vishal Mishra, and Arijit Singh reportedly lending their voices to the emotional track. 

'Border 2' Teaser: Sunny Deol Leads Varun Dhawan, Diljit Dosanjh and Ahan Shetty in Patriotic Sequel

 is now looking ahead. After the blockbuster opening of his spy actioner 

Ranveer is prepping to begin two tentpole movies, including a classic franchise and a zombie thriller.

The actor is now expected to begin filming 

, the film, which was announced two years ago. After numerous scheduling shifts, Farhan is believed to have locked the first half of 2026 when he plans to take the film on floors. 

 Ranveer's post-apocalyptic film, tentatively titled 

, will go on floors between July and August. The film will be helmed by director Jai Mehta, who had co-directed 

 with his filmmaker-father Hansal Mehta, and then made the show 

The report quoted a source, who stated that 

 will go on floors first in  2026, after that Ranveer will deep dive into 

will focus on building the post-apocalyptic zombie thriller world of the film, which reportedly follows the protagonist's fight for survival.

According to the report, Jai will "reimagine Mumbai in 

' style set-up" for the film, with the makers aiming to recreate a devastated Mumbai setting. "Large sections of the city will be digitally aged to give it an abandoned look. Parts of the film will be shot in Mumbai, before moving to other locations," the source was quoted as saying.

Ranveer, meanwhile, is basking in the glory of 

as the Aditya Dhar directorial is on a record-breaking run. The spy thriller minted a whopping ₹31.80 crore nett on its second Monday, setting the tone for a successful second week. In its first week, the film had collected ₹218.00 crore and then went on to record a second weekend of ₹146.60 crore. The 11-day total of the film stands at  ₹396.40 crore nett (India).

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Vicky Kaushal On Forging A Bond With His Horse Azaad In 'Chhaava'

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