This week’s slate offers everything from high octane racing, animated nostalgia to courtroom chaos. While Telugu offers a fantasy-thriller, 

 alongside what is being called India’s first motocross racing film, 

A24 returns with a genre-bending comedy-drama, 

. On streaming, the doors of Patparganj District Court swing open again with 

Here’s what to watch in theatres and on OTT this week. 

What to Watch This Week: ‘Vaazha 2’, ‘Biker’ and ‘The Super Mario Galaxy Movie’ 

Matka King, the forthcoming original series starring Vijay Varma, will premiere on Amazon Prime Video on 17 April, the platform confirmed on Sunday, releasing a teaser to coincide with the actor’s 40th birthday.

Set in Bombay in the 1960s, the series follows the fictional rise of Brij Bhatti, a cotton trader who devises a new gambling system — “matka” — transforming what begins as a niche pastime into a mass phenomenon. The premise situates personal ambition within a shifting urban landscape, where informal economies and social mobility intersect.

The show is created and written by Abhay Koranne and directed by Nagraj Popatrao Manjule, whose previous work has often drawn from marginalised lives and regional histories. Here, the narrative expands into a more expansive, period setting: crowded chawls, trading hubs and the evolving hierarchies of a city in transition.

Varma’s Bhatti is positioned as both architect and casualty of the system he builds, as the stakes of his enterprise grow beyond individual control. The series’ logline emphasises themes of legitimacy and belonging, framing the protagonist’s ascent as both aspirational and precarious.

The ensemble cast includes Kritika Kamra, Sai Tamhankar, Siddharth Jadhav and Gulshan Grover, alongside a larger supporting lineup. Production is led by Siddharth Roy Kapur under Roy Kapur Films, in collaboration with Aatpat and SMR Productions.

This will be Manjule's first directorial since his 2022 feature 

which was headlined by megastar Amitabh Bachchan. The sports film, based on the life of Vijay Barse, the founder of NGO Slum Soccer, marked the filmmaker's Hindi debut. 

Meanwhile, Varma is gearing up for a packed 2026. While he already has 

he will also be seen in Hansal Mehta's Netflix series 

The show, starring Anil Kapoor, Akash Khurana, Rhea Chakraborty, Neha Dhupia and Anant Nag, among others, is co-created by Niren Bhatt.

On the film front, Varma was last seen in the theatrical 

(2025). Produced by Manish Malhotra, the film also starred Naseeruddin Shah, Fatima Sana Shaikh and Sharib Hashmi.

Vijay Varma's 'Matka King' Sets April Release on Prime Video, Teaser Drops

The Indian film industry is still recalibrating its sense of scale as 

has redrawn the boundaries of what qualifies as a commercial success. The spy-action sequel, directed by Aditya Dhar, has grossed ₹1,365 crore worldwide in just 11 days at the box-office, including ₹867 crore net in India, overtaking the lifetime haul of its predecessor, 

The film’s first week set the tone. Including paid previews, it amassed ₹690 crore net over eight days, driven by word of mouth, a saturation release and strong occupancy across urban and mass circuits. 

The second weekend sustained that momentum rather than tapering off, with ₹42 crore on Friday, ₹64 crore on Saturday and ₹71 crore on Sunday, taking the weekend total to ₹177 crore. The domestic gross now stands at ₹1,023 crore, with overseas markets contributing a further ₹342 crore.

Trade analysts have pointed to the consistency of its daily collections as a key marker of its performance. Rather than the front-loaded trajectory typical of recent tentpoles, the film has held firm into its second weekend, suggesting both repeat viewings and continued audience inflow beyond opening-weekend curiosity.

The milestones cited by the makers include the highest paid previews for a Hindi film, the biggest opening weekend worldwide, and the fastest climb to ₹1,000 crore globally. It has also become the highest-grossing Indian title in North America (beating SS Rajamouli's 

) and clocked one of the strongest overseas performances within its first week of release.

Produced by Jyoti Deshpande and Lokesh Dhar, 

 shows little sign of slowing. With sustained occupancy and minimal competition in the immediate window, the film appears set for an extended run, aiming to topple Aamir Khan's 

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.

'Dhurandhar 2' Box-Office: Ranveer Singh, Aditya Dhar's Film Grosses ₹1,365 Crore Globally; Breaks Part One's Lifetime Collection in 11 Days

Superstar Salman Khan has set his next film after 

. The actor will headline a new action drama directed by Vamshi Paidipally and produced by Dil Raju, marking the first collaboration between the trio. The project was officially announced on Monday (March 30), with the team confirming that production is scheduled to begin in April. The makers are reportedly eyeing an Eid release in 2027. 

Paidipally, a Telugu director and screenwriter, made his debut with 

the latter earning a National Film Award. In 2023, he directed the Tamil family entertainer 

The upcoming film will be produced by Dil Raju under the banner Sri Venkateswara Creations. One of the leading producers from the South, Raju has produced over 60 films, winning two National Film Awards for 

, respectively. His recent productions were 

Game Changer, Sankranthiki Vasthunam and Thammudu,

 all released in 2025. Paidipally and Dil Raju have previously collaborated on five films together. 

It was recently revealed that Salman's next, previously called 

. The film recently faced controversy after the Chinese media accused it of distorting facts and promoting anti-China sentiments. Directed by Apoorva Lakhia, the film is based on the 2020 border clashes between India and China in the Galwan region in Ladakh. The conflict was chronicled in a chapter in the book I

 by Shiv Aroor and Rahul Singh, on which the film is based. According to reports, Khan plays the role of Colonel B Santosh Babu, the officer who led the 16 Bihar Regiment during the clash. 

Salman Khan's last theatrical release was 

 in 2025. He is reportedly also collaborating with directors Raj & DK on a superhero-themed film. 

Salman Khan Sets Next Film With Dil Raju and Director Vamshi Paidipally; Action Drama To Enter Production In April 

On the occasion of Akshaye Khanna’s birthday last week, filmmaker-producer Prasanth Varma unveiled a new still from the sets of 

, sharing an update on the next chapter in the Prasanth Varma Cinematic Universe (PVCU). Produced by RK Duggal and Riwaz Ramesh Duggal under RKD Studios, and shaped under the supervision of Prasanth Varma as showrunner with Puja Kolluru directing, the film is steadily rising as one of the most ambitious and awaited mythological ventures in Indian cinema.

 sir, a true actor who proves that real talent doesn’t need noise. Effortless screen presence, powerful performances, and unmatched class always stand out. It’s an absolute honour working with you. Can’t wait to show the world what we’ve created together!" Varma wrote on Instagram.

The team has wrapped 100 days of shooting, while the final 40-day schedule has commenced in Hyderabad. Akshaye Khanna has also completed filming for his pivotal role as Shukracharya. "Bhoomi Shetty plays the titular lead in the movie, and the first-look poster presented her in a fierce, divine form. Akshaye Khanna’s Tollywood debut as Shukracharya has generated tremendous buzz, with his first look also receiving strong praise across social media. Now that he has wrapped his portions, anticipation surrounding his role and its impact on the PVCU has only intensified," a press note read.

The music is by Smaran Sai, cinematography by Suresh Ragutu, and production design by Sri Nagendra Tangala. 

Meanwhile, Varma, known for the popular Telugu film 

 (2024), will return with another mythological film, centred around the Hindu god. The film is 

, starring Rishab Shetty. Varma has expressed that it has been a dream project for him. “The film is not just about the undying spirit of devotion and courage that Lord Hanuman embodies, but also a reminder that strength guided by faith can move mountains," he has said about the film.

Akshaye Khanna Wraps Filming For Prasanth Varma's 'Mahakali' 


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 and Anand Ahuja were married in May 2018 in Mumbai in a high-profile ceremony attended by members of the film industry. Their first child, a son named Vayu, was born in August, 2022.

On the film front, Sonam Kapoor was last seen in the 2023 film 

, a crime thriller in which she played a visually impaired protagonist. The film marked her return to acting after a maternity break following the birth of her first child. Before that, Kapoor appeared in a cameo appearance in 

Kapoor has not yet announced her next project. The actor has indicated in past interviews that she is selectively considering roles while balancing family commitments. “Anything that makes you grow as a human being, and I also like to work with people I like. If I don't like somebody, then it’s very hard for me to work with them,” Sonam said in a 2025 interview with Hindustan Times. “100% being selective just means that I’m intentional about what I choose,” she added. 

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.

Subscribe

Subscribe

Subscribe

What to Watch This Week: ‘Vaazha 2’, ‘Biker’ and ‘The Super Mario Galaxy Movie’

You may also like

THEATRICAL RELEASES THIS WEEK

You may also like

You may also like

OTT RELEASES THIS WEEK

READ MORE ABOUT:

Latest News