Ayesha Khan has sparked engagement rumours after sharing a series of dreamy pictures featuring a mystery man and a striking diamond ring. The actress, who recently gained attention for her appearance in the popular song ‘Shararat’ from Dhurandhar, left fans wondering whether she had secretly taken the next step in her personal life.

In the pictures, Ayesha has kept the identity of the mystery man under wraps, adding to the curiosity surrounding the post. The diamond ring visible in the photos further fuelled speculation that the actress may have got engaged. However, there appears to be another explanation behind the pictures.

Ayesha has not officially confirmed any engagement. Her caption, “A dream,” has only added to the mystery. The photographs appear to be connected to a jewellery brand photoshoot, suggesting that the ring may have been part of the campaign rather than an indication of a real-life engagement. For now, the actress has chosen to leave fans guessing about the true meaning behind the post.

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Ayesha Khan rose to wider popularity after featuring in Dhurandhar’s chartbuster song ‘Shararat’, alongside Krystle D’Souza. The song, set against the backdrop of a grand Karachi wedding, features the two actresses as wedding dancers.

In an earlier interview with Pinkvilla, Ayesha opened up about the demanding experience of filming the song. She said, “It was two days of shoot. It was so hectic, I was on my period during the shoot, and you know you’re not looking your best because you’re bloated and you’re not at your best. Kaash, I was at my best. It was so much of work for two days… We were running short on time. We were so tired, our bones were aching after dancing so much. I was feeling so overwhelmed, and it was also because I was on my period, so maybe my emotions were hitting me too much. So, I just couldn’t control and I just cried. It was Khushi ke aansu (tears of joy).”

‘Shararat’ was composed by Shashwat Sachdev and sung by Madhubanti Bagchi and Jasmine Sandlas, with choreography by Vijay Ganguly.

Also Read : Dhurandhar fame Ayesha Khan detained by Mumbai Police during student protest, shares video asking, “Just a simple why?”

Less than three months are left for the release of Ramayana and the excitement is tremendous thanks to its casting, subject and never-before-seen visuals. The film is produced by Namit Malhotra and not many are aware that he belongs to an illustrious film family.

As per a post by senior industry member Rajesh Vasani of Paras Publicity, Namit Malhotra is the son of producer Naresh Malhotra, who in turn was the son of ace cinematographer and National Film Award winner Mahendra Nath Malhotra. Rajesh Vasani wrote, “Having worked with the legendary B R Chopra, Naresh ji has also served as an assistant director to the acclaimed filmmaker Asit Sen, Naresh Malhotra developed a profound understanding of filmmaking from both the creative and business perspectives.”

He continued, “He later became actively involved with the renowned Mushir-Riaz banner and ventured into film production. Along with Rishi Kapoor and Bittu Anand, the son of celebrated writer Inder Raj Anand, brother of filmmaker Tinu Anand, and father of director Siddharth Anand, he co-produced films such as Duniya Meri Jeb Mein (1979) and Yeh Ishq Nahin Aasan (1984). While these films did not achieve the desired commercial success, history has often shown that setbacks are merely stepping stones to greater achievements.”

Naresh Malhotra then got the opportunity to produce the much-remembered Amitabh Bachchan-starrer Shahenshah (1988). As per the post, “The film emerged as a blockbuster, restoring confidence and momentum to the team. Shri Naresh Malhotra would thereafter be widely recognized as the producer of this iconic Amitabh Bachchan starrer, a film that remains a milestone in Indian cinema.”

Interestingly, Naresh Malhotra worked from modest office operating out of a building garage in Santacruz, Mumbai. It was given on rent by producer-director Naresh Kumar Tuli, brother of Rajendra Kumar aka Jubilee Kumar. Rajesh Vasani said, “Always ahead of the curve, Naresh Malhotra ventured into post-production and, together with filmmaker Rahul Rawail and associates, established a dubbing studio at Pali Hill, Bandra. Close friends of Rishi Kapoor, they were among the early visionaries who recognized the immense potential of professional post-production services in India.”

Then, in 1997, Namit Malhotra founded Prime Focus from the same garage in Mumbai, “carrying forward the family’s cinematic legacy while embracing the future through technology and innovation.”

The Facebook post reveals, “He was supported by a dedicated team, including professionals such as Anshul Doshi, who would later play a significant role in the company’s international expansion, Prime Focus steadily broadened its horizons beyond India. What began as a modest post-production venture evolved into India’s first listed visual entertainment services company and eventually one of the world’s most respected integrated media services groups. The acquisition and integration of DNEG transformed the enterprise into a global leader in visual effects, animation, and creative technology, contributing to multiple Academy Award-winning productions and some of the most celebrated films in the world. Today, Prime Focus and DNEG stand as symbols of Indian excellence on the global stage.”

He continued, “And now, Namit Malhotra’s dream has come full circle. From a garage in Mumbai to spearheading one of the most ambitious cinematic spectacles ever attempted in Indian filmmaking Ramayana, his journey embodies the belief that imagination, determination, and perseverance can transform the impossible into reality.”

Also Read: Ramayana English trailer: Namit Malhotra DECODES DNEG’s AI-powered lip-sync technology!

Alia Bhatt recently treated fans to a glimpse of some previously unseen moments from a family vacation with her husband Ranbir Kapoor and their daughter Raha. The actor shared a series of pictures on Instagram on Monday, offering followers a look at their private family time as well as a few candid moments of herself.

Along with the eight-picture carousel, Alia kept her caption short and wrote, "good old days, cuddles and all". Her post featured a mix of family photographs, holiday snapshots and solo pictures from what appears to be a vacation taken some time ago.

The first picture shows Alia, Ranbir and Raha together on a boat as they take in the sea view. The family is photographed from behind, with Raha sitting between her parents. Ranbir can be seen wearing a cap, with one arm stretched behind Alia as they enjoy the moment together.

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Another picture captures a sweet mother-daughter moment. Alia is seen cuddling Raha with her eyes closed, while the little girl's hand is visible near her mother's face. The intimate photograph offers a glimpse into the actor's time with her daughter away from the public eye.

The carousel also features several solo pictures of Alia. In one mirror selfie, she is seen wearing a white bikini top paired with a lace cover-up, with her hair tied back. Another photograph shows her posing in oversized black sunglasses with her hair left open. In the final frame, Alia appears to be enjoying some food while continuing to wear the statement sunglasses.

Alia did not disclose the location of the holiday or specify when the photographs were taken. However, her caption referring to the "good old days" indicates that the pictures are from an earlier trip and had remained in her camera roll.

Alia and Ranbir tied the knot in April 2022 after dating for several years. The couple welcomed their daughter Raha in November 2022.

Also Read : Alia Bhatt reveals her go-to room dining orders: “I really like hotel sandwiches. They come with French fries…”

Emraan Hashmi’s latest release, Awarapan 2, has achieved a major milestone at the box office, crossing the Rs 100 crores mark in its opening weekend. The success has also prompted a heartfelt message from the actor’s wife, Parveen Hashmi, who reflected on his 23-year journey in the film industry and the dedication that has kept him going through highs and lows.

Taking to Instagram, Parveen described the achievement as the result of years of patience, hard work and faith. She wrote, “It has taken Emi 23 years to get here today... 23 years of patience, dedication, faith, surrender, countless blessings and prayers!!” She recalled how Emraan experienced both successful and disappointing Fridays during his career but never allowed setbacks to stop him from moving ahead.

Parveen also spoke about the actor’s commitment to his work and his ability to remain grounded despite the success. She wrote, “I have watched him put his heart and soul into all his projects.” Referring to the popular line, “Akha Bollywood ek taraf aur Emraan Hashmi ek taraf (reference to The Bads of Bollywood)”, she said the statement resonates with the actor’s fans and people in the industry.

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Sharing a glimpse into Emraan’s routine, Parveen revealed that his preparation involved studying scripts, learning dialogues, including some in Telugu, rehearsing scenes, maintaining his diet and exercising regularly. She said, “I’ve seen what goes on behind the scenes every single day...” According to her, nothing could disrupt his routine, “not even on holidays!!”

Parveen, who described herself as one of Emraan’s biggest critics, said she felt particularly proud of him following the response to Awarapan 2. She concluded her note by encouraging people to stay focused, disciplined and committed to their dreams.

The sequel’s success is significant considering the performance of the 2007 original. Awarapan earned around Rs 13 crores during its theatrical run but later developed a loyal following and became a cult favourite. Awarapan 2 surpassed the original film’s lifetime collection on its first day itself.

Produced by Vishesh Bhatt and directed by Nitin Kakkar, Awarapan 2 brings Emraan back as Shivam Pandit, alongside Disha Patani and Shabana Azmi. The cast also includes Puran Gabbi, Anirudh Rawal, Surendar Vicky, Vijayant Kohli and Atul Kumar.

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Priyanka Chopra Jonas had a playful way of wishing her brother-in-law Joe Jonas on his birthday. The actor shared a candid picture with the singer and actor on her Instagram Stories, turning the family celebration into a light-hearted social media moment.

In the photograph, Priyanka appeared to be in the middle of a conversation with Joe, while he could be seen laughing. Adding to the humour of the candid moment, Priyanka wrote, “FYI, it was not supposed to be funny, joejonas. Happiest birthday bro.” Her caption suggested that the conversation captured in the picture was not intended to be amusing, making the photograph even more entertaining.

Joe's brothers also shared glimpses of his birthday celebrations. Nick Jonas posted a series of quirky pictures from the Pokémon-themed party. The celebrations featured the Jonas Brothers, Priyanka and other family members posing and enjoying themselves amid Poké Ball balloons and Pokémon cards. A specially designed Pokémon card featuring Joe was also part of the decorations.

Nick wished his brother with a Pokémon-inspired message, writing, “Gotta catch 'em all. We love you joejonas happy birthday brother.”

Kevin Jonas also joined the celebrations online, sharing moments from the birthday bash. Alongside the pictures, he wrote, “Epic celebration for an epic brother. We love you joejonas”, followed by a red heart emoji.

Priyanka and Nick tied the knot in December 2018 at Umaid Bhawan Palace in Jodhpur in ceremonies that followed Hindu and Christian traditions. The couple later welcomed their daughter, Malti Marie Chopra Jonas, through surrogacy on January 15, 2022.

On the work front, Priyanka is set to star in S.S. Rajamouli's Varanasi, alongside Mahesh Babu. She will portray Mandakini, a fierce historian who joins Mahesh Babu's character Rudhra on a global mission to save the holy city of Varanasi from an asteroid named Shambhavi.

Also Read : Priyanka Chopra Jonas unveils Sridevi’s biography ‘Empress’ on late actress’ birth anniversary

Veteran actor Mithun Chakraborty has reacted to being left out of this year’s Kolkata Film Festival, taking a sarcastic dig at the organisers while comparing the situation with the invitation he received from the Moscow Film Festival. The actor’s comments came during his recent visit to Kolkata for a meeting related to the birth centenary celebrations of Bengali cinema icon Uttam Kumar.

Speaking to the media on Friday, Mithun confirmed that he was not invited to the Kolkata Film Festival. “I wasn't invited to the film festival,” he said. The actor then pointed out that he had received an invitation from the Moscow Film Festival and was preparing to attend the event there.

“I am going to Moscow now; perhaps they will invite me. They are inviting me to the Moscow Film Festival. Yet, here in Bengal, I wasn't invited,” Mithun said.

Mithun appeared to take the situation in a lighter but pointed manner, suggesting that his comparatively limited number of Bengali film appearances might have been a reason for his exclusion. He said, “Main bahut chota artiste hoon, shayad isliye nahi bulaya (I am a very minor artiste. Maybe that's why they didn't invite me).”

The actor’s remarks come at a time when Bengal is observing the centenary of Uttam Kumar, one of the most recognised figures in Bengali cinema. Born Arun Kumar Chatterjee, Uttam Kumar made his mark in Bengali films and also worked as an actor, director and producer in Hindi cinema. His career gained momentum after early setbacks, with films such as Basu Paribar and Sharey Chuattor helping establish him as a major star. His pairing with Suchitra Sen remains one of the most remembered screen partnerships in Bengali cinema.

Meanwhile, Mithun continues to remain active across film industries. He is set to make a cameo in Rajinikanth-led Jailer 2, which is scheduled for release in 2027. His latest comments have once again brought attention to his absence from the Kolkata Film Festival and his contrasting invitation from Moscow.

Also Read : Dev Adhikari visits Mithun Chakraborty in hospital after the latter’s surgery: “You have always been like a father figure to me”

Saif Ali Khan celebrates his 56th birthday today, and his wife, actress Kareena Kapoor Khan, took to her social media account to pen a sweet birthday note for him. The actress shared a series of pictures of him, along with a tongue-in-cheek reveal that all the photos were approved by him.

"Happy Birthday to my forever ride or die. How boring would life be without you… This Insta post pictures are all approved by him… loves it when I post his pictures," her post read.

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On the work front, Saif Ali Khan will be seen in Haiwaan. Set to release on 11th September, the film is directed by Priyadarshan, marking Saif's first movie with the filmmaker, and also stars Akshay Kumar.

Also Read: Priyadarshan reveals his experience of working with Saif Ali Khan on Haiwaan, calls him, “Too committed”

Shaan had a conversation with Komal Nahta about playback singing, his beginnings and a lot more. Shaan began his career as an indipop singer and then graduated to playback singing for movies. Pyaar Mein Kabhi Kabhi (1999) was his first film followed by Dillagi (1999). A year later, he sang 'Tune Mujhe Pehchana Nahin' for Raju Chacha (2000). Shaan opened up about his experience while recording the number.

Shaan began by saying, "Singers at that time were divided into two - those who were influenced by Mohammed Rafi and those who were influenced by Kishore Kumar. When I came, there was no precedent of a pop singer, at least for male singers. In female singers, Alisha Chinai and Nazia Hasan had made a mark and had introduced new style of singing."

He added, "There was an advantage as I had a unique take because of my indipop singing. But very early, I learned an important lesson about playback singing. I realized that playback singing for films is different."

He revealed, "I had bagged a song in a big film, Raju Chacha. It was written by Anand Bakshi sahab and he came for auditions. He asked me to sing one line. I sang 'Deewana Hoon Main, Deewana Nahin'. He asked me the meaning of the line. I said, 'It means that I am mad for you but mentally I am not crazy'. He liked my answer and replied, ‘Haan, samaj ke gaoge toh maza aayega’!."

Shaan then said, "I thought I had to sing in pop style. So, I started singing that way. This is when Lalit Pandit saab asked me, 'Kya kar rahe ho tum?'. He explained to me, 'You are not singing for yourself. You won't be there in the video. Video mein Ajay Devgn hai. Woh koi pop singer nahin hai ki woh aise gaayega. Seedhe seedhe notes ko gaao mehsoos karke'!"

Also Read: Sonakshi Sinha talks about working with her brother Kussh S Sinha in Nikita Roy: “His biggest strength is his clarity, his vision”

The much-awaited Batwara 1947 was finally released in cinemas yesterday, August 14. The Sunny Deol-starrer is adapted from the acclaimed and long-running play Jis Lahore Nahin Dekhya. While the core plot of the film remains faithful to the play, the makers have introduced several changes and additions to make the narrative more cinematic and elaborate. In this special Bollywood Hungama feature, we take a look at 10 key differences between Batwara 1947 and Jis Lahore Nahin Dekhya. Warning: The following article contains spoilers and reveals important plot points from Batwara 1947.

1. To begin with, Sikandar Mirza (Sunny Deol) and his family migrate to Lahore from Lucknow in Jis Lahore Nahin Dekhya. In Batwara 1947, the family is settled in Meerut before the Partition riots force them to leave their home overnight and flee to Pakistan.

2. In the play, Sikandar, his wife Hamida, son Javed and daughter Tanno manage to escape from Lucknow together and reach Lahore safely. The film adds a major dramatic track wherein Javed (Karan Deol) gets separated from Sikandar, Hamida (Preity G Zinta) and Tanno (Khhushi Hajare) amid the chaos, at Meerut railway station. He is finally reunited with his family several months later.

3. In Jis Lahore Nahin Dekhya, the Mirza family is allotted the haveli, seemingly without much difficulty, after spending months in a refugee camp. Batwara 1947, however, goes into considerable detail about how Sikandar manages to secure the house.

He repeatedly visits the custodian's office seeking accommodation and is approached by a tout, who tells him that he will have to bribe the concerned officer if he wants a house quickly. An enraged Sikandar confronts the officer for exploiting refugees at such a vulnerable time. Habib Anwar (Ali Fazal), who happens to be present at the office, is moved by Sikandar’s plight and transfers the haveli allotted to him to Sikandar and his family.

The sequence is an effective addition as it explains how Sikandar and his family end up getting a sprawling 22-room haveli at a time when lakhs of displaced families are struggling for shelter.

4. Habib Anwar is a shayar who works at a radio station, and the film also explores his love life. In the play, however, the poet is named Nasir Fazli and neither has a romantic interest nor a stable job.

5. Javed’s character is also considerably expanded in the film. In the play, he has a lovely relationship with his father. In Batwara 1947, apart from being separated from Sikandar during the riots, Javed falls in love with Nishat (Kanikka Kapur), who happens to be the sister of antagonist Yakub (Abhimanyu Singh).

6. In Jis Lahore Nahin Dekhya, Yakub is essentially a local ruffian who intimidates the Mirza family. Batwara 1947 turns him into a much more menacing antagonist. He wields greater influence and also harbours political ambitions.

7. The play largely restricts Yakub’s hostility towards Sikandar to threats and intimidation. In the film, his actions are far more aggressive. He threatens landlords against renting premises to Sikandar for his factory and even takes the dispute to local religious leaders. This eventually results in Sikandar and Yakub being summoned to the Town Hall, adding another layer to their confrontation.

8. One of the most significant sequences in Batwara 1947 is when Yakub’s men storm the haveli, forcibly throw Mai (Shabana Azmi) out and assault her. Simultaneously, they set Sikandar’s factory on fire.

Sikandar is initially occupied with trying to douse the blaze. The moment he learns that Mai has been attacked, he abandons everything and rushes to save her. The entire sequence is not present in the play at all.

9. In both versions, Mai refuses to leave the haveli because she continues to wait for her son Ratan to return. Ratan, his wife and daughter have been missing ever since the riots began. Jis Lahore Nahin Dekhya never conclusively reveals whether the three are alive or dead. Batwara 1947, on the other hand, provides closure to this track through an important sequence which reveals that Ratan (Khaled Siddiqui), his wife (Rukhsar Rehman) and their daughter were killed by rioters.

10. Sikandar and his family gradually develop a deep bond with Mai in both the play and the film. However, the play does not have the Mirza family preparing meals for her, as Mai takes care of her own food.

Batwara 1947 adds a touching scene in which Hamida, having grown extremely fond of Mai, offers to cook for her. Mai initially hesitates because of their different food habits. Hamida assures her that she will prepare vegetarian food separately for Mai, using different utensils. She even promises to cook Mai’s food first before preparing meals for the rest of the family.

Also Read: EXCLUSIVE: Kanikka Kapur recalls Aamir Khan’s reaction during Batwara 1947 audition: “Who’s this girl? She’s good, she’s good!”; reveals, “My grandfather still gets nightmares about Partition”

Amitabh Bachchan recently revisited a warm memory of his late friend and longtime co-star Dharmendra while hosting Kaun Banega Crorepati 18. Remembering the veteran actor’s generosity and grounded nature, Bachchan shared how Dharmendra’s home was always open to people, including those who travelled from his village in Punjab.

According to Bachchan, Dharmendra’s hospitality was so unrestricted that people would often enter his house freely and make themselves comfortable. The anecdote offered a glimpse into the actor’s personality away from the spotlight, particularly his connection to his roots and his willingness to welcome people with warmth.

Recalling one such incident, Bachchan said, “Let me tell you another thing about his house. Their home was a ‘free for all’ whoever came, it was like their own house! I remember one day Dharam ji came home and saw 4-5 men walking up the stairs. So he asked them, ‘Who are you? What are you doing here?’ They said they had come from the village.”

Bachchan explained that Dharmendra initially assumed that his wife had invited the visitors. However, the actor himself apparently had no idea how many people would arrive at his home. “Dharmendra assumed that his wife had probably invited them! He himself didn’t even know how many people were coming and going in his house and always welcomed everybody with love and warmth. He had such a massive heart,” Bachchan recalled. Amitabh Bachchan remembered Dharmendra’s simplicity After Dharmendra’s death, Bachchan had written an emotional note remembering his friend not only for his screen presence but also for his simplicity and warmth. He described him as “the epitome of greatness” and praised the “largeness of his heart” that remained a defining part of his personality.

Bachchan also recalled how Dharmendra remained connected to his Punjabi roots despite spending decades in the Hindi film industry. “He brought with him the earthiness of the village in Punjab he came from, and remained true to its temperament, unsoiled throughout his glorious career, in a fraternity that witnessed changes every decade. The fraternity underwent changes, not him,” he had written.

He further remembered Dharmendra’s “smile,” “charm” and “warmth”, describing the way he extended that affection to everyone around him as “a rarity in the profession.”

Bachchan concluded the tribute with the words, “The air about us swings vacant, a vacuum that shall ever remain vacuus.”

Also Read: Amitabh Bachchan offers a poignant tribute to Dharmendra: “He brought with him the earthiness of the village in Punjab he came from”

The 17th Indian Film Festival of Melbourne (IFFM) 2026 has unveiled its winners, recognising a wide range of films, filmmakers, actors and storytellers from India and across the subcontinent. The awards celebrated diverse cinematic voices, notable performances and stories reflecting the changing landscape of Indian cinema.

Among the leading names honoured this year were Rishab Shetty, Dulquer Salmaan, Kirti Kulhari, Vijay Varma and Rasika Dugal.

Lokah Chapter 1: Chandra won Best Film, while The Great Shamshuddin Family received a Special Mention in the category. Rima Das’ Not a Hero was named Best Indie Film, with Kikkran De Phull (Flowers of Acacia) receiving a Special Mention in the Indie Film category.

Rishab Shetty emerged as one of the evening’s major winners. He received the Best Director award for Kantara: A Legend - Chapter 1 and was also honoured with the Leadership in Cinema award for his contribution to contemporary Indian filmmaking and storytelling rooted in cultural identity.

Dulquer Salmaan won Best Actor for Kaantha, while Kirti Kulhari received Best Actress for Full Plate. Shahrbanoo Sadat’s No Good Men was named Best Film from the Subcontinent, and Madhushree Dutta’s Flying Tigers won Best Documentary Film.

The People’s Choice Award went to Saiyaara, while Sitaare Zameen Par received the Equality in Cinema Award, presented by La Trobe. Simran Mangeshkar received a Special Mention for her work on the film.

The festival also recognised diverse storytelling through the Rainbow Storyteller Award, presented to Lala and Poppy. In the Short Film Competitions, The Weight of Soil won in Australia, while Jo’s Turn emerged as the Indian winner.

The streaming categories saw Vijay Varma win Best Actor (Series) for Matka King, while Rasika Dugal was named Best Actress (Series) for Delhi Crime 3. Freedom At Midnight, Season 2 won Best Series.

Beyond the competitive categories, Pankaj Tripathi received the Artist of Distinction honour. IFFM also marked Rani Mukerji’s 30 years in cinema with a special recognition. Veteran actor Rekha was presented with the Excellence in Cinema award for her decades-long contribution to Indian cinema.

The 2026 edition once again highlighted the range of Indian storytelling, bringing together mainstream films, independent cinema, documentaries, short films and streaming projects. Through its focus on cinema, diversity, equality and cultural exchange, IFFM continues to offer an international platform for filmmakers and artists from India and the subcontinent.

IFFM 2026 Winners

- Best Film: Lokah Chapter 1: Chandra

- Best Film – Special Mention: The Great Shamshuddin Family

- Best Indie Film: Not a Hero – Rima Das

- Special Mention – Indie Film: Kikkran De Phull (Flowers of Acacia)

- Best Director: Rishab Shetty – Kantara: A Legend - Chapter 1

- Best Actor: Dulquer Salmaan – Kaantha

- Best Actress: Kirti Kulhari – Full Plate

- Best Film from the Subcontinent: No Good Men – Shahrbanoo Sadat

- Best Documentary Film: Flying Tigers – Madhushree Dutta

- People’s Choice Award: Saiyaara

- Equality in Cinema Award, presented by La Trobe: Sitaare Zameen Par

- Special Mention – Equality in Cinema: Simran Mangeshkar – Sitaare Zameen Par

- Rainbow Storyteller Award: Lala and Poppy

- Short Film Competition (Australia): The Weight of Soil

- Short Film Competition (India): Jo’s Turn

- Best Actor (Series): Vijay Varma – Matka King

- Best Actress (Series): Rasika Dugal – Delhi Crime 3

- Best Series: Freedom At Midnight, Season 2

- Artist of Distinction: Pankaj Tripathi

- Special Recognition: 30 Years of Rani Mukerji

- Leadership in Cinema: Rishab Shetty

- Excellence in Cinema: Rekha

Rani Mukerji was honoured at the Indian Film Festival of Melbourne (IFFM) with a special citation recognising her excellence in acting. The honour marks her three-decade journey in Indian cinema and acknowledges the lasting connection she has built with audiences in India and around the world.

Mukerji became emotional while reflecting on her 30 years in the film industry and the affection she has continued to receive from audiences. Speaking at the festival, she described the journey as one filled with memories, dreams, achievements, setbacks and, above all, love.

“Thirty years! When I say those words out loud, they don’t feel like a number. They feel like a lifetime of memories… of dreams, of victories, of people, of failures and above all, of love,” she said.

The actress also spoke about how she defines success, stressing that for her, it is not simply about professional achievements but the love that remains with an artist over the years. “Success is the love that remains… year after year and only grows with time … that’s the only kind of success I have strived for,” Mukerji said.

Reflecting on her international journey, she recalled how she never imagined that the characters she portrayed early in her career would eventually connect with audiences beyond India. She acknowledged the warmth she has received from audiences in Australia and spoke about the reach of Indian cinema across borders.

“When I entered the Indian film industry as a young girl, I never imagined that one day my films and the characters that I have been fortunate enough to play, would take me across oceans … and that people in a beautiful country like Australia would embrace me with so much warmth,” she added.

Rani further highlighted the importance of audiences in completing an actor’s work. “As actors, we perform in front of a camera. But the real story begins only when that performance reaches someone’s heart,” she said.

The IFFM citation recognises Mukerji’s three-decade career, marked by successful films and memorable characters that continue to find new audiences across generations and countries.

Also Read : EXCLUSIVE: Adnan Sami reveals Amitabh Bachchan, Govinda, Rani Mukerji, Raveena Tandon and others featured in his music videos for FREE: “Not one of them charged a penny”

The second season of The Traitors has started with high drama, unexpected eliminations and accusations among the contestants. Hosted by Karan Johar, the reality show returned with its first three episodes, introducing viewers to a game filled with suspicion and betrayal. Comedian Munawar Faruqui became one of the biggest talking points after he was eliminated during the first Circle of Shaq.

During the first round, Munawar openly accused Mallika Sherawat of being a traitor. However, his strategy raised suspicions among several contestants, who felt that he was behaving like a traitor himself. As the voting began, Munawar received the highest number of votes and was eliminated from the game.

The actual traitors at that point were Kullu, Krystle D’Souza and Harman Singha, while Shahneel Gill was later recruited as the fourth traitor in the second episode.

After his elimination, Munawar addressed the contestants and said that he had expected to be targeted. He said, “I had expected this to happen to me. I knew I would have to face it. This often happens to me. It is not the first time. This is not the first time that I have been targeted.”

He further accused the contestants of acting out of insecurity, adding, “Call me a soft target or someone too good to be there. I can clearly see through the insecurities of other people, and you will see how end up looking. Because your insecurities will be visible.”

When Karan Johar asked Munawar to reveal whether he was a traitor or an innocent, the comedian appeared emotional and strongly reacted. “F*** off, guys! I was playing the game! I wanted to play it well! I am an innocent! F*** off, insecure bunch of people. They thought I would eat them up here. They are all scared. Now recognise who is the one amongst you,” he said.

Meanwhile, Dalip Tahil became the first contestant to leave the game after receiving the least number of gold coins, while Karan Singh Magic became the first contestant to be murdered by the traitors. The Traitors Season 2 is streaming on Amazon Prime Video.

Also Read : Samay Raina roasts Munawar Faruqui’s second marriage by comparing him with Aamir Khan: “Aamir sir jaise game toh Munawar ne khela hai”

For newcomer Nitish Sharma, his journey to Nitesh Tiwari’s much-awaited Ramayana took an unexpected turn. After facing several rejections and being replaced in a major film, Sharma auditioned for the role of Lakshman. Although he did not eventually get the part, his performance impressed the filmmaker, who offered him the role of Shatrughn in the epic.

In an exclusive conversation with Mid-Day, Nitish opened up about his journey, working with Ranbir Kapoor and the criticism surrounding the film’s casting. Recalling the difficult phase that eventually led him to Ramayana, Nitish said that he had gone through hundreds of auditions before finally landing a major role in a big film in 2023. However, he was later replaced by a senior actor. The setback left him disappointed, but he found comfort in reading the Ramcharitmanas.

“I was trying to find peace by reading the sacred book. When I was reading the Bharat Milap scene, I received a call from Mukesh Chhabra's office saying that Nitesh Tiwari was making a pilot film of Ramayana and they wanted to test me for Lakshman. So I did,” he recalled.

During the audition, Nitish was asked to perform scenes as Lakshman before Nitesh Tiwari asked him to play Ram. His performance impressed the director, who assured him that he would be part of the main film. Nitish was eventually cast as Shatrughn, while Lakshman is being played by Ravie Dubey.

Explaining why he was not selected as Lakshman, Nitish said, “For the actual film, it was clear that in every character there would be big stars. And in such a big-scale movie, there are many things involved. But I have zero complaints about it.”

Nitish also spoke about his experience of working with Ranbir Kapoor, who plays Lord Ram. He praised the actor’s humility and professionalism, particularly the way he continued giving cues to co-stars even after finishing his own scenes.

“Whenever we were shooting together, the way he gave all the cues to me, even when his scene was over, was amazing. He always gives his cues by himself to every actor, no matter if it is 10 times, 12 times or 15 times. He treats everyone with humility,” he said.

Addressing criticism of Ranbir’s casting, Nitish said, “It is actually very sad that people judge someone by just one look. Ranbir is the greatest actor we have in this industry right now. After watching the movie, I am telling you, they will praise Ranbir as Ram. No one could have done it better than RK.”

He also defended Sai Pallavi, who plays Sita, amid criticism of her appearance and casting. “Sai, she looks divine in real life. She is the best casting for Sita. There are many trolls about her as well. But that is how a 99 per cent Indian beauty looks like,” he said.

Nitish remains confident that Ramayana will connect strongly with audiences. “I am very sure that Ramayana will create magic once again, just like it did in 1987 with Ramanand Sagar,” he concluded.

Also Read : BREAKING: EXCLUSIVE footage of Ramayana to be screened at Big Cine Expo 2026, Chennai; Rakesh Roshan to receive Special Achievement Award

As Sara Ali Khan celebrates her birthday, it is the perfect moment to revisit the sartorial choices that continue to define her fashion identity. She carries a poise, a refined synthesis of classic lineage and a sharp contemporary focus. In her recent style choices, Khan moves beyond traditional fashion tropes, embracing structural silhouettes, precise proportions and an intentional balance between restraint and high-octane glamour. Across five defining looks, her wardrobe emerges as a masterclass in modern sartorial authority, seamlessly transitioning from cool architectural minimalism to fiery, tailored statements.

Diana’s Revenge Dress Constructed with an off-the-shoulder, structured boat neckline, this architectural gown features short capped sleeves resting just below the collarbone, revealing an exposed neck and shoulder line. The fitted bodice extends past the hip into a draped peplum accent before falling into an asymmetrical high-low hemline that flows into a subtle rear train, all rendered in an ink-black satin weave. The strength lies in the interplay between structured weight and liquid movement; by pairing the heavy satin frame with a statement diamond-and-sapphire choker, pointed black pumps, and a sleek low-slung chignon, the ensemble creates a strong vertical line that echoes classic European high-fashion codes.

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Sculpted Monochromatic Layering A three-piece tailored study in warm ivory, cream, and champagne nude accents, featuring a high, mandarin-collar jacket worn open over a textured high-neck top constructed with horizontal sheer and pearl-beaded striping. The sleeveless inner turtleneck offers coverage up to the chin, counterbalanced by a fitted, high-waisted mini skirt and long, slim-cut sleeves on the outerwear to complete the clean geometric lines. Monochrome works best when textures collide, and here, the soft weave of the outer jacket plays against the linear, pearl-encrusted inner mesh, while pointed embellished heels and a high ponytail elongate the frame for an effortless, sharp aesthetic.

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Modern Noir & Drapery A floor-length column gown defined by a draped cowl high neckline and sheer mesh short sleeves, finished in a matte black canvas with pops of silver and a muted blue watch strap. The top bodice combines delicate, semi-transparent paneling with draped jersey fabric that gathers tightly around the waist, falling into a straight, fluid floor-length skirt. The contrast between sheer technical mesh and soft, heavy draping creates an intriguing tactile balance, while keeping the neckline high and the silhouette extended down to the floor allows the texture play on the torso to take center stage alongside an undone updo and subtle drop earrings.

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Striated Crimson Tailoring A strapless, wide-leg jumpsuit engineered with a structured sweetheart neckline and built-in boning through the bodice, set in a deep crimson red with fine vertical white pinstripes. The sleeveless cut leaves the shoulders bare, balancing the dramatic volume of the relaxed, wide-leg trousers that sweep down over strappy sandals. Pinstripes are traditionally anchored in menswear, but applying them to a strapless, sweetheart-neck jumpsuit reclaims the motif with a feminine edge, where vertical lines elongate the body while a bold red backdrop matched with classic red lip and gold statement wristwear injects high-energy confidence into a precision-tailored silhouette.

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The Imperial Power Suit A tailored suit crafted in crisp polar white accented with polished gold hardware, featuring wide, sharp peak lapels and a deep V-neckline. The structural blazer showcases structured shoulders and full-length fitted sleeves anchored by six gold crest buttons, paired alongside mid-rise, wide-leg trousers tailored with a sharp center crease and a substantial hem fold. Tailoring in all-white demands precise execution, and this suit delivers as the fitted cut draws inward at the waist to emphasize structure while the flared trousers balance the broadness of the shoulder pads, elevated by gold buttons and matching metallic heels for effortless red-carpet presence.

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Sara Ali Khan’s wardrobe demonstrates high fashion impact. Whether adapting classic floor-length gowns or sharply cut power suits, her wardrobe proves that true sartorial authority doesn't require over-styling just impeccably tailored lines, confident proportions, and a clear understanding of personal presence.

Also Read: Sara Ali Khan continues her Delhi tradition with visit to Gurdwara Bangla Sahib

Priyanka Chopra is currently in India with her daughter Malti Marie as she spends time with her family. During her stay in Mumbai, the actor visited the city's famous Siddhivinayak Temple to seek blessings. She was accompanied by her sister Mannara Chopra, while Malti did not join them for the temple visit.

Priyanka was spotted outside the Siddhivinayak Temple dressed in a traditional pink salwar suit with a blue dupatta. Keeping her look simple, the actor made her way through the premises amid tight security. A number of fans had gathered outside to catch a glimpse of the actor. Before leaving, Priyanka waved to the crowd and then got into her car.

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The actor has frequently visited religious places during her trips to India. On one of her recent visits, she was seen at a Durga Puja pandal. During an earlier trip, Priyanka made headlines after performing seva and washing utensils at the Golden Temple. She also visited the Ram Mandir in Ayodhya with husband Nick Jonas and daughter Malti, where the family sought blessings.

Priyanka's latest India visit also comes at a time when there is considerable anticipation around her upcoming projects. She will next be seen in SS Rajamouli's much-awaited film Varanasi, which also stars Mahesh Babu and Prithviraj Sukumaran. The makers recently unveiled Priyanka's look as Mandakini along with a behind-the-scenes glimpse on the occasion of her 44th birthday. Mahesh Babu's character Rudhra was also introduced on his birthday. Varanasi is scheduled to release on April 7, 2027.

Meanwhile, Priyanka has also joined Oscar winner Russell Crowe for the sci-fi action thriller Bluefly. Directed by Nimrod Antal, the film revolves around a covert mission in the Congo following the discovery of a mysterious crashed aircraft. Priyanka announced her association with the project on Instagram on Thursday with a brief message: “On to the next.”

Also Read : Mahesh Babu thanks fans on birthday; says Varanasi is ‘very close to his heart’

The Cine and TV Artistes Association (CINTAA) is facing an internal dispute after eight elected members of its Executive Committee resigned from their respective offices and the Executive Committee with immediate effect. The members cited a loss of confidence in the present manner of functioning and called for fresh elections. They also alleged that the association’s functioning had increasingly become concentrated around CINTAA President Poonam Dhillon, Senior Vice President Padmini Kolhapure and a section of other Executive Committee members.

Responding to Hindustan Times, Poonam Dhillon has defended her and Padmini’s work for the organisation. Speaking to us, Poonam says, “Padmini and I are working hard to bring goodwill to CINTAA by using our resources and contacts; it is not for personal gain. No one else was taking initiatives to do anything for members of the organisation, so I’m shocked by their allegations.”

Poonam also addressed the controversy surrounding CAWT (Cine Artistes’ Welfare Trust), which was formed by senior actors including late Dilip Kumar, Amrish Puri and Amjad Khan. She claimed that the trust had not fulfilled its responsibility of providing medical facilities to members and said that no one from the current committee had raised funds for CAWT in the past few decades.

She pointed to a recent fundraising event, where artistes including Kavita Krishnamurthy, Madhushree and Nitin Mukesh performed without charging CINTAA. Gifts were presented to the artistes following their performances. “We raised 1 crore through these performances, so how is it a problem if we spend 1 lakh on gifts for them?” Poonam questions.

The actor further alleged that some of the members who resigned had been promised positions if a new committee came to power. Referring to Puneet Issar, she says, “Puneet (Issar) has barely attended two meetings in two years, but the day they wanted to dissolve the committee, they were beckoned just to vote us out.” She also alleged that certain members were pressured into resigning. “We still have the majority and the committee still stands," says Poonam.

Addressing General Secretary Upasana Singh’s claim that the EGM called by Poonam and her team was illegal, the actor explained her position on the process. “The resignation of former members was received by the General Secretary and not accepted by EC (Executive Committee). Meanwhile we held an EGM with a member who had withdrawn her resignation and inducted in seven new members on top of the elected list. Only after that resignations were accepted. So the EC stands. This process was vetted by our legal team.”

Poonam also said that she and Padmini have been paying some CINTAA expenses from their own pockets. She added that they have been conducting regular checks on television sets and educating members about labour codes. According to Poonam, several more initiatives are planned for the organisation as the dispute over its functioning continues.

Also Read : Rajeev Khandelwal recalls college romance on Tum Ho Naa – Ghar Ki Superstar; reveals the Poonam Dhillon song he played on loop

Spider-Man: Brand New Day is having an unstoppable run at the box office. Yet the other Hollywood film, The Odyssey, remains rock-solid at the box office. It's currently in its fourth week and in 24 days, it has collected Rs. 166.89 crores. If we count all languages, the total collections amount to Rs. 178.31 crores.

The Odyssey opened at Rs. 16.08 crores and went on to record an opening weekend of Rs. 56.85 crores. After collecting Rs. 85.65 crores in its first week, it added another Rs. 45.67 crores in Week 2. Spider-Man: Brand New Day was released on Thursday, July 30, the 14th day of The Odyssey’s run, and its arrival did impact the Christopher Nolan-directed film. A day earlier, The Odyssey had collected Rs. 4.46 crores, but on July 30, its collections dropped to Rs. 2.79 crores.

But The Odyssey picked up on Friday, July 31, when it collected Rs. 3.41 crores. On August 1 and 2, it earned Rs. 5.66 crores and Rs. 5.72 crores respectively and remained rock-steady in the weekdays. This way, it earned Rs. 24.15 crores in Week 3.

What is interesting to note is that the collections fell by 46.68% in Week 2 compared to Week 1. In the subsequent week, earnings dropped by just 47.12%, despite the Spider-Man mania.

While The Odyssey collected Rs. 2.23 crores on Thursday, August 6, the earnings increased on Friday, August 7, when the period epic collected Rs. 2.54 crores. The collections on August 8 and August 9 were Rs. 4.49 crores and Rs. 4.39 crores respectively. Hence, the film has collected Rs. 11.42 crores in its fourth weekend and will end the week with Rs. 15-16 crores.

The crazy IMAX performance

Meanwhile, the IMAX format has played a major role in the collections of The Odyssey. This is the first film to be completely filmed in IMAX and hence, there’s a tremendous demand to catch the film in the premium format. As a result, the footfalls in the IMAX version are very strong. Bollywood Hungama had earlier reported that in 13 days, the share of IMAX collections are a huge Rs. 48.25 crores. This is when the film had earned Rs. 132.65 crores.

To date, the IMAX format of The Odyssey has collected Rs. 74.21 crores (Rs. 73.77 crores from English and Rs. 44 lakhs from Hindi), accounting for nearly 41.62% of the film’s total collections. Interestingly, the contribution from IMAX has increased significantly as the film’s run has progressed. In Week 3, when The Odyssey collected Rs. 25.30 crores across all languages, IMAX screens contributed Rs. 16.10 crores. In other words, IMAX alone accounted for a massive 63.64% of the film’s Week 3 collections.

However, in the fourth weekend, the IMAX share jumped further to 67.14%. Of the film’s total collections of Rs. 11.44 crores across all languages, IMAX screens alone contributed Rs. 7.68 crores. If all premium formats (IMAX, HDR By Barco, 4DX, MX4D, EPIQ and Dolby) are taken into account, they contributed a staggering 71.15% of The Odyssey’s total fourth-weekend collections.

Even after completing 24 days, the demand for The Odyssey in IMAX remains rock-steady. For instance, as of 8:45 am on August 10, the 9:45 am show at the IMAX screen of PVR Phoenix Lower Parel, Mumbai, had already sold around 80 tickets. The figure is likely to touch 100 tickets by the time the show begins, which is remarkable for a Monday morning, especially for a film in its fourth week. Moreover, tickets for these premium-format shows are priced considerably higher than those for regular 2D shows, which has played a major role in driving the film’s collections. At this rate, The Odyssey has a shot at a lifetime collection of Rs. 180 crores from its English version alone.

The 24-day collections of The Odyssey Week 1 - Rs. 85.65 cr Week 2 - Rs. 45.67 cr Week 3 - Rs. 24.15 cr Week 4 [3 days] - Rs. 11.42 cr

The 24-day collections of The Odyssey in the IMAX format Week 1 - Rs. 27.97 cr Week 2 - Rs. 22.45 cr Week 3 - Rs. 16.10 cr Week 4 [3 days] - Rs. 7.68 cr

Also Read: Exhibitors hail Christopher Nolan’s The Odyssey for becoming highest-grossing IMAX release in India: “Moviegoers embraced it not merely as a film to watch, but as a cinematic experience to revisit”

The much awaited trailer of filmmaker Geetu Mohandas’ Toxic released yesterday and, ever since, it has become the talk of the town. The striking visuals, action and production design has ensured that the chatter around the film hasn’t stopped on social media. Along with that, Tara Sutaria’s presence in it has also been noticed and appreciated.

During the trailer launch of the film in Bengaluru, when asked on having a Disney princess image about her and what was it like to go from fairy tales to fairy tales for grown-ups, Tara responded saying, “There's a very popular phrase from an old Disney fairy tale, which I think it goes something like, ‘A dream is a wish your heart makes.’ And it feels so fitting to Toxic and to this fairy tale that we've all created. Because I think it's a dream and a wish that all of us have had, I think collectively as a team, to be a part of something and a fairy tale of sorts that is really outstanding, exceptional, and something very, very special to all of us in many different ways. And I think I'm just, like I said, overwhelmed and humbled and blessed to be with all of you and to be a part of this incredible story.”

Tara’s words reflected not only her excitement but also the emotional connection she shares with Toxic. Her belief in the film has only heightened the anticipation surrounding Toxic. With her appearance as Rebecca already earning praise for her captivating screen presence, audiences are now eagerly looking forward to watching Tara on the big screen.

Also Read: Toxic trailer launch: Yash praises his co-stars: “All these lovely talented people have kept their EGOS aside to put an Indian film on a GLOBAL platform”; HITS back at those who doubt him: “I see it as their STUPIDITY”

On the occasion of Telugu superstar Mahesh Babu’s birthday, team Varanasi unveiled two stills from the highly anticipated epic, offering the world its first glimpse of Rudhra in his element.

The first still captures Rudhra at rest on a bamboo raft, surrounded by a dense jungle, effortlessly cool, magnetic and carrying the quiet intensity that defines his character. The second transports us to the sweeping plains of Kenya’s Maasai Mara, where Rudhra stands amidst giraffes and wildebeest looking back with an unmistakable sense of command.

Together, the two stills offer a glimpse into the soul of Varanasi, a globe-trotting, century-spanning epic where one man’s extraordinary journey takes him from the sacred waters of India to the wildest corners of the earth.

Director SS Rajamouli said, “Rudhra was born to fulfil a purpose much larger than himself. He carries a destiny he did not ask for. He is witty, he is vulnerable, and he is fierce. That is what Mahesh brought to him. Anyone can play fierce. Very few can play fierce and fragile in the same breath. These frames are from our Africa schedule, and the land gave us something no set could. Shooting around Kilimanjaro and in the Maasai Mara, I was stunned. There were mornings when I felt even the 1.43:1 IMAX frame could not hold what was in front of us.”

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Directed by SS Rajamouli, with music by MM Keeravani, Varanasi is produced by Sri Durga Arts and Showing Business and is set to release worldwide on April 7, 2027, in IMAX.

Also Read: Priyanka Chopra gets birthday surprise as new Varanasi photos unveil fresh look from SS Rajamouli film