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Camille Kostek, Penny Lane, Alix Earle, Achieng Agutu and Meredith Mickelson share the advice they would give to themselves down the road. 

We just found your new favorite springtime scent, courtesy of Bath & Body Works x Vera Bradley’s just-announced collaboration!
Arriving on March 23, you’ll fall in love with the brand-new Peach…
 

What started as a simple question has now taken a more honest turn. In the earlier piece, we asked who really owns a performance. Is it the actor we see or the director who shapes what we see (Dhurandhar). It was a clean debate. Almost comfortable in the way it framed cinema as a choice between two visible forces. But sometimes, the most accurate answers come from outside the frame we create.

A response from a friend, Nadish Bhatia, from within the industry shifts that lens completely. It refuses to pick a side. It does not choose between Ranveer Singh and Aditya Dhar. It moves the conversation to a place we often overlook.

It says neither, cinema itself is the winner. And that changes everything.

Because before a performance is acted or directed, it has to be allowed to exist.

Take the example of Jio Studios backing a film like Dhurandhar. On paper, it does not scream safe. The length does not fit the current appetite. The casting does not follow the predictable blockbuster template. The idea of building ahead of proven success feels like a risk most studios would avoid.

This is not the kind of decision that comes out of comfort. It comes out of belief. The kind of belief that does not guarantee returns but still chooses to move forward.

And that is where cinema actually begins. Because without that first yes, there is no director shaping performances. There is no actor exploring a role. There is no final cut for audiences to judge.

The risk is invisible when the film releases. But it is foundational.

Then comes the filmmaker. Aditya Dhar does not operate within the usual noise of the industry. There is no constant spotlight around him. No aggressive positioning. He simply arrives with a film and lets the work speak.

That approach reflects in the choices he makes (Uri: The Surgical Strike). A story like this could have easily leaned into loud nationalism. It could have simplified its emotions for easy applause. It could have followed safer, more familiar beats. It does not.

That restraint is not accidental. It is deliberate. It is a filmmaker choosing to hold his ground when it would have been easier to give in.

And then comes the part we began with. The actors.

Yes, Ranveer Singh stands at the centre of it. His performance carries weight. It demands attention. It gives the audience something to hold on to. But stopping there would miss the larger picture.

There are performances around him that complete the experience. Sanjay Dutt, who many had begun to underestimate, finds space to surprise again. Rakesh Bedi, Arjun Rampal, R Madhavan and the supporting cast do not just fill the frame. They add to it. They push the film forward in ways that are not always loud but always important.

Because a film is rarely remembered for one performance alone. It is remembered for how complete it feels. And completeness is never the work of one person. It happens when multiple decisions align.

When a studio chooses belief over caution.
When a director chooses honesty over convenience.
When actors choose to stretch instead of settle.

Individually, these are risks. Together, they become something else. They become a film that feels larger than its parts.

Which is why this perspective feels closer to the truth than the earlier debate.

It is not about choosing between actor and director. It is about recognising the chain that makes both possible.

We still see Ranveer Singh.
We still discuss Aditya Dhar.

But what we are actually experiencing is something that started much earlier and involved far more people than we usually acknowledge.

And maybe that is the shift worth making.

Instead of asking who deserves the credit, we begin to ask what made it possible in the first place.

Because sometimes, when everything aligns the way it does here, the answer is simple. No one wins alone.

Cinema does.

Based on inputs from my friend Nadish Bhatia

Chuck found the love of his life in his second wife, Gena. Learn about their marriage and his past relationships here. 

Putting an end to ongoing speculation, the makers of Mani Ratnam’s upcoming film have officially confirmed that AR Rahman will compose the music for the project. The announcement was made on Friday by Madras Talkies, which is producing the film in association with Lyca Productions and India Talkies.
Rahman returns to Mani Ratnam’s world
The update comes amid recent buzz that young composer Sai Abhyankkar had been roped in for the film. However, the latest confirmation reinstates Rahman as Mani Ratnam’s long-time collaborator, continuing one of Indian cinema’s most celebrated director-composer partnerships.
Tentatively titled Production No. 23, the film features Vijay Sethupathi and Sai Pallavi in the lead. While the announcement has sparked considerable excitement, key details including the film’s genre, storyline, and supporting cast are still under wraps.
Rahman’s association with Mani Ratnam has consistently produced memorable soundtracks, and this reunion is expected to carry forward that legacy. Given their track record, the music is already shaping up to be one of the film’s biggest highlights.

Busy slates for Vijay Sethupathi and Sai Pallavi
The project also marks a reunion between Vijay Sethupathi and Mani Ratnam after Chekka Chivantha Vanam. The actor had confirmed his involvement in the film during an interview last month, setting the stage for what could be a compelling collaboration.
Sethupathi, who continues to balance mainstream and experimental cinema, was last seen in Gandhi Talks, a silent film that also starred Aditi Rao Hydari and Arvind Swami. He currently has a packed lineup with films like Pocket Novel, Train, Arasan, Jailer 2, and Slum Dog: 33 Temple Road at various stages of production.
Sai Pallavi, meanwhile, remains one of the most sought-after performers across industries. She is gearing up for the release of Ek Din alongside Junaid Khan, which is set to hit theatres on May 1. The actor has also recently joined Dhanush’s D55, directed by Rajkumar Periasamy.
In addition, Pallavi is set to play Sita in the ambitious two-part Ramayana, where she stars opposite Ranbir Kapoor. Interestingly, that project also features AR Rahman as the composer, further underlining the musician’s busy schedule.

Rahman himself has an extensive slate of upcoming films. Among them are Ram Charan’s Peddi, Prabhu Deva’s Moon Walk, Hansal Mehta’s Gandhi, and the Mari Selvaraj-Dhanush collaboration D56. With such a diverse lineup, the composer continues to remain at the forefront of Indian film music.
For now, Production No. 23 remains tightly under wraps, but with Mani Ratnam, AR Rahman, Vijay Sethupathi, and Sai Pallavi coming together, expectations are already sky-high. More details are expected to be unveiled in the coming months.
Also Read: Mani Ratnam Reviews Shanaya Kapoor and Adarsh Gourav’s Tu Yaa Main

In a surprising turn of events for the Indian film industry, the theatrical release of the Oscar-nominated feature The Voice of Hind Rajab has been stalled by the Central Board of Film Certification (CBFC). The move, which has drawn international attention through a recent report by Variety, is reportedly based on concerns regarding India’s diplomatic relationship with Israel. Directed by the acclaimed Tunisian filmmaker Kaouther Ben Hania, the film tells the true story of Hind Rajab, a five-year-old Palestinian girl who was trapped in a car under fire in Gaza. The docudrama recreates her final hours using the actual audio of her desperate phone calls to emergency operators. While the film has earned global praise, including a 20-minute standing ovation at the Venice Film Festival where it won the Silver Lion, its journey to Indian screens has hit a major roadblock.
Manoj Nandwana, head of the Mumbai-based Jai Viratra Entertainment and the film’s local distributor, shared the details of the censorship struggle. He submitted the film to the CBFC in February, hoping for a March 6 release to coincide with the buzz surrounding the Academy Awards on March 16. However, the certification was never granted. Nandwana revealed that a member of the censor board informally told him that releasing the film would break up the India-Israel relationship. The distributor expressed his frustration with this reasoning, saying, “I told them: the India-Israel relationship is so strong that it’s idiotic to think this movie will break it.” He pointed out that the film has already been released in the U.S., U.K., Italy, and France – all countries that maintain strong ties with Israel – yet “they want to censor it anyway.”

This delay places The Voice of Hind Rajab alongside other recent films like Santosh and Punjab 95, which have also faced hurdles in India due to their politically sensitive themes. For now, Indian audiences remain waiting to see if this story will ever make it to the big screen.
Also Read: I Owe Everything to Karan Johar: Ishita Moitra on Her Journey, Finding Her Voice & More – Exclusive

On its first day of release, Ustaad Bhagat Singh managed to secure Rs 31.50 crore in net collections (India business). The film played across a staggering 4,607 shows nationwide, with the majority concentrated in the Telugu states.

Ustaad Bhagat Singh gross collections
When accounting for total ticket sales before taxes and levies, the film’s gross collections stood at Rs 37.17 crore on Day 1 (March 19). High occupancy was reported in mass circuits across Andhra Pradesh and Telangana. However, it remains to be seen whether the film will sustain this momentum over the crucial Friday–Sunday weekend. The opening numbers were strong despite mixed reviews and competition from Dhurandhar 2, largely due to the Ugadi festive season. However, the film falls short when compared to They Call Him OG, Pawan Kalyan’s previous release, which grossed Rs 145 crore worldwide on its opening day.

Director Harish Shankar exudes confidence
At a post-release press meet on Thursday, director Harish Shankar expressed confidence that Ustaad Bhagat Singh will witness a surge in collections in the coming days. Producer Y. Ravi Shankar of Mythri Movie Makers stated that distributors across territories are expected to achieve breakeven by Sunday (Day 4).
The film was made on a relatively modest budget for a Pawan Kalyan starrer, with compact production schedules. Producer Naveen Yerneni had earlier revealed that the actor did not charge an upfront fee, helping keep costs under control. Ustaad Bhagat Singh also stars Raashii Khanna and Sreeleela, with the latter playing a more prominent role. R. Parthiban essays the antagonist Nalla Nagappa, a ruthless politician aspiring to become the Chief Minister of Telangana. Rao Ramesh and others appear in supporting roles. Thaman has composed the background score, while Devi Sri Prasad has handled the songs.
Also Read: Ustaad Bhagat Singh Review: Pawan Kalyan Tries to Salvage a Regular Masala Potboiler

Ranveer Singh’s Dhurandhar: The Revenge has opened to a massive response at the box office, but beyond the numbers, it’s the film’s music that’s really staying with audiences. One track in particular, Phir Se, sung by Arijit Singh, has struck an emotional chord with viewers, quickly becoming one of the most talked about elements of the film.

Composed by Shashwat Sachdev and written by Irshad Kamil, Phir Se beautifully captures the feeling of reconnecting with someone you love after a long time. What makes it even more special is the timing, coming after Arijit Singh’s recent announcement that he’s stepping away from playback singing. For many fans, this song feels even more meaningful because of that.

Audiences have especially loved how the song is woven into the story. Many have pointed out how it elevates a deeply emotional moment involving Ranveer Singh’s character, making the scene even more powerful. Social media is filled with reactions calling it a perfect ending, with fans praising Arijit’s voice for adding depth and intensity. Some even said the song left them teary eyed in theatres.

The film’s music overall has been getting strong appreciation. Shashwat Sachdev’s soundtrack blends different styles seamlessly, while artists like Hanumankind and Jasmine Sandlas add their own energy to the album. Directed by Aditya Dhar, Dhurandhar: The Revenge hit theatres on March 19, with a cast that includes R Madhavan, Arjun Rampal, Sanjay Dutt and others, making it a complete cinematic experience.
Also Read: Shreya Ghoshal Reflects On Arijit Singh’s Break And Her Stance On Live Singing

The late martial arts icon was a father to five children across three different relationships. Find out everything you need to know about all of his kids here. 

BTS has released their much-anticipated album, ARIRANG, comprising 14 songs. The title track, SWIM has garnered attention as ARMYs cannot get enough of the new music the group released after June 2022.

Interestingly, while the title track is an amalgamation of heartfelt lyrics, electrifying music and larger-than-life visuals, it has another interesting aspect that makes it all the way more unpredictable. BTS’ rapper, SUGA or Min Yoongi, lends his vocals in the second verse of the song. If you are new to BTS, the group has four vocalists, Jungkook, Jimin, V and Jin, and three rappers, RM, Suga and JHope. While the group maintains this strictly, there are times JHope is seen singing vocal parts, or some other members take up rapping. But those cases are rare.
However, in SWIM, Suga takes up the lead in the second verse, which opens space to explore the song further. Instead of his usual rap style, Suga takes up a melodious paragraph and sings it with his own charm. The lyrics go, “Water, water so deep, water so deep/ Take it off the ground, I ain’t never gettin’ cold feet/ Yeah, you know me, yeah, you know me/ Sittin’ on the shore, now I’m ready for the whole sea/ I can feel the high waves comin’ (Yeah)/ Why you run away? You can run in (Yeah)/ Salt on my tongue, she’s stunnin’ (Oh)/ You’re the only place that I wanna be, yeah.”

He later joins the group in harmonising but does not strictly go back to rapping. He flaunts his rapping skills in other songs from ARIRANG but lends his vocals to SWIM. It might have been a strategic move, to throw fans off guard with his raw vocals. But SUGA has also sung in some of his solo tracks before, including People, Interlude: Set Me Free, People Pt.2 (feat. IU) and Trivia: Seesaw.
Also Read: Suga Turns 33: BTS Members RM & J-Hope Share Quirky Wishes, Yoongi Celebrates With Cake