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Ayushmann Khurrana and Bhumi Pednekar reteam for a hat-trick

After the stupendous success of Dum Laga Ke Haisha (2015) and Shubh Mangal Saavdhan (2017), one of the most successful onscreen pairs of Ayushmann Khurrana and Bhumi Pednekar is returning with their third film together.

Yes, both the actors have given their nod to star in producer Dinesh Vijan’s upcoming production venture Bala. The comic-caper stars Khurrana as a man who is losing his hair prematurely and Bhumi as a small-town dusky girl dealing with a society obsessed with fair skin.


The film, which is expected to hit the shooting floor early in 2019, will be directed by filmmaker Amar Kaushik who shot to fame after helming one of the most commercially successful films of 2018, Stree.

When producer Dinesh Vijan was contacted, he confirmed the news. “Through their journey, the film impresses on the fact that most of us are usually attracted to outward beauty and don’t go beyond that to understand the real person. That’s one of the reasons so many relationships are falling apart today,” said Vijan.

“It’s a hilarious story but at the same time, it makes you think. The two characters are very interesting and easy to relate to, so is their milieu,” added the filmmaker.

Meanwhile, Ayushmann Khurrana is presently shooting for his next film Dreamgirl. Bhumi, on the other hand, is looking forward to the release of Abhishek Chaubey’s dacoit-drama Sonchiriya.

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Two Sinners marks Samir Zaidi’s striking directorial debut

Samir Zaidi, director of 'Two Sinners', emerges as a powerful new voice in Indian film

Indian cinema has a long tradition of discovering new storytellers in unexpected places, and one recent voice that has attracted quiet, steady attention is Samir Zaidi. His debut short film Two Sinners has been travelling across international festivals, earning strong praise for its emotional depth and moral complexity. But what makes Zaidi’s trajectory especially compelling is how organically it has unfolded — grounded not in film school training, but in lived observation, patient apprenticeships and a deep belief in the poetry of everyday life.

Zaidi’s relationship with creativity began well before he ever stepped onto a set. “As a child, I was fascinated by small, fleeting things — the way people spoke, the silences between arguments, the patterns of light on the walls,” he reflects. He didn’t yet have the vocabulary for what he was absorbing, but the instinct was already in place. At 13, he turned to poetry, sensing that the act of shaping emotions into words offered a kind of clarity he couldn’t find elsewhere. “I realised creativity wasn’t something external I had to chase; it was a way of processing the world,” he says. “Whether it was writing or filmmaking, it came from the same impulse: to make sense of what I didn’t fully understand.”

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