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Deepika's next gangster film with Vishal Bhardwaj titled Rani

We all know that after the runaway success of her last film Padmaavat, Deepika Padukone is next working with filmmaker Vishal Bhardwaj. Though the project has been in the news for a long time now, no one knows the official title of the movie. However, the latest buzz has it that the makers have locked the title Rani for the film.

Reportedly, Deepika has started preparations for her role weeks before the movie hits the shooting floor. Talking to an Indian daily, a source reveals, “Deepika has already started the preparation for her role of a Mafia queen and she is quite particular that she gets the tonality and body language as close to the late Sapna Didi who was once a terror for other gangsters. The shoot will begin by early March in Mumbai. After Padmaavat, her fans will love to see her in a whole new avatar of a lady don and hence she is really working meticulously to strike the right chord.”


The film also features versatile actor Irrfan Khan in the lead role. Deepika and Irrfan were last seen in Shoojit Sircar's slice-of-life film Piku which had received an overwhelming response from the audience. Resultantly, expectations are quite high from their second venture as well.

The movie is going to sets in the month of March.

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5 mythological picks now streaming in the UK — must-watch

Why UK audiences are turning to Indian mythology — and the OTT releases driving the trend this year

Instagram/Netflix

5 mythological picks now streaming in the UK — and why they’re worth watching

Highlights:

  • Indian mythological titles are landing on global OTT services with better quality and reach.
  • Netflix leads the push with Kurukshetra and Mahavatar Narsimha.
  • UK viewers can access some titles now, though licensing varies.
  • Regional stories and folklore films are expanding the genre.
  • 2025 marks the start of long-form mythological world-building on OTT.

There’s a quiet shift happening on streaming platforms this year. Indian mythological stories, once treated as children’s animation or festival reruns, have started landing on global services with serious ambition. These titles are travelling further than they ever have, including into the UK’s busy OTT space.

It’s about scale, quality, and the strange comfort of old stories in a digital world that changes too fast. And in a UK market dealing with subscription fatigue, anything fresh, strong, and rooted in clear storytelling gets noticed.

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