After the debacle of his last film Namastey England (2018), Arjun Kapoor seems quite psyched up about his latest release, India’s Most Wanted. The film revolves around a group of Intelligence Bureau officers who, without any support from their department, sets out to capture India’s Most Wanted terrorist from Nepal. This is the first espionage thriller for the young actor who started out almost seven years ago.
Ahead of the release of the Raj Kumar Gupta directorial, Eastern Eye caught up with Arjun Kapoor in Mumbai to have a conversation on his latest offering. In this interview, Kapoor talks in detail about India’s Most Wanted, how was it to shoot at real locations and if realistic cinema has started attracting him more than before.
The actor also opens up about the kind of characters that he wants to play ahead in his career and why his second film Aurangzeb would have made more money had it released in today’s times. Excerpts...
You shot for India’s Most Wanted in cities like Patna, Kathmandu and Pokhara. Did you face any problems while shooting at real locations?
The makers were told that I might say no to shoot at such locations for various reasons, security being one of them. But I had already visited Patna during the promotions of Tever (2015). I had spent one full day in the city.
While doing India’s Most Wanted, I felt that if I do not go to shoot the film at real locations, the audience would not connect to it. If I do not go to Golghar in Patna and shoot it somewhere in Mumbai and use that shot in the movie, people will catch it and reject the film.
I always wanted that the film should look real because it is based on a real story. The (Bihar) government was very kind. The police force there also helped us. They gave us protection. People there just wanted me to wave hands, talk to them and say ‘Hi’ to them, which is normal. That happens everywhere I go to shoot.
When we went to Nepal, we realized Pokhra is such an underrated place. It has everything, from snow-clad mountains to lakes. In Kathmandu, people were so helpful. It’s such a nice place. We have made a very difficult film, but, touchwood, by the grace of God, people who helped us made it much easier.
Since the film is inspired by true events, how much research did you do on your own to understand your character better?
See, when the director is himself writing the film, half of your job is done. Raj Kumara Gupta sir has untiringly worked on this script for three years. He waited patiently to make it the right way. The whole research was his. When I came onboard, I realized that he had already done research on my character as well.
During my preparation, I got the chance to meet some IB officers, not the ones who were a part of the mission. Raj sir wanted me to understand the mindset of an IB officer. When we talk about IB officers and undercover agents, we think of James Bond and Mission Impossible. We don’t know anything about such people in reality. When I met them, I realized they are just like any other working professional. They look like a regular 9-5 job people. But they have this mental understanding and astuteness to be able to be a part of the Intelligent Bureau.
So, can we say you are also entering the territory of realistic cinema?
See, I have done Aurangzeb (2013) also. That was a very realistic film for me, though an extremely underrated one. The film did not get its due. I feel if it had released today, it would have been a profitable venture for the makers.
It was the first song-less thriller for Yash Raj Films. I played a double role in the movie, but it was not about mistaken identity. It was not an Anees Bazmee comedy or a Rowdy Rathore (2012). It was a very gritty film. Finding Fanny (2014) was also a realistic film for me and so was Ishaqzaade (2012). Ishaqzaade dealt with the topic of honour-killing and casteism. These social evils are still prevalent in our society. So, I have always been a part of such films.
See, I am a producer’s son and have done commercial front-footed films also. I feel I am typecast in a certain image, especially after doing such films as Tever and Gunday (2014). But when you talk about Ishaqzaade, you only remember “Chokra Jawan” and, similarly, when you talk about Ki & Ka (2016), you remember “High Heel”. You forget the sensitive issues it dealt with during those times, you know. I have always, in my own way, believed that I am doing films that have that texture.
Yasin Bhatkal, the terrorist who claimed so many innocent lives, is still in jail...
The fact that he is still in jail boils my blood. I really hate the fact that we are discussing him. We did not even talk about him in the film with his name, primarily because we don’t want to give such an evil man that respect.
We wanted to tell a story about those five or six men who put their lives at risk rather than speaking about that evil man. So, if you see, you will find that we have not spoken about his name.
My blood boils when I know the fact that there is a man who has killed over 400 people and who has been tried, but he is still alive. We are taking care of him every day with our tax money. He is still allowed to question whether he is guilty or not guilty. I hate it and I wish somebody does anything about it. This film is my way of saying that bad people deserve to be behind bars. They deserve not to be a part of our social environment because for far too long, people have been getting away with it. Suppose if we had not stopped this man six years ago, how many more people would have lost their lives.
Before Raj Kumar Gupta approached you for this film, how familiar were you with this story?
I did not know much. I just knew that all these blasts happened. I knew these serial blasts were interconnected and were carried out by one man. I knew they had connections to one terrorist organization.
These blasts happened a decade ago. So, over a period of time, your memory about minute details fades away and what all you remember is the main incident. But when I read this script, I started recollecting where I was when these blasts happened. Suddenly, I felt I was reliving those moments. But frankly speaking, I did not know anything about this man or when he was caught, etc. So, the day I read the script, I said yes to it.
What kind of roles do you want to focus on now?
Genuinely, every day when you wake up, you want to do new, new things. So, it all depends on the material offered to you. I never knew I was ready to do an espionage film, but when India’s Most Wanted came to me, I thought I was quite excited about the material.
Since I am selfish, I want to do all kinds of films. I like the genre of thrillers, dramas and action films. Sensible and mature subjects attract me. This is the new find that I had through India’s Most Wanted, so I am in for it. Commercial films I would always continue doing because, I feel, that is the way to reach youth and the heartland people who step out once in a while to watch a film because, you know, they want to lighten their day. So, I think, I want to maintain this balance and do all kinds of films.
India's Most Wanted is running successfully in cinemas near you.
At a time when the world feels chaotic and heavy, Disney Pixar’s Elio arrives with a message that couldn’t be more relevant: kids matter, and they’re stronger than they realise.
The animated film, which had its star-studded premiere in Los Angeles this week, follows an 11-year-old boy who accidentally becomes Earth’s ambassador in outer space. Directed by Madeline Sharafian and Domee Shi, Elio is Pixar’s first feature with a Mexican-Dominican lead, voiced by Yonas Kibreab. His character’s journey from an outsider on Earth to a confident connector among aliens mirrors what many young people feel today: lost, overlooked, and searching for belonging.
Elio’s release comes as immigration protests sweep through Los Angeles and the Latino community finds itself under pressure. For co-director Sharafian, the film taps into a very current feeling of hopelessness.
“At the start, Elio sees the world in a bleak way, and a lot of us feel that,” she said on the red carpet. “But through space and friendship, he sees Earth a bit differently by the end. That shift, that spark of hope, is what we want to pass on.”
Zoe Saldaña, who plays Elio’s aunt, added that the film encourages children to express vulnerability and parents to respond with understanding rather than control. “A child knows who they are. Our job as adults is to love them unconditionally as they figure it out,” she said.
Yonas Kibreab and Jameela Jamil attend the World Premiere of Disney and Pixar's "Elio" Getty Images
Jameela Jamil: ‘The world feels broken, but kids can fix it’
British actress and activist Jameela Jamil, who voices Ambassador Questa in the film, didn’t hold back when describing the film’s importance.
“We need hope, because the world is a dumpster fire right now,” she said. “Young people are constantly told they have no power. But this film reminds them that they do.”
Jameela Jamil attends the Los Angeles premiere of Disney Pixar’s ElioGetty Images
She added that Elio speaks to kids directly, urging them not to wait for fame or influence to make a difference. “You don’t need to be a politician or a celebrity to change things. Just care, and act.”
Elio opens in UK and Indian cinemas on 20 June, in English, Hindi, Tamil, and Telugu.
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The new trio cast as Harry, Hermione and Ron step into a world where childhood and fame rarely mix well
As HBO prepares to bring Harry Potter back to screens with a new television adaptation, excitement is high around the casting of Dominic McLaughlin, Arabella Stanton, and Alastair Stout as the iconic trio of Harry, Hermione, and Ron. But amid the buzz, a quiet voice of caution has emerged. Chris Watson, father of original Hermione actress Emma Watson, is urging parents and the industry to tread carefully when it comes to child stardom.
Chris Watson is not speaking as a critic or industry insider but as someone who watched his daughter grow up inside a global franchise. Emma was nine when she landed the role of Hermione Granger, and what followed was a decade of public attention that reshaped her life. Her father remembers the shift vividly. “Her homework would go back to school on motorbikes,” he once said, pointing to the surreal logistics fame forced on them.
Emma, who has since spoken openly about the emotional toll of growing up famous, has described feeling “terrified” and “inadequate,” and even envying her peers for being able to do ordinary things, like knowing their favourite colour or forming friendships without public scrutiny. It’s this experience that Chris is drawing from when he warns: “As a parent, you have to be scared.”
Fame at a young age comes with a price
The context this time is different. The casting process for the HBO reboot reportedly involved sifting through 30,000 applicants. The new trio are young and relatively unknown, just like their predecessors were in 2001. But the digital world they’re entering now is far more invasive. Every post, photo, or comment is dissected in real time, exposing young actors to criticism, trolling, and unwanted attention, far beyond the limited press tours of 2001.
Chris Watson, Emma’s father, and other insiders warn of the emotional toll facing today’s young starsGetty Images
Emma’s journey: Blueprint and cautionary tale
Emma Watson was nine when she won the part of Hermione. Almost overnight, their whole family life bent around filming schedules. Chris Watson deliberately downplayed Hollywood’s glamour at home. He “doesn’t actually watch films” to prevent Emma from believing the character defined her. He insisted Warner Bros. respect her schoolwork and spare time. Yet the pressure still mounted.
Emma later admitted she struggled with guilt in therapy and suffered “vertigo” from constant public attention. At 18, invasive paparazzi shots were published within hours of her birthday, while her co-stars faced parallel battles. Daniel Radcliffe used alcohol to cope, arriving on set "still drunk" and "dead behind the eyes," while Rupert Grint felt reduced: "I felt like I only knew how to do one thing: play Ron."
From online hate to AI threats, the rebooted Wizarding World may be more dangerous than magicalGetty Images
2025’s more perilous journey
The AI Boggart- Generative AI and deepfakes now make non-consensual, manipulated images or videos a real threat. These digital illusions can damage reputations and cause emotional harm in ways the original cast never encountered.
The Rowling Snare- With J.K. Rowling as executive producer, her polarising views on transgender rights hover over the series. Despite assurances they won’t influence the storyline, the new actors will be drawn into cultural debates and pressured to take sides.
Although he never offered a bullet-point plan, his comments cut straight to the heart of what matters:
"As a parent, you have to be scared" “While there are many upsides, nothing is perfect and you have to recognise there are going to be downsides you could not have imagined.” His frank admission underlines the need to stay vigilant and prepared for unexpected challenges.
Keep home life sacred “It certainly helped that I don’t actually watch films... the studio and everybody else knew that this was not Emma’s whole life, and that she had homework to do, she played a little bit of cricket as well.” Here, Watson shows how he maintained normal routines including school, family time and sports to prevent Emma’s identity from merging with Hermione Granger.
Reach out and share hard-won experience “If they want to talk to someone who’s been through this… I would be more than happy.” By offering mentorship to the new parents, Chris emphasises that open communication and shared support are vital tools in safeguarding young actors.
Unlike the early 2000s, today’s child stars face nonstop scrutiny, digital dangers and cultural controversyGetty Images
Alumni perspectives: Lessons from child stars past
Several former young actors have shared insights that accentuate Chris Watson’s warnings. Evanna Lynch (Luna Lovegood) recalls feeling “adored and trapped” when the cameras stopped but expectations didn’t. Jake Lloyd (young Anakin Skywalker) describes how relentless attention led to severe anxiety. Their stories make it clear that the hardest effects often come once filming wraps up.
Behind the excitement of the reboot lies a harsh reality many child stars never escapeGetty Images
The ethical dilemma: Joy versus risk
Prospect Magazine asks whether it is ethical to place children in an environment rife with digital threats and guaranteed controversy. Can the magic of Hogwarts justify this gamble? HBO’s Francesca Gardiner and Mark Mylod praise the trio’s “wonderful” talent, and Rowling herself endorses them. But raw talent alone offers no protection.
Hollywood’s history with child stars reads grimly: Judy Garland fed amphetamines, Macaulay Culkin abused, Star Wars' Jake Lloyd broken by bullying. Can this cycle end? Chris Watson offers more than warnings; he’s extending mentorship to the parents.
Hogwarts is calling but fame’s dangers are louder for Harry Potter’s new trioGetty Images
Real magic: Protecting childhood
The return of Harry Potter also raises broader questions about corporate priorities. With J.K. Rowling returning as executive producer, a figure who now carries both creative authority and controversy, the series enters a more complex media landscape. Will the focus stay on the storytelling, or will the new stars be caught in wider debates?
For now, Dominic, Arabella, and Alastair are at the start of a journey that will define their adolescence. Whether that journey is empowering or overwhelming will depend not just on their talent, but on how well they’re protected behind the scenes. Chris Watson’s voice may not be the loudest in the room, but it carries weight, built on lived experience, and a simple truth: children in the spotlight still deserve a childhood.
With a massive music collection spanning several decades, multi-genre DJ and music producer DJ Funky T found it challenging to narrow down just 10 songs he loves. Also known as Tony Hayer, his favourites range from Michael Jackson, Dr Dre and Fleetwood Mac to Bollywood, Punjabi, Hindi, Sufi and more. Some of these diverse influences feature in his own track Tu Meri Rani Si.
Before revealing his choices, he said: “The following golden tracks have stood the test of time. It was a hard call, as many more songs could have made this list. So, in no particular order from my current conscious memory, I present 10 Indian songs I love. Check them out and enjoy.”
Chand Sifarish from Fanaa: This Bollywood track, headlined by Aamir Khan and Kajol, starts with a cheesy rock guitar but quickly transforms into a dynamic blend of beats, choppy tablas, rich harmonies, sitars and an addictive whistling motif.
Neuke Phadin Jawanan by Panjabi MC: A 2003 hit that borrows rhythm styles and melodies from Maxi Priest’s Wanna Be Close To You. It features lyrics by Lal Chand Yamla Jatt, a classic 1990s urban swing beat, as well as a fantastically groovy chorus built around tumbi plucking melodies.
Indian Dance by Kray Twinz ft Elephant Man: A powerhouse club anthem marked by the Kray Twinz’ signature sound. This thrilling blend of hard bashment and traditional gidha boliyan rides a thunderous bassline and features ragga legend Elephant Man.
Addi Mardi by Malkit Singh: This timeless party favourite tells the story of a man smitten with a girl and wanting to dance with her. From the start, it delivers plucky guitars, a cheeky bassline and a fast reggaetón-tinged rhythm. Guaranteed to lift the mood every time.
Akhiyaan by Vee/Jay Kahn: A beautifully produced love song by the exceptional Vee, younger brother of Hunterz. The track blends a spiritual mood with high production value, hypnotic melodies and subtle Sufi elements that uplift and soothe.
Khwaja Mere Khwaja from Jodhaa Akbar: AR Rahman delivered one of my favourite Sufi songs in this Bollywood film. He composed and sang it himself. The touching song about the relationship with a higher power is picturised beautifully, with dancers reaching up to the sky, as if to be holding God’s hand.
Discovery by Shammi Pithia: Taken from his album Cosmic, this track is very spiritual sounding. The healing song performed and produced by Shammi Pithia has world-class flute melodies. This song can both make or break you, dependent on your mood. But either way, it will leave you feeling touched.
Gutt Sapni by Jhinda Music ft Captain: The fabulous sounding track featuring Punjabi singer Captain has great keys composition, dynamic drum beats and a magnificent mixdown finish. Captain has a similar singing energy to Malkit Singh, but with his own contemporary twist. The track has terrific tumbi melodies throughout.
O Mere Dil Ke Chain from Mere Jeevan Saathi: This 1972 RD Burman composed film song sung by Kishore Kumar is an absolute classic. It personally takes me to my childhood days when everyone’s parents, including mine, played it. A huge all-time classic favourite Hindi song written with sweet, innocent love lyrics.
Tere Liye from Veer Zaara: The late legend Lata Mangeshkar along with top singer Roop Kumar Rathod. Enough said. This classic Bollywood track is an absolutely beautiful piece describing the heartache between two people deeply in love.
Qawwali remains popular with cross-cultural audiences, but very few get the chance to experience one of the world’s oldest music genres in its purest form. Whether it is the diluted style seen in Bollywood adaptations or fusion with contemporary sounds, the tradition is often watered down.
Najmuddin Saifuddin & Brothers Qawwali Group stand apart from that commercialised crowd, presenting the Sufi genre in its most authentic style. The five talented brothers – sons of the late qawwali icon Ustad Bahauddin Khan Qawwal – belong to a remarkable lineage that traces directly back to the first group formed by the genre’s founding father in the 13th century.
Currently on a UK tour, the group delivered a stunning stage performance that confirmed their brilliance. Unlike most qawwali ensembles that rely on one or two lead singers, all five brothers took turns leading, gracefully exchanging vocal passages to produce a timeless, mesmerising sound. The power, passion and grace of their high-energy performance shone through as they delivered beloved classics such as QaulQalbana, Rang and Naat Shareef. The concert opened in high gear and gained momentum with each composition, before culminating in a thunderous rendition of Mast Qalandar.
They also performed khayal and tarana-style qawwalis, alongside pieces deeply rooted in mysticism. Accompanied by a superb percussionist, their sound remained untouched by modern influences, yet felt completely relevant and accessible to audiences of all ages and backgrounds. Their tour continues across the UK until mid-July, and they are certain to keep transporting audiences back in time through a forward-looking, spiritually rich performance – the kind few qawwali acts worldwide can deliver. The only downside? The show had to end. It felt as though the group were just getting started – they could have easily played for several more hours.
They were the nurses, cleaners, activists, and everyday heroes who arrived in Britain with little more than courage and determination. Now in their 80s and 90s, six women who helped rebuild the UK after the Second World War are finally getting their due in Fearless, a powerful new documentary that brings their remarkable stories to the big screen.
Launching on Windrush Day (22 June), the film will tour select cinemas across London through July, with post-screening Q&As featuring the directors and cast. It celebrates the lives of Sheila Daniel, Aileen Edwards, Maggie Kelly, Anne Gaché, Nashattar Kang, and Nages Amirthananthar, women of Caribbean, Irish, and South Asian descent who came to Britain as part of the Windrush generation and beyond.
These women, once young migrants navigating hostility, isolation, and discrimination, found strength through solidarity and built lives that left a lasting impact. From taking part in historic strikes like Grunwick to surviving the aftermath of the Notting Hill riots, their personal journeys are woven into the wider political and social fabric of the country.
Drawing on rare archival footage and emotional interviews, Fearless preserves their legacy. But beyond that, it challenges the invisibility that has long plagued immigrant women in British history books. This is more than nostalgia, it is a necessary act of recognition.
A still from Fearless showing archive footage interwoven with first-person storiesMcasso/ Screengrab
Bold stories told by those who lived them
The documentary comes from husband-and-wife filmmaking duo Damian Paul Daniel, a BAFTA-nominated cinematographer, and Noella Mingo, a director of Guyanese-British heritage passionate about amplifying overlooked voices. Their production company, They’re Watching Us, focuses on stories that defy expectation, and Fearless is no exception.
Screenings are scheduled at The Rio in Dalston (22 June), Bertha Dochouse (29 June), Genesis in Whitechapel (1 July), and The Lexi in Kensal Rise (16 July). Each screening includes a post-film conversation with the team.
At its heart, Fearless is a tribute to courage, resilience, and the quiet force of women who shaped a nation, even when history tried to forget them.