Farah Khan needs no introduction! Apart from being a celebrated choreographer, she is also a successful filmmaker who has given us some big blockbusters as Main Hoon Na (2005), Om Shanti Om (2007) and Happy New Year (2014).
However, it was the failure of her heist drama Tees Maar Khan (2010) which made her realize that not everyone who pretended to be friends was actually her real friend. In her latest interview, the choreographer-turned-filmmaker revealed that certain people from the fraternity celebrated the failure of her Tees Maar Khan. For the unversed, Tees Maar Khan starred Akshay Kumar and Katrina Kaif in lead roles, and was her first directorial which did not feature her favourite Shah Rukh Khan.
“I don’t know if people’s perception to me changed but they definitely took a lot of joy in Tees Maar Khan not doing well. There was glee and there was ‘Oh thank God this one did not do well.’ That’s when I realized that you know it is a boys’ club and they don’t want a little girl, or a big girl, in it.”
She added that the failure of the film taught her to be kinder. “It taught me a lesson that you have to be kinder because Karma is a b*tch,” she said in conclusion.
Talking about her next directorial venture, Khan has collaborated with hit machine Rohit Shetty to direct a film for his production house. However, it has been close to a year since the two announced their collaboration, but we have not heard of any development on that front. Speculations are rife that Farah is planning to remake the 1982 cult hit, Satte Pe Satta. However, she always chooses to keep mum whenever asked about the same.
Veteran actor Nagarjuna Akkineni is shedding his star persona to play a middle-class man with emotional complexity in Kubera. But that didn’t come easy. In a candid moment from the set, director Sekhar Kammula told him bluntly: “I don’t want to see confidence in your eyes.” That line stuck with him. “It reminded me I had to strip back everything I’ve built up over the years and just be the character,” Nagarjuna recalls.
In Kubera, releasing 20 June, Nagarjuna plays Deepak, a character wedged between a beggar played by Dhanush and a billionaire played by Jim Sarbh. The film is set across three social classes, something the actor believes will strike an emotional chord. “We’re not playing to the gallery. We’re becoming the people in the story,” he says.
This is Nagarjuna’s first outing with director Sekhar Kammula, known for his socially rooted storytelling. Despite being long-time admirers of each other’s work, they had never collaborated, partly because Sekhar didn’t see big stars fitting into his universe. But Nagarjuna believed otherwise. “Stars can bring people to the theatre. The story will keep them there,” he says.
He praised Sekhar’s craft, particularly how his songs arrive unexpectedly but feel completely natural. “His stories uplift, challenge, and entertain. Love Story did it with caste and gender. Kubera does it with class.” The actor also shares how Jim Sarbh stunned the crew by delivering pitch-perfect Telugu lines despite not knowing the language. “He was the most hardworking among us,” Nagarjuna says.
Playing the bad guy with no regrets
While Kubera sees him as a restrained, empathetic man, Coolie flips that completely. Directed by Lokesh Kanagaraj, the film casts him opposite Rajinikanth as a suave, remorseless antagonist. “He’s a double alpha, no redemption, no soft edges,” Nagarjuna says. “He believes he owns the world. It was liberating to play someone so unapologetically bad.”
As he approaches his 100th film, Nagarjuna reflects on staying relevant across four decades. The key, he says, is to evolve with the audience, especially younger viewers. “You can’t preach. You have to adapt or step aside.” And despite the rise of OTT and shrinking theatre windows, he remains confident: “A good film still belongs in a cinema. The experience is unmatched.”
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Danny Boyle returns with 28 Years Later as critics praise Ralph Fiennes and Jodie Comer in gripping infected sequel
It’s been over two decades since 28 Days Later redefined zombie horror, and now director Danny Boyle and writer Alex Garland have returned with 28 Years Later, a sequel that critics describe as strange, thrilling and unlike anything else in the genre right now. Reviews across the board agree on one thing: this isn’t a typical follow-up. Instead of repeating past glories, 28 Years Later throws viewers into a mutated Britain trapped in isolation, where the infected are evolving, and survival feels like medieval warfare.
A bold, chaotic mix of horror, politics and family drama
Critics highlight how the film combines multiple genres like apocalyptic horror, folk survivalism and emotional family storylines. Many reviewers noted that Boyle’s visual direction still feels urgent and stylish, especially in the intense chase scenes through forests filled with new mutated variants: the sluggish “Slow-Lows” and terrifying Alpha berserkers.
Alfie Williams, who plays 12-year-old Spike, has been widely praised for anchoring the story. His journey across the infected mainland with his dying mother Isla is described as the film’s emotional spine. Comer’s performance drew strong acclaim, with some critics saying she gives the film its most grounded moments.
There’s also a consensus that Garland’s script tries to pack in big ideas, touching on Brexit, COVID-era isolationism, and climate dread, but doesn’t always manage to develop them fully. Still, the ambition is appreciated.
Ralph Fiennes delivers the film’s most memorable turn
While the film’s first half is loaded with action, the tone shifts completely when Ralph Fiennes appears as the enigmatic Dr. Kerson. Critics across the board say he steals the film, playing a soft-spoken, possibly unhinged survivor living in a bone temple. His eerie calm and philosophical monologues sparked comparisons to Apocalypse Now’s Colonel Kurtz.
The general verdict? 28 Years Later is uneven but never boring. It is an ambitious return that doesn’t shy away from chaos. And with part two, The Bone Temple, already in the works, reviewers agree: this wild new trilogy is just getting started.
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Radhika Apte stars in BAFTA-nominated Sister Midnight, now available to stream online
BAFTA and BIFA-nominated indie Sister Midnight is now available to stream on major digital platforms, including Altitude.film, Apple TV, Amazon, Sky Store, and Curzon Home Cinema.
Director Karan Kandhari’s first feature arrives with plenty of praise and a striking lead performance by Radhika Apte, whom critics say delivers “an endlessly expressive marvel.” Set in the humid, buzzing heart of Mumbai, the film follows a newly married couple trying and often failing to fit into each other’s worlds within the cramped confines of a one-room home.
Apte plays Uma, a new bride forced into a life she didn’t choose, navigating nosy neighbours, a heat-soaked home, and a clueless husband she barely knows. With little support and mounting frustration, she begins drifting into the unpredictable world of Mumbai’s nights, where street dogs, shadows, and music accompany her search for identity and escape.
Kandhari doesn’t stick to the rules. The film unfolds like a fever dream, part dark comedy, part urban myth. It’s messy, but purposefully so. The chaos mirrors Uma’s journey. The paper-thin walls of her shack aren’t the only things breaking down; so is her idea of who she’s supposed to be.
With a soundtrack as unpredictable as the protagonist, Sister Midnight swings between classic rock, old blues, and raw punk, featuring legends like Howlin’ Wolf, Motörhead, and The Stooges, along with original music by Interpol’s Paul Banks.
Radhika Apte’s raw, magnetic energy grounds the chaos
While the film is full of jagged energy and eccentric moments, Apte’s performance ties it all together. She doesn’t just play Uma, she unravels her, one twitch, glare, and outburst at a time. Critics have called her work here “electrifying” and “oddly poignant.” The film clocks in at 110 minutes and carries a 15 certificate for its edgy themes.
But Sister Midnight is far from just gritty; it’s a rare mix of heart and havoc, offering a glimpse into one woman’s unravelling, with the city of Mumbai acting as both witness and accomplice.
SS Rajamouli isn’t holding back with SSMB29, his latest big-screen spectacle starring Mahesh Babu, Priyanka Chopra Jonas, and Prithviraj Sukumaran. The filmmaker, known for his visual scale and attention to detail, has recreated the holy city of Varanasi in Hyderabad’s Ramoji Film City instead of shooting on location. The reason? The chaotic logistics of filming in the spiritual capital of India.
The set, rumoured to cost £4.8 million (₹50 crore), is a massive replica built specifically for a key sequence in the film. Leaked photos from the set have already gone viral online, giving fans a glimpse of the scale Rajamouli is aiming for. Mahesh Babu will be filming an action sequence here, with VFX work enhancing the visuals. In true Rajamouli style, international graphics studios, some of the best from Hollywood, have been roped in to bring the visuals to life.
SS Rajamouli builds Varanasi set in Hyderabad for SSMB29 shootGetty Images
Kenya schedule to kick off in July with action-packed jungle scenes
After wrapping up earlier schedules in Odisha and Andhra Pradesh, the SSMB29 team is now gearing up for its first international leg in Kenya. Originally planned for March, the schedule was delayed due to extreme heat in the region. Now rescheduled for July, the shoot will take place in some of East Africa’s most scenic locations, including Kenya’s Masai Mara, Tsavo, and Amboseli national parks.
This phase will see Mahesh Babu and Priyanka Chopra Jonas dive into adrenaline-heavy sequences set deep in the African wilderness. The story reportedly involves Mahesh’s character searching for a rare herbal remedy, adding a mythical twist to the film.
Mahesh Babu, Priyanka Chopra Jonas and Prithviraj Sukumaran joins SSMB29Getty Images
For Priyanka, this film will mark her major comeback to Indian cinema after a six-year gap since The Sky Is Pink (2019). Her return in a Rajamouli project has fans across continents eager to see her back on the big screen.
A global vision with roots in mythology
While the team hasn’t confirmed the plot officially, reports suggest that the film is inspired by Ramayana-esque themes, with Mahesh Babu’s character on a spiritual and physical quest. The combination of Indian mythology, jungle survival, and stunning visual effects makes SSMB29 one of the most awaited Indian films currently in production.
Jason Isaacs has revealed that every cast member of The White Lotus Season 3, regardless of experience or fame, earned the same salary: £32,000 (₹33,60,000) per episode. That totals around £256,000 (₹2,68,80,000) for the full eight-episode run. While that figure might seem significant, Isaacs called it “a very low price” for a hit HBO show, but said he had no complaints.
“We would’ve paid to be in it,” Isaacs said in an interview, adding, “We probably would’ve given a body part.”
Jason Isaacs opens up about financial regrets and career lowsGetty Images
Equal pay, no ego
The show’s ensemble approach meant that veterans like Isaacs and Parker Posey received the same as newer faces such as Patrick Schwarzenegger and Sam Nivola. Asked if it bothered him to be paid the same as his younger co-stars, Isaacs shrugged it off: “I never work for money. I’ve done alright. People assume I have piles of cash, but I’ve basically matched my spending to my income and spent everything over the years.”
The pay structure, introduced from Season 1, was meant to ensure fairness and avoid ego clashes. “Everyone is treated the same,” said producer David Bernad in an earlier interview, explaining how the alphabetical billing and equal salaries were key to creating a drama-free, committed cast.
The White Lotus cast shares the screen and the paycheck equallyGetty Images
Isaacs admitted that while the rate was lower than typical network or streaming pay outs, the prestige of working on The White Lotus and with creator Mike White made it worthwhile.
Cautionary tales and career lows
Isaacs also took the opportunity to share hard-earned lessons with his younger co-stars, urging them not to get emotionally attached to the final product. “You don’t control how it’s received. That’s Mike’s job,” he said. Reflecting on his own past, he pointed to Peter Pan (2003), where he played Captain Hook, a big-budget project that tanked commercially and nearly derailed his career.
“It was the lowest I’ve ever felt professionally. I thought I’d never work again,” he confessed. Isaacs said it was his partner Emma Hewitt who helped him through that dark phase, crediting her support over their decades-long relationship.
Jason Isaacs says Emma Hewitt helped him through his dark phase in lifeGetty Images
The White Lotus Season 3 is now streaming on Max, and while the actors may not have earned big bucks, the series continues to score big on screen, with critics and fans alike.