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Kriti Sanon signs a film under Sanjay Leela Bhansali Productions?

Last seen in Arjun Patiala (2019), Kriti Sanon is now looking forward to the release of her much-awaited multi-starrer Housefull 4. Also featuring Akshay Kumar, Bobby Deol, Riteish Deshmukh, Kriti Kharbanda and Pooja Hegde on its ensemble cast, the comic-caper is scheduled to roll into theatres on Diwali 2020.

After the release of Housefull 4, Kriti Sanon will start promoting her historical film Panipat, wherein she is paired opposite Arjun Kapoor. The Ashutosh Gowariker directed venture is slated for its theatrical release on 6 December, 2019.


The latest we hear that Kriti Sanon may soon work in a film to be produced by Sanjay Leela Bhansali Productions. Interestingly, Sanon was also approached for Sanjay Leela Bhansali’s much-talked-about Inshallah, which has now been shelved.

According to a source, “Initially, when Alia Bhatt was approached for Inshallah, the actress had issues with her dates as she had another big project in the pipeline which is Karan Johar’s period drama, Takht. Since the actress was not available at the time, Kriti Sanon was reached out for Inshallah and locked in for the role by Bhansali. Later, it was learnt that Takht was moved ahead and Alia’s schedule got cleared. So, she was back on Inshallah. This situation was explained to Kriti by Bhansali and he apparently promised her a project in the next Bhansali Production.”

However, another source claims that Kriti Sanon is not doing any film under the banner of Sanjay Leela Bhansali Productions, at least at the moment. “Kriti Sanon has not been approached for anything from Bhansali’s side. She is doing Mimi, Housefull 4 and Panipat only as of now.”

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  • 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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