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Nawazuddin Siddiqui to co-produce and star in No Land’s Man

Last seen in Ritesh Batra’s Photograph (2019), Nawazuddin Siddiqui has announced a new film. The award-winning actor has joined forces with Bangladeshi filmmaker Mostofa Sarwar Farooki to co-produce and star in the forthcoming English-language drama No Land’s Man.

Nawaz took to micro-blogging site Twitter to confirm the news. “The most coveted script is finally going to be made into a film. Thank you Mostofa Sarwar Farooki for the opportunity,” the Bajrangi Bhaijaan (2015) actor wrote.


Siddiqui went on to add, “I felt compelled to be associated with the project in more than just the capacity of an actor, as I thought this is that kind of film which really needs to be made.”

In addition to Nawaz, Farooki and Bangladeshi actress Nusrat Imrose Tisha will also jointly produce the film, which is presently in pre-production.

The rest of the cast and crew are yet to be finalized.

Besides No Land’s Man, Nawazuddin Siddiqui will also be seen in his brother’s directorial debut Bole Chudiyaan and Motichoor Chaknachoor. The actor is also looking forward to the premiere of his Netflix series Sacred Games Season 2.

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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

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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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