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Nikkhil Advani on continuously working throughout the lockdown

There is no denying the fact that Coronavirus brought the entire world to its knees. All institutions and establishments across the globe remained shuttered for months in order to prevent the spread of the pandemic.

But there were some people who continued to work throughout the lockdown, if not completely, then at least partially. One of those lucky people is filmmaker Nikkhil Advani, who is known for successful films like Batla House (2019), D-Day (2013), and Kal Ho Na Ho (2003). Not just the filmmaker himself, his team as well as his production house, Emmay Entertainment, has also been functioning for weeks now.


“We have been continuously working, for weeks now. And I am happy that we continued to function throughout, as it kept me as well as my team in great spirits. As I always maintained, for how long anyone could have locked themselves at home? In fact, my office, too, has been continuously open, with my team constantly working from there,” says Advani.

The filmmaker currently has several projects at various stages of development. While a cross-border love story from his production house resumed shooting last week, his co-production Bell Bottom is being shot in Scotland. Recce for Satyamev Jayate 2 has also begun in Lucknow.

“Milap (Zaveri) recently went to Lucknow for recce of Satyameva Jayate 2, so that will start soon. Then, we have a show with Naseeruddin Shah and then, the other series on Mughals is slated to start soon with Shabanaji (Azmi),” the filmmaker informs.

Apart from bankrolling several films and web shows under Emmay Entertainment, Nikkhil Advani is also working on his next directorial offering Gorkha, starring John Abraham in the title role. Indoo Ki Jawani, one of his upcoming production outings, is currently at the editing table.

Keep visiting this space for more updates from the world of entertainment.

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  • Netflix leads the push with Kurukshetra and Mahavatar Narsimha.
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  • 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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