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Sangamithra, featuring Disha Patani, to go to sets in July

After the humongous success of her latest film Baaghi 2, actress Disha Patani will now move on to shooting for her multilingual movie Sanghamitra. According to reports, preparations for the big-ticket project are going on in full swing as the makers aim to start shooting from July in Hyderabad, India.

Initially, Sanghamitra was scheduled to mount the shooting floor from January this year. However, due to some prior commitments of the actress, the makers decided to begin the shoot from July.


For the uninitiated, popular actress Shruti Haasan was the original choice for the lead role before Disha came on-board. The movie was announced at the Cannes Film Festival 2017 but later Haasan opted out of the project citing creative differences with the makers.

To be directed by ace filmmaker Sundar C, Sanghamitra will be made in Tamil, Telugu and Hindi. The film will be shot on the lines of Prabhas’ Baahubali: The Beginning and Baahubali: The Conclusion. The producers have, reportedly, allotted INR 400 crores for the making of the film’s two parts.

“It will be filmed on a grand scale and if everything goes as planned, the first part will release next year.” a source reveals.

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5 mythological picks now streaming in the UK — must-watch

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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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