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Sonakshi in consideration to star opposite Nawazuddin Siddiqui in Bole Chudiyaan

Last seen in Eros International’s comic-caper Happy Phirr Bhag Jayegi (2018), Sonakshi Sinha might play the female lead in the forthcoming Bollywood movie Bole Chudiyaan.

Starring Nawazuddin Siddiqui as the male lead, Bole Chudiyaan will be helmed by debutant filmmaker Shamas Nawab Siddiqui, who is the younger brother of the actor.


Before Sonakshi Sinha, Shraddha Kapoor’s name also hit the headlines for being in consideration for the female lead in the movie. But looks like the Haider (2014) actress turned down the offer which led the makers to approach Sona.

“Shamas was looking for a leading lady and found it in Sonakshi Sinha. He thinks that Sona is quite apt for the role and she will be featuring alongside his brother Nawazuddin Siddiqui,” a source revealed.

“The actress too has liked the script and has given a verbal nod for the film. The makers will be making an official announcement as soon as the final formalities are completed,” added the source.

Sonakshi Sinha is presently shooting for Karan Johar’s much-awaited production Kalank. Directed by Abhishek Verman, the period drama also features Sanjay Dutt, Madhuri Dixit, Alia Bhatt and Aditya Roy Kapur on its ensemble cast. It releases on 19th April, 2019.

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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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