Janhvi Kapoor speaks about her new film Mili and great career start.
By ASJAD NAZIRNov 11, 2022
HOT right now actress Janhvi Kapoor froze herself for newly released movie Mili.
The gripping Hindi remake of hit 2019 Malayalam movie Helen sees her portray a young woman who gets trapped ina giant freezer overnight and must find a way to stay alive.
The survival thriller adds to diverse roles the rising star has taken on, including one of this year’s best reviewed films Good Luck Jerry, and 2021 horror comedy Roohi.
She has also worked with her producer father Boney Kapoor for the first time on the challenging project, which is dramatically different to other commercial Bollywood films released this year.
The talented actress was, not surprisingly, feeling confident when Eastern Eye caught up with her to discuss Mili, positivity surrounding her performances, future hopes, freezing, and great advice she got.
It has been a wonderful start to your career. How much do all the positive reviews to your films and performances mean to you?
(Smiles) Thank you for saying that. Oh, the positivity really means a lot to me. I mean I’m doing the work for people’s acceptance and validation, or at least a part of me is, so it’s definitely a positive reinforcement.
Does the positivity surrounding you put pressure on you or motivate you further?
I think it does motivate me further, but I try to keep myself as away from all the noises as possible, whether it’s positive or negative, I try not to take it too seriously and just focus on my work, and give my best every time.
COOL RUNNINGS: Janhvi Kapoor
You have made really interesting choices in diverse genres. How have you been selecting your films?
I think my approach has always been to look for those interesting challenges that take me away from any kind of comfort zone. If anything is a challenge, I think I automatically get excited. Also, I have to be moved by the content and story. I think the intention of the filmmaker has always been very important to me.
What made you want to be part of Mili?
The fact that it was such a big challenge. The fact that my father was so moved by the original film and felt so deeply that we should make it again. To have the original director Mathukutty (Xavier) was also a factor. I liked interacting with him and really do think he is a very gifted filmmaker.
What was the biggest challenge of playing this role?
I think the portions we shot in the freezer, because they had built an actual freezer for me that was at minus 15-16 degrees at all times, and we actually shot in it and that was intense. It took a toll on my mental health because I would dream of still being in a freezer, when I came back home after shooting and went to sleep. I was spending up to 15 hours a day in the freezer and crying for most of the day, so I fell ill and was on painkillers for two to three days. Even the director became unwell.
How does this compare to the original (Helen) it is a remake of?
I think, obviously, the setting is different. I think Mili as a character is a little different from Helen. The screenplay is the same, but I guess the backdrop, context, and treatment is a bit different.
What is your own favourite moment in the film Mili?
You know, to be very honest, I have no memory of what I shot in the freezer, as it was very traumatic and intense. But my own favourite moment is the scene in the movie theatre that I shot with Manoj (Pahwa) sir, who plays my father, and Sunny Kaushal, who plays my boyfriend in the film. I thought it was cute. I think the freezer scene will make a big impact with audiences.
Janhvi Kapoor in Mili.
Your character in the film gets trapped and needs to survive, but what are you like under pressure?
I think I work well under pressure. I believe in keeping the mind calm. If you can do that then I think it makes things a little easier.
One actress said that she started crying because it was so cold when she shot for a movie. What are you like with cold temperatures?
I think after Mili, I’ll probably have a lot of PTSD, but during the course of it I think that sometimes my brain would just go numb, which is problematic when you are in front of a camera. But I think it also served the purpose of me trying to be as alive in the moment as possible. After this, I will be able to handle any cold weather.
What was it like working on a movie where your father Boney Kapoor is producing?
It was interesting. I think we felt like a team, and it was nice to get to know my father on a professional capacity, after only hearing so many stories about him my whole life. I hope it proves to be successful as a venture for both of us and we get to work together again on a project.
What is the best advice your father has given you?
The one thing he said that always remains with me is to ‘follow your heart’ and that has served me well so far.
Would you share a memorable moment or story from the making of this film?
There were moments in the freezer I have forgotten because my brain went numb. But a memory I have is after shoot one day, all of us went rafting in Dehradun, Uttarakhand. That’s where we shot a majority of the second half of the film. Uttarakhand is a beautiful state, and every minute I got to explore Dehradun and Mussoorie was amazing.
Janhvi Kapoor with Manoj Pahwa in Mili.
You seem to be making all the right moves. What is the plan going forward?
I have Bawaal, which is a film that I’ve done with Varun Dhawan that releases in April, and then I have Mr and Mrs Mahi that I’m shooting for currently. So, I am just going to keep following my heart and am looking forward to the next challenge.
You seemed to have stayed ice-cool throughout your rise. What keeps you so grounded?
My family keeps me grounded, and I am really thankful for that. They have been a great source of strength and support.
Do you have a dream role?
I am at the beginning of my career, so there are many roles I would love to play. I think either a period film, comedy or a love story comes to mind immediately.
Do you see yourself working in the West?
The world is becoming smaller and cinematic boundaries are disappearing, so yes, I’m actually very keen to work in the West and hope to find a great project.
Why should we all watch Mili?
Everyone should watch Mili because it’s an experience that’s meant to be witnessed in a theatre. It is an immersive film and has got a lot of heart. It’s a simple story but it’s extremely thrilling. It’s an edge-of-the-seat thriller and has got a little bit of everything for audiences. It’s got music by AR Rahman, and great actors like Manoj (Pahwa) sir and Sunny (Kaushal). It’s a thriller, but also has romance and family drama. I think it’s extremely wholesome as a film and definitely will be a new experience for audiences.
British-Bangladeshi prop maker Anika Chowdhury has designed a handcrafted glow-in-the-dark chess set celebrating heritage and identity.
The limited-edition set, called Glowborne, launches on Kickstarter in October.
Each piece draws from South Asian, Middle Eastern, and African cultural references, re-rooting chess in its origins.
The project blends art, storytelling, and representation, aiming to spark conversations about identity in play.
Reimagining chess through heritage
When Anika Chowdhury sat down to sculpt her first chess piece, she had a bigger vision than simply redesigning a classic game. A British-Bangladeshi prop maker working in the film industry, she grew up loving fantasy and games but rarely saw faces like hers in Western storytelling.
“Chess originated in India, travelled through Arabia and North Africa, and was later Westernised,” she explains. “I wanted to bring those forgotten origins back to the board.”
The result is Glowborne — a limited-edition, glow-in-the-dark fantasy chess set that blends craft, identity and cultural pride.
Anika Chowdhury says she has many ideas to further fuse craft and culture in future projects Glowborne
Crafting Glowborne
Each character in the set has been carefully designed to reflect cultural narratives: Bengali kings and pawns, Indian bishops with bindis, Arab knights, and African queens. Chowdhury sculpted each piece by hand, drawing on her prop-making training at the National Film and Television School.
Once sculpted, the pieces were cast in resin, painted, and finished with South Asian-inspired motifs filled with glow-in-the-dark pigment. “The characters glow both literally and metaphorically,” she says, “as a chance for them to take the stage.”
Cultural pride and visibility
For Chowdhury, the project is about more than gameplay. “Fantasy doesn’t need to fit into the Western mould to tell a great story,” she says. “South Asian, Middle Eastern and African stories are just as powerful, and they can transform something as traditional as chess by reconnecting it with its roots.”
She hopes Glowborne will resonate with South Asian and Eastern African communities as a celebration of identity and belonging. At the same time, she sees it as a bridge for wider audiences — chess enthusiasts, collectors, and design lovers who appreciate craftsmanship and storytelling.
A personal journey
Chowdhury’s career in film and prop-making has influenced her creative process, but Glowborne marks her first independent project. She created it outside her film work, after hours and on weekends.
“At 28, I finally feel like I’ve found my voice,” she reflects. “For a long time I felt pressure to hide my identity, but now I see my culture as a superpower. This project is about using art to express that.”
Looking ahead
Launching this October on Kickstarter as a collector’s edition, Glowborne is only the beginning. Chowdhury says she has many ideas to further fuse craft and culture in future projects. “This is the proof of concept,” she says. “I can’t wait to create more stories that blend heritage, art and play.”
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The piece was originally one of nine works that appeared across London in August 2024
Banksy’s ‘Piranhas’ artwork, painted on a police sentry box, is being stored ahead of display at London Museum.
The piece was originally one of nine works that appeared across London in August 2024.
It will form part of the museum’s new Smithfield site, opening in 2026.
The City of London Corporation donated the artwork as part of its £222m museum relocation project.
Banksy’s police box artwork in storage
A Banksy artwork known as Piranhas has been placed in storage ahead of its future display at the London Museum’s new Smithfield site, scheduled to open in 2026. The piece features spray-painted piranha fish covering the windows of a police sentry box, giving the illusion of an aquarium.
From Ludgate Hill to Guildhall Yard
The police box, which had stood at Ludgate Hill since the 1990s, was swiftly removed by the City of London Corporation after Banksy confirmed authorship. It was initially displayed at Guildhall Yard, where visitors could view it from behind safety barriers. The Corporation has since voted to donate the piece to the London Museum.
Museum’s first contemporary street art
London Museum’s Head of Curatorial, Glyn Davies, said:
“With the arrival of Banksy’s Piranhas, our collection now spans from Roman graffiti to our first piece of contemporary street art. This work by one of the world’s most iconic artists now belongs to Londoners, and will keep making waves when it goes on show next year in the Museum’s new Smithfield home.”
Formerly known as the Museum of London, the institution closed its London Wall site in December 2022 as part of its relocation. It rebranded as the London Museum in July 2024, with £222m allocated by the City of London Corporation to support the move. The project is expected to attract two million visitors annually and create more than 1,500 jobs.
Part of Banksy’s animal-themed series
Piranhas was one of nine animal-themed works Banksy created across London in August 2024. The series also featured a rhino on a car, two elephants with interlocked trunks, monkeys swinging from a bridge, a howling wolf on a satellite dish, and a goat painted on a wall. Some of the artworks were later vandalised, removed, or covered up.
Preserving street art for the public
Chris Hayward, policy chairman of the City of London Corporation, said:
“Banksy stopped Londoners in their tracks when this piece appeared in the Square Mile – and now, we’re making it available to millions. By securing it for London Museum, we’re not only protecting a unique slice of the City’s story, but also adding an artwork that will become one of the museum’s star attractions.”
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Aditya Chopra (right) with his father, Yash Chopra
BOLLYWOOD filmmaker Aditya Chopra was last Thursday (21) named among the nominees of the UK Stage Debut Awards for his Come Fall in Love – The DDLJ Musical, performed at Manchester’s Opera House earlier this year.
Chopra delivered a blockbuster in 1995 with Dilwale Dulhania Le Jayenge, popular as DDLJ, with Kajol and Shah Rukh Khan in the lead roles. It was adapted to a theatrical production and had its UK premiere in May.
Chopra reprised his role as director of the English stage production, which revolves around the love story of Simran and Roger.
Shah Rukh Khan visits the cast of Come Fall in Love The DDLJ Musical during rehearsals in London Danny Kaan
“This year’s nominees embody the future of British theatre, and I can’t wait to celebrate their achievements,” said Alistair Smith, editor of The Stage theatrical publication.
“This year there are several individuals with south Asian heritage being recognised for their excellence in directing: among the nominees is Amit Sharma for Ryan Calais Cameron’s Retrograde (in the Best Creative West End Debut category),” said the awards panel in a statement.
Also nominated are Adam Karim for Guards at the Taj at the Orange Tree Theatre, London, and visionary Indian filmmaker Aditya Chopra for Come Fall In Love at Manchester’s Opera House, who are both in the running for the best director category, the statement added.
The winners will be announced on September 28.
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The group have introduced fresh orchestral elements and added instruments to expand their live sound
The Shahbaz Fayyaz Qawwal Group return to the UK with a nationwide tour after viral success online.
The ensemble of brothers blend centuries-old qawwali traditions with fresh improvisations that connect with young audiences.
From Pakistan to the USA and UK, their performances have won acclaim for their electrifying energy and spiritual depth.
Fans can expect new instruments, reimagined classics, and the same message of love and harmony at this year’s shows.
From viral sensation to global stages
When a performance goes viral, it can change an artist’s career overnight. For the Shahbaz Fayyaz Qawwal Group, their stirring renditions of Bhar Do Jholi and B Kafara propelled them from local fame in Pakistan to global recognition, amassing millions of views across platforms. What set them apart was not just the power of their voices, but the way their music resonated with younger listeners who were hearing qawwali with fresh ears.
That viral momentum soon carried them beyond borders, leading to major performances in the United States and the UK. “It wasn’t just one track,” the group explained. “We revived older gems like Kali Kali Zulfon and Dil Pukare Aaja in our own style, and those went viral again, showing that qawwali still speaks across generations.”
Heritage, family and style
The Shahbaz Fayyaz Qawwal Group’s uniqueness lies in their roots. Composed of seven brothers and joined by fellow musicians from respected musical families, the ensemble was trained by their late father, himself a master of the art form. On stage, as many as 15 to 20 performers create a sound that is both deeply traditional and daringly modern.
Their shows are alive with improvisation. In the middle of a devotional track, harmonium player Shahbaz might suddenly weave in a melody from a contemporary Bollywood hit, while lead vocalist Fayyaz channels his energy into unrestrained movements and audience interaction. “When different styles meet, something new emerges,” they said. “That’s what keeps the music vibrant.”
UK audiences and the international journey
Having performed across the USA, the Middle East and Europe, the group describe UK audiences as particularly electric. “Each time we perform here, the atmosphere is charged. People don’t just listen – they become part of the performance,” they said.
Their repertoire often draws requests from fans who expect to hear viral favourites alongside traditional classics. “Sometimes, if organisers don’t allow us to perform songs like B Kafara or Dil Pukare Aaja, the audience won’t let the show continue. That’s the level of passion here,” they recalled with a laugh.
Keeping qawwali alive for new generations
While the roots of qawwali stretch back centuries, the group see their role as carrying the tradition into the present. By fusing tabla, harmonium and handclaps with newer instruments and arrangements, they appeal to younger listeners without losing the music’s essence.
“We want every audience to feel peace, harmony and love when they leave our concerts,” they said. “An artist should never belong to just one group of people – music is for everyone.”
What fans can expect this tour
This year’s UK tour promises new surprises. The group have introduced fresh orchestral elements and added instruments to expand their live sound. Fans can expect a mix of beloved classics, spontaneous improvisations, and the chance to hear qawwali reimagined for today’s world.
For Shahbaz Fayyaz Qawwal Group, the mission remains unchanged: to honour their heritage, embrace new audiences, and spread the universal message at the heart of their art. As they put it: “We look forward to growing together with our fans. Let’s celebrate qawwali as a tradition that belongs to everyone.”
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Born in 1864 in Visakhapatnam, Annie began medical studies at Madras Medical College, one of the few institutions in India then open to women.
DR ANNIE WARDLAW JAGANNADHAM was the first Indian woman to gain a medical degree at a British university and have her name added to the UK medical register in 1890.
Her story has been revisited by the General Medical Council (GMC) as part of South Asian Heritage Month. Tista Chakravarty-Gannon, from the GMC Outreach team, explored her life with support from GMC archivist Courtney Brucato.
Chakravarty-Gannon wrote in a blog, “In my role at the GMC much of my work is focused on supporting international doctors, and on anti-racism. It’s work that lies close to my heart. My father was born in India but emigrated to the UK in the 1960s.”
She added, “If you wind the clock back even further, it must have been even harder to make that journey and assimilate into a not particularly diverse society and profession. Unsurprisingly, in the late 19th century doctors were almost all male and white. It was going to take some remarkable women to turn that tide. I’ve been lucky enough to spend time talking to our archivist, Courtney Brucato, about one such woman – Annie Jagannadham.”
Early years Born in 1864 in Visakhapatnam, Annie was the daughter of Christian missionary parents. At 20, she began medical studies at Madras Medical College, one of the few institutions in India then open to women.
She studied practical midwifery under Dr Arthur Mudge Branfoot, who had spoken about the “folly and inadvisability of educating women as doctors.”
Barriers and opportunities Indian medical qualifications were not fully recognised under the colonial system. For women, studying abroad was often the only route to legitimacy.
In 1888, Annie received a scholarship from the Countess of Dufferin Fund to study at the Edinburgh Medical School for Women. The Fund, set up under Queen Victoria, aimed to improve women’s health in India through scholarships and support for health infrastructure.
She studied for the conjoint medical and surgical qualification of the three Scottish Colleges, known as the “Scottish Triple” or “TQ”.
Academic success Annie graduated with special credit, worked as a demonstrator of anatomy at Surgeons’ Hall, and achieved top marks in several examinations. On 2 May 1890, she was granted registration with the General Medical Council.
She then worked as a house officer at the Edinburgh Hospital for Women and Children under Dr Sophia Jex-Blake, who described her as of “fine and finished character.” Annie gained experience in obstetrics and gynaecology and was made a Licentiate of the Royal College of Physicians of Edinburgh, the Royal College of Surgeons of Edinburgh, and the Faculty of Physicians and Surgeons of Glasgow.
Return to India In 1892, Annie returned to India as a House Surgeon at Cama Hospital in Bombay (now Mumbai), under Dr Edith Pechey, one of the Edinburgh Seven who had campaigned for women’s right to study medicine.
Early death Two years later, Annie contracted tuberculosis. She returned to her family in Visakhapatnam and died in 1894 at the age of 30.
The Chronicle of the London Missionary Society published an obituary, noting, “it is to be feared that the early death, which those who knew her now mourn so deeply, was largely due to her self-denying labours on behalf of the sufferers in the hospital.” It added, “though the course [of her life] has been short, it has been useful and bright,” praising her independence, modesty, and “unostentatious service.”
Legacy On the 1891 medical register, Annie was one of 129 female doctors compared to more than 29,000 men. This year, for the first time, there are more female than male doctors practising in the UK, and more ethnic minority doctors than white doctors.
Chakravarty-Gannon wrote, “It’s important to remember that to be listed on the medical register, Annie was required to step outside the Indian system, navigate another culture away from her friends and family, and prove herself all over again – because her original education wasn’t recognised in a colonial hierarchy.”
“Dr Jagannadham may not be a household name, but her courage and determination helped carve out a path that many generations have since followed. Her story is a powerful reminder of how far we’ve come – and how important it is to keep moving forward.”
South Asian Heritage Month runs from 18 July to 17 August each year, commemorating and celebrating South Asian cultures, histories, and communities.