Haseen Dillruba, starring Taapsee Pannu, Vikrant Massey, and Harshvardhan Rane, turned out to be a major hit upon its direct-to-digital premiere on Netflix last year.
The film, produced by Aanand L Rai, marked the directorial comeback of filmmaker Vinil Mathew after a long gap of seven years.
Eastern Eye recently caught up with Mathew and tried to find out how the success of Haseen Dillruba has changed things for him, why it took him nearly 7 years to direct his second film after Hasee Toh Phasee, his next projects, and much more. The filmmaker also talks about his expectations from 2022.
I would like to begin by asking: what made you fall in love with cinema? If I am not wrong, you dropped out of college to pursue a career in filmmaking.
The first time I toyed with the idea of joining films was when I saw Mani Ratnam's Roja in high school. It was a film like never before—from its cinematography by Santosh Sivan, the music by A R Rahman, and a human story with a crucial issue at its core by Mani Sir. It was a craft of filmmaking that one had never seen before in India. It was differentiated from the usual escapist fair one saw at that time. I saw the film in a loop. It inspired me to do something with cinema. After finishing my Economics Honours at Delhi University, I was well prepared to pursue a career in Economics. Later, I gave the entrance exam for FTII, Pune, and got selected for the Direction course. It was a tough call, but I decided to go with my heart. And that's how my journey in filmmaking started!
What has 2021 been like for you? I assume it would have been fantastic as you scored a big hit in the form of Haseen Dillruba.
2021 is the year when my second film, Haseen Dillruba, released on Netflix and went on to become one of their biggest hits. It was the most-watched film in India and topped the charts in 20 countries across the globe. It is something that I am extremely grateful for and happy about because I was able to release my film and find so much love in a challenging Covid-19 year. I consider myself lucky that I got a chance to showcase my work to a wide audience and receive so much love in a year that was bleak and uncertain.
What are your expectations from 2022?
My hope and expectation from 2022 are to find an end to Covid-19. I wish we could return to pre-covid days, to a world that is healthier, safer, and normal. One can enjoy life unmasked and without all the restrictions. I am looking forward to theatres being full again and people coming in, watching, and experiencing movies on the big screens. Personally, I would spend 2022 writing my film. I hope to finish it this year and start casting and shooting for the project.
How has Haseen Dillruba's rousing success changed things for you?
When I started working on Haseen Dillruba, I was a bit nervous because it was a different kind of story; for the first time, we were using Hindi pulp fiction in a film. Here we were taking a thriller and a love story and telling it in the form of pulp fiction. It was challenging for me, as a filmmaker, to tell this story because many genres were combined and the characters had steak arches. When we found love from the audience, we were at peace! I am happy that my experiment and pushing the boundaries of cinema were appreciated. It encourages me to try different things next time as well.
Did you always have a feeling Haseen Dillruba would be successful?
Haseen Dillruba came after a gap of seven years after Hasee Toh Phasee. This long gap was neither planned nor desired. But as a filmmaker, I would rather wait to tell a story that excites me rather than make a film for the sake of making it. It just so happened that there were very few stories that excited me to explore it further. Filmmaking is also about the coming together of a great cast, producers, and good stories. Sometimes all the elements don't fit together, and they are out of your control. Luckily, Haseen Dillruba happened really quickly. It was the process that I really enjoyed.
Why did it take you nearly 7 years to direct your second film after Hasee Toh Phasee?
From all the love that I have received for Haseen Dillruba, I feel encouraged to keep trying out different edgy stories. I love dealing with human relationships, and I think it is my forte. Haseen Dillruba was so different from Hasee Toh Phasee. But both are quirky and genre-bending stories. That is the path I most enjoy pursuing. I enjoy bringing out different human stories that challenge me as a filmmaker and the audience. Stories that encourage me to take bigger risks, and hopefully, they all find the love they deserve.
Will you be exploring the digital space soon, or do you just want to focus on the big screen?
Personally, I enjoy the big screen experience. The magic of watching a film in a dark room with 200 people and enjoying emotions, humour, and thrills collectively as an audience is unmatched. It is more festive when you watch a film with other people. Even on the technical level, one can shoot a film differently and make it larger-than-life. The idea of sound and experience is more magical on a big screen. Having said that, it also depends on the story that one is writing. Some stories are more personal and intimate. If I am working on such a story, I would rather reach out to people on an OTT platform. So, it depends on the content. I am happy to explore both options.
Do you think it is going to be difficult for filmmakers to bring audiences back to cinemas in a post-Covid world?
It will be a challenge to get the audience back to the theatres. Because of Covid, people have suffered so much loss & there is a lot of anxiety around. I think people are just picking back their lives to some normalcy, and watching a film in a theatre might not be a priority. People who are scared of contracting Covid-19 are reluctant of going back to the theatre and might wait until it is completely safe. We will have an uncertain trajectory till Covid ends unless something compelling comes up, like Spiderman or 83, that it becomes an event. It will be patchy until the pandemic. But in the long term, movie-going is a part of a culture, and it will stay. We enjoy films with friends and family. So, we will have a resounding return to theatres soon.
Do you think that theatres and streaming platforms can co-exist without eating into each other’s markets?
OTT platforms and theatres will happily co-exist in the future. It will depend on the story you want to tell. Like I said before, there are big-screen experiences, the event films, that need the grandeur of a theatrical release. Then there are edgy and risky stories that might demand a more intimate experience, which an OTT platform can serve the best. It is a boon for both the audience and the filmmakers to have an alternative to movie theatres. Many stories that would not have been made in earlier days are finally finding so much love from the audience on the OTT platforms.
What are you working on now?
Currently, I am working on a love story. I don't think I can tell you more about it at this point. But it will again be something different from what one has seen before. It has an interesting take on human relationships. I am looking forward to completing the draft and starting the casting process. Hopefully, we will commence the shoot soon.
Rapper Badshah found himself in hot water after a social media post about global pop sensation Dua Lipa. What started as a simple tweet, her name with a heart emoji, quickly spiralled into chaos when a fan asked if they were collaborating. Badshah's response? "I'd rather make babies with her bro."
Badshah's viral response to the comment under his tweet Twitter Screengrab
The backlash was instant. Critics called the remark objectifying and disrespectful, forcing Badshah to clarify. Trying to douse the fire, he later posted, "I think one of the most beautiful compliments you can give a woman you really admire is to wish for her to mother your children. Meri soch nahi, tumhari soch saamne aayi hai." But the clarification didn't sit well with many, who criticised him for doubling down rather than acknowledging the issue. "Since when did that qualify as a compliment?" one user wrote, while others called it tone-deaf and entitled.
— (@)
Honey Singh joins the fray with a sarcastic jab
As the debate raged on, Badshah's longtime rival, Honey Singh, couldn't resist chiming in. Reacting to the rapper's explanation on Instagram, Singh dropped a sarcastic "Genius 😂👏👏," clearly mocking the justification. Fans caught the dig immediately, with some laughing at the not-so-subtle jab between the two, who've had a rocky relationship for years.
Badshah had previously expressed a desire to end their feud, but Singh's latest comment suggests the tension isn't fading anytime soon. Meanwhile, the rapper continues to make headlines, whether for his dramatic weight loss, rumoured romance with Tara Sutaria, or this latest controversy. One thing's clear: Badshah knows how to stay in the spotlight, but not always for the right reasons.
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Anurag Kashyap reacts sharply to Ted Sarandos’ remarks on Sacred Games
Anurag Kashyap is known for being outspoken, and this weekend he made headlines again, this time taking aim at Netflix’s top boss Ted Sarandos. The filmmaker lashed out after Sarandos questioned the streaming platform’s early approach in India, particularly their decision to kick things off with Kashyap’s gritty crime drama Sacred Games in 2018.
During an interview on Nikhil Kamath’s podcast People by WTF, Sarandos said he may have chosen a more “populist” route if he could go back, admitting the series was perhaps too novel for the Indian market at the time. The comments didn’t sit well with Kashyap, who fired back on social media, calling Sarandos “the definition of dumb” and sarcastically suggesting the platform should’ve launched with traditional “saas-bahu” content instead.
Kashyap takes aim at Netflix’s shift to mass-market content
Kashyap’s reference wasn’t just casual; it came at a time when Netflix India has partnered with Balaji Telefilms, led by Ektaa Kapoor, best known for her highly successful daily soaps like Kyunki Saas Bhi Kabhi Bahu Thi. The filmmaker’s post read: “He should have started with Saas Bahu… he would have done well. Which he is doing now. I always knew tech guys are dumb when it comes to storytelling, but @tedsarandos is the definition of dumb is what I didn’t know.”
The post sparked debate online, with even singer-actor Lisa Mishra chiming in to support Kashyap, saying that everything on OTT today is “derivative… specifically of Sacred Games.”
Kapoor, without naming Kashyap, responded via Instagram by accusing unnamed artists of being classist. She defended soap operas, claiming they gave a voice to Indian women and were even studied by international researchers. Her post ended with a call for inclusivity and “graciousness.”
Ekta Kapoor's story Instagram screengrab/ektakapoor
A clash of content ideologies in India’s OTT landscape
Sacred Games, co-directed by Kashyap and Vikramaditya Motwane and starring Saif Ali Khan and Nawazuddin Siddiqui, was a landmark moment for Indian streaming content. Though it didn’t continue past two seasons, it opened doors for darker, more experimental storytelling in Indian OTT.
Sarandos’ comments appear to suggest that while Sacred Games earned critical acclaim, it may not have been the right commercial launchpad for Netflix in India. Kashyap, however, sees the platform’s current pivot toward formula-driven programming as a step backward.
Ted Sarandos talks about Sacred Games for Netflix IndiaGetty Images
This very public disagreement brings to light a bigger conversation in the entertainment industry, between art that challenges and content that simply sells.
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Fans react as Billie and Nat’s long-rumoured romance takes centre stage
Billie Eilish appears to have confirmed her latest romance in the most cinematic way possible, with a champagne-fuelled kiss on a sunny balcony in Venice. The singer was spotted with actor and musician Nat Wolff, and the intimate moment has fans convinced that the long-rumoured pair are now officially a couple.
In photos circulating online, the Chihiro singer and Wolff are seen locking lips while casually dressed in matching grey T-shirts, enjoying champagne and sunshine in one of the world’s most romantic cities.
— (@)
A long-rumoured connection comes into focus
While this is the first clear public display from the duo, Eilish and Wolff’s bond goes back a while. They worked together on her music video Chihiro, which she directed. Around the same time, Nat and his brother Alex opened for her during the North American leg of her Hit Me Hard and Soft tour in 2024.
Fans first started speculating about their closeness earlier this year when the two were seen leaving the iHeart Music Awards together and later on a night out in New York City. Although both had previously described their friendship as platonic, there seemed to be more under the surface.
Fans react as Billie and Nat’s long-rumoured romance takes centre stageGetty Images
In past interviews, Wolff described their connection as one of shared understanding, particularly around living with Tourette syndrome, a condition both have spoken about. “It’s rare to find people you don’t have to explain yourself to,” Wolff once shared, adding that he and Eilish could just “be” around each other.
Keeping it private until now
Eilish has openly said she regrets how much she’s shared about her personal life in the past. In an interview, she stated she wanted to keep her dating life and sexuality out of the spotlight going forward.
A kiss in Italy sparks fresh buzz around Billie Eilish’s love lifeGetty Images
“I wish no one knew anything about my dating life,” she said. “And I’m never talking about who I’m dating ever again.”
Still, their recent public outing in Venice may signal a quiet shift in that. Whether or not they’ll speak out, the photos seem to say plenty.
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The cast of Maybe Happy Ending celebrates their big night at the Tony Awards
South Korea just scored a historic milestone at the Tony Awards, with the musical Maybe Happy Ending bagging six trophies, including Best Musical and Best Lead Actor. The show, centred on two ageing helper robots living on the edge of Seoul, left the awards night buzzing. Korean entertainment, long a force in film, television, and music, is now making serious inroads into Western theatre too.
From Seoul to Broadway: A story born in two languages
Maybe Happy Ending wasn’t always destined for the bright lights of Broadway. It first opened in a small Seoul theatre in 2016, a result of a local arts foundation’s programme. Co-created by South Korean lyricist Hue Park and American composer Will Aronson, the story explores loneliness, connection, and memory through the eyes of obsolete robots. Written in both Korean and English, the piece has been reimagined several times since its debut.
Darren Criss, known to many as a Glee star, played Oliver and took home his first Tony for the role. His co-star Helen J Shen portrayed Claire, the other robot. Together, they brought the emotional weight to a futuristic love story that’s more human than it sounds.
While the robots explore feelings in a near-future Seoul, the show managed to preserve distinct Korean elements like Jeju Island and the traditional plant pot hwabun on the Broadway stage, something fans celebrated online.
A cultural shift, decades in the making
With this win, South Korea joins the rare club of nations with major victories across all four major American entertainment awards, including the Oscars, Emmys, Grammys, and now Tonys. From Parasite to Squid Game, and now Maybe Happy Ending, Korean creators are no longer breaking into the global scene, they’re leading it.
The success also validates years of quiet work in South Korea’s theatre scene. Original musicals like Marie Curie and The Great Gatsby have made appearances in the West End and on Broadway, but Maybe Happy Ending marks the first time a Korean musical has truly swept the Tonys.
As one critic noted, more than awards, it’s about shifting global perspectives. Korean musicals are no longer export hopefuls. They’re now centre stage.
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BBC Three documentary uncovers new details in Kim Kardashian Paris robbery case
Nearly ten years after Kim Kardashian was robbed at gunpoint in a Paris hotel, the story is being revisited in a new documentary coming to BBC Three and iPlayer. Titled The Kim Kardashian Diamond Heist, the film digs into one of the most talked-about celebrity crimes of the last decade, offering fresh access and unheard accounts from those closely involved in the case.
Kim Kardashian Paris robbery case revisited in new BBC Three documentaryGetty Images
New voices and untold moments from the night that shocked the world
The 45-minute documentary features first-hand interviews with close family friends, French police officers, and journalists who followed the robbery from day one. It takes viewers back to that October 2016 night, when Kardashian was tied up and robbed of jewellery worth millions of pounds inside her private apartment at a luxury hotel during Paris Fashion Week.
The film doesn’t stop at the crime itself. It moves forward to recent developments, including the court case in which Kim finally came face-to-face with her assailants last month. Eight people were found guilty, nearly a decade after the robbery made global headlines.
Kim Kardashian 2016 diamond heist case brought eight people to justice nearly a decade after the robberyGetty Images
Beyond gossip: A look at the cost of digital fame
This BBC Three documentary goes beyond the headlines and Instagram timelines. It examines the role of social media in the robbery, where public posts may have tipped off the thieves, and the emotional fallout Kim faced in the aftermath.
Nasfim Haque, Head of Content at BBC Three, says the film “cuts through the noise and looks at the real-life consequences of being so visible in the digital age.” Firecracker Films, the production company behind the documentary, also hopes the film helps viewers understand how the case was solved and the emotional cost behind the glamour.
Kim Kardashian arrives at the Assize Court for the trial Getty Images
Directed by Ben Bryant and produced by Jessica Sartenaer, The Kim Kardashian Diamond Heist will be available on BBC Three and BBC iPlayer later this month. Executive producers include Jes Wilkins and Sam Emmery, and the documentary will be distributed globally by Passion Distribution.