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.
Spain leads a growing boycott movement, with Ireland, the Netherlands and Slovenia also refusing to participate if Israel competes.
The European Broadcasting Union (EBU) is in crisis talks, extending its decision deadline to December 2025.
The situation draws direct comparisons to Russia’s exclusion in 2022, creating a precedent the EBU must now navigate.
The core dilemma pits Eurovision’s non-political ideals against the stark reality of a humanitarian crisis.
The Eurovision Song Contest, that glitter-drenched annual spectacle of pop and unity, is staring into the abyss. The escalating call for a Eurovision boycott over Israel's participation, against the backdrop of the ongoing Gaza conflict, has put the organisers into their most severe political crisis yet. This isn't just about another song entry but a fundamental clash between the contest's cherished apolitical fantasy and the inescapable geopolitics of the real world, threatening to tear the competition apart from within.
Spain announces withdrawal from Eurovision over Israel participation amid growing boycott movement Instagram/eurovision
What is causing the Eurovision 2025–2026 crisis?
The main trigger is Israel’s ongoing military campaign in Gaza. Casualty figures reported by the Hamas-run Gaza Health Ministry exceed 64,000 Palestinians by September 2025, drawing international scrutiny. Several European countries argue that Israel’s presence in a major cultural event like Eurovision would appear to normalise the humanitarian crisis. On the other hand, Israel insists participation is purely cultural and unrelated to politics.
What countries are boycotting Eurovision over Israel?
So, which nations are taking this stance? The movement gained its most significant momentum with Spain's announcement. Its public broadcaster, RTVE, issued a decisive statement, confirming an overwhelming vote to withdraw. The organisation cited Israel's military actions in Gaza and stated it could not, in good conscience, "look the other way." This move is particularly consequential as Spain is one of the "Big Five" major financial contributors to the contest.
They were swiftly followed by Ireland’s RTÉ, which deemed participation "unconscionable" given the situation in Gaza. Public broadcasters in the Netherlands and Slovenia subsequently aligned with similar positions. Iceland's broadcaster has also indicated it is considering its position, formally "reserving the right" to withdraw. This is not a peripheral protest but a movement emerging from within the contest's core European membership, raising questions about which other countries may follow.
How is the EBU handling the Eurovision boycott calls?
The European Broadcasting Union faces an immense challenge. Its standard operating procedure of promoting unity through music appears insufficient for this geopolitical dilemma. The gravity of the situation can be seen in its unprecedented decision to delay the standard deadline for participation confirmations to mid-December 2025. This extension is dedicated to extensive consultation with all member unions in an effort to find a viable resolution that preserves the contest's integrity.
Concurrently, the EBU has been forced to publicly deny reports from Israeli media outlets suggesting it had advised Israel to withdraw voluntarily to avoid a "humiliating elimination," calling these claims false.
Is this Eurovision situation similar to Russia's exclusion?
This comparison forms the crux of the debate for many. The 2022 exclusion of Russia following its invasion of Ukraine established a clear precedent; the EBU justified its decision by stating Russia's participation would "bring the competition into disrepute."
Boycott advocates now argue that the same standard must be applied consistently, questioning why Israel's actions in Gaza do not merit an identical response. The EBU will likely attempt to differentiate the cases based on nuanced legalities of membership and the operational independence of the respective national broadcasters. However, in the court of public and political opinion, the perception of a double standard is a significant threat to the EBU's credibility.
What are the arguments for and against the boycott?
Proponents of the boycott base their position on principles of human rights and conscience. They stress the extensive civilian casualty figures reported by authorities in Gaza, alongside assessments from UN agencies, to argue that Israel’s inclusion on a cultural platform constitutes a form of normalisation of the ongoing conflict.
Conversely, opponents of a boycott contend that cultural events must remain separate from political disputes. They caution that excluding a nation’s artists could veer into prejudice and stress that the Israeli broadcaster, Kan, operates with editorial independence, unlike the state-controlled media of Russia. There is no clear, unambiguous resolution that will satisfy all parties.
What happens if Israel is allowed to compete in Eurovision 2026?
Should the EBU permit Israel's participation, an immediate and consequential withdrawal of several key members is all but certain. The loss of Spain, a major funder, would represent a serious financial and credibility blow. The subsequent absence of Ireland, the Netherlands, Slovenia, and potentially others would noticeably diminish the contest's scale and diversity.
Furthermore, the event itself would likely become a focal point for large-scale protests, potentially disrupting the broadcast and overshadowing the musical competition, further alienating segments of its global audience.
What happens if Israel is excluded from Eurovision?
An exclusion would trigger a different but equally severe crisis for the EBU. It would face vehement accusations of hypocrisy and double standards, particularly from Israel and its allies. The move could prompt legal challenges and potentially lead to Israel's permanent withdrawal from the union.
It would also establish a new and far-reaching precedent for excluding countries involved in international conflicts, fundamentally transforming Eurovision from an inclusive cultural space into an institution that makes overt political judgements.
The future is decidedly uncertain. The EBU is confronted with a dilemma where any decision carries significant negative consequences. The upcoming General Assembly in December is going to be a tense and potentially historic meeting. While some have speculated about a compromise, such as Israel participating under a neutral banner, the EBU has denied pursuing this option.
The underlying truth is that Eurovision has always been intertwined with politics, from historical participation under authoritarian regimes to contemporary voting blocs. The current crisis has simply stripped away the glittering façade, forcing a direct confrontation with this reality. The contest's future will depend on navigating a path that may not exist, balancing its ideals against an increasingly polarised world.
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Malayalam star Unni Mukundan to play Narendra Modi in ‘Maa Vande’ tracing PM’s roots and mother’s legacy
Malayalam star Unni Mukundan announced as lead in Narendra Modi biopic titled Maa Vande.
The film will focus on the Prime Minister's early life and bond with his mother.
A pan-India release is planned for 2026 with a major technical crew attached.
Mukundan is currently riding high on the success of his brutal action film Marco.
Malayalam cinema actor Unni Mukundan is stepping into the biggest role of his career. He has been officially cast as Prime Minister Narendra Modi in the upcoming biographical film Maa Vande. The project, announced on the PM's 75th birthday, promises a fresh look at Modi's formative years. Instead of another political portrait, the filmmakers are zeroing in on his personal journey and the profound influence of his mother.
Malayalam star Unni Mukundan to play Narendra Modi in ‘Maa Vande’ tracing PM’s roots and mother’s legacy Instagram/iamunnimukundan
Who is Unni Mukundan and why was he cast?
If you're not deep into Malayalam films, that name might not ring a bell. But down south, he is a proper lead star. He has been working for over a decade, starting off with smaller roles, having a hit with Mallu Singh, and then breaking through with last year’s Malikappuram.
And then Marco happened, a violent film that crossed the £1.2 million (₹100 crore) mark. The actor can portray devotion and then deliver a brutal action scene. Perhaps that versatility is what the filmmakers wanted. Adding to that, he actually grew up in Ahmedabad. He mentioned in a post that he knew Modi as his "Chief Minister" back then. That personal connection is probably a massive factor.
What will the Narendra Modi biopic Maa Vande be about?
The official line is that it traces his journey from childhood to becoming the leader of the nation. But the tagline gives the real focus: "The Anthem of a Mother." So, this is not going to be a policy-by-policy rundown. It is about his relationship with his late mother, Heeraben Modi.
That is the fresh angle, the human story behind the politician. How that relationship shaped him is the emotional hook. It connects with people on a different level. The filmmakers are planning a 2026 release, and it is set to be pan-India, in multiple languages including English.
The crew list is stacked. It is being directed by Kranthi Kumar C.H. and produced by Veer Reddy M. under Silver Cast Creations. The technical team is impressive: KK Senthil Kumar is on camera, the cinematographer of Baahubali. The music is by Ravi Basrur, editing by Sreekar Prasad, and production design by Sabu Cyril. It is clear that this is not a low-effort cash-in. The A-team from Telugu and Malayalam industries has been brought together to mount this project properly. Serious resources are being invested to ensure it looks and sounds huge.
No. Vivek Oberoi played him in a 2019 film directed by Omung Kumar, which was also called PM Narendra Modi. That film focused more on his political rise. Maa Vande seems to be carving its own niche by going back to the start, focusing on his personal roots. It will be interesting to see how they differentiate it. For Mukundan, it is a massive opportunity. After the physicality of Marco, this role is about capturing Modi’s essence, voice, and posture. It is the biggest challenge of his life, no question.
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Malaika Arora reveals judgement made her stronger and shaped her boldness
The star revealed she was constantly judged for her career and clothing choices.
Malaika said she felt free when she stopped explaining herself to others.
She now sees confidence as moving forward with grace despite self-doubt.
The actor and model insists the only narrative that matters is her own.
Malaika Arora has defiantly addressed the lifetime of criticism she has faced for her personal and professional choices. The actor and model, known for her impeccable fitness and fashion sense, said being labelled “too bold” is something she now wears as a crown. In a new interview, she opened up about her journey to unshakeable self-acceptance and shutting out the noise.
Malaika Arora reveals judgement made her stronger and shaped her boldness Getty Images
What has Malaika Arora said about the criticism she faces?
It seems there is very little Malaika has not been judged for. She laid it all out in a chat with The Hindustan Times, stating, “I was judged for my career, my clothes, my relationships, you name it.” That constant scrutiny from the public and media would be enough to make anyone second-guess themselves.
But her approach changed completely when she decided to stop engaging with it. She called the moment she quit explaining herself the moment she truly felt liberated. Her philosophy is pretty straightforward now: “The only narrative that matters is the one you write for yourself.” It is a powerful shift from being defined to doing the defining.
Malaika Arora owns every label from bold to outspoken and calls them her strength Getty Images
How does Malaika Arora respond to being called 'too much'?
Honestly, she has turned it into a strength. Those very criticisms have become a part of her identity, and she owns them completely. “I have been called too bold, too outspoken, too everything. And honestly? I wear it like a crown now,” she stated.
She even has a sharp, modern clapback for her detractors: “If I am ‘too much’ for someone, they are probably not enough for me.” This mindset is not just for show. It feeds into everything she does, from her fashion collaborations to her fitness brand. She has never followed a template, believing real confidence is when you “stop performing for the world and start living for yourself.”
Malaika Arora insists the only story that matters is the one she writes herself Getty Images
Does Malaika Arora ever experience self-doubt?
Absolutely. It is a reminder that confidence is not about being bulletproof. She is human, after all. Malaika was candid about the fact that self-doubt “never really disappears,” admitting there are days she questions herself just like anyone else. The key difference now is how she handles those moments. Instead of meting out self-criticism, she practises kindness. For her, confidence is not the absence of doubt but the ability to “move forward with grace despite it.”
This nuanced take is a far cry from the perfect, curated images we often see, making her stance all the more relatable to her fans who navigate their own insecurities.
Malaika Arora says she stopped explaining herself and found true freedomGetty Images
What is the core of Malaika Arora's confident mindset?
It all boils down to ownership. Her recent work as the face of a beauty campaign titled Own It felt less like a job and more like telling her own life story. She has had to fight labels and expectations her entire career. This is not about arrogance; it is about a quiet certainty in her own choices.
Whether it is balancing motherhood with her career or navigating public relationships, she trusts her gut. Her message is clear: stop letting outside opinions write your story. The greatest freedom comes from writing it yourself, unapologetically and on your own terms.
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Paul Rudd and Jack Black gear up for jungle chaos in the new Anaconda
First look images reveal the meta comedy take on the 1997 creature feature.
The film sees the duo as fans trying to shoot their own version of the original film.
Director Tom Gormican applies his The Unbearable Weight of Massive Talent formula.
The cast, including Thandiwe Newton and Steve Zahn, promises chaotic fun.
It is slated for a Christmas Day release, aiming for a box office strike.
The first photos from the wildly unexpected Anaconda remake have finally surfaced. This is not your typical Hollywood rehash, mind you. Jack Black and Paul Rudd are leading a brilliantly meta charge, playing superfans whose dream project goes horrifyingly wrong. The new images tease the comedic chaos planned for the big screen this Christmas.
Paul Rudd and Jack Black gear up for jungle chaos in the new Anaconda People/Courtesy of Sony Pictures
What is the new Anaconda movie actually about?
Right, so the plot is almost more interesting than the original film's premise. Black and Rudd play lifelong mates, Doug and Griff, who are utterly obsessed with the 1997 J.Lo and Ice Cube B-movie classic. They hit a midlife crisis and decide, you know what, let's actually do it. Let's go to the Amazon and remake Anaconda ourselves. The synopsis says their chaotic movie set gets turned upside down when a real, genuine giant anaconda decides to crash the party. So the film they're desperate to make might literally end them.
One name: Tom Gormican. He is the director behind The Unbearable Weight of Massive Talent, that brilliantly unhinged Nicolas Cage meta flick. He is bringing that exact same self aware, comedic energy here. Rudd himself said the script's clever meta angles appealed to him directly because he was a fan of The Unbearable Weight of Massive Talent. This is not some dour, serious reboot. It is like a knowing wink to the audience, a celebration of a so bad it's good film, all wrapped up in a proper action comedy. That angle is everything right now.
Sounds like an absolute riot, honestly. The chemistry between Black and Rudd is the main engine. Black said point blank that working with Rudd was the "main reason" he took the job, calling him "f---ing hilarious" and a "sweet pea". Rudd shared the same feelings, thrilled to finally work with Black properly for months. Even Steve Zahn, who is also in the mix, admitted to messing up takes because he could not stop laughing at them. When the cast is having that much fun, it usually bleeds through onto the screen.
Mark your calendars for a seriously unconventional Christmas Day. 25 December is the planned release date. Releasing a film about a giant killer snake on Christmas itself is a bizarre choice, you have to admit. It is going up against some family friendly stuff, but maybe that is the point, offering an alternative for those tired of the same formulaic content. Whether it becomes a festive box office gift or gets squeezed out remains to be seen, but one thing is for sure: it will be a talking point!
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Raj Kundra names Bipasha Basu and Neha Dhupia in £5.6m Bollywood fraud probe
Raj Kundra questioned in India for five hours over alleged £5.6m (₹60 crore) fraud
He claimed money was paid as fees to Bollywood stars Bipasha Basu and Neha Dhupia
Investigators traced nearly £2.3m (₹25 crore) in direct transfers to actresses and Balaji Entertainment
Shilpa Shetty also under scrutiny as financial probe widens
Businessman Raj Kundra, husband of Bollywood actor Shilpa Shetty, has been questioned for nearly five hours by financial crime investigators in India in connection with an alleged £5.6 million (₹60 crore) fraud. During interrogation, Kundra reportedly said part of the disputed money was paid as professional fees to Bollywood actresses Bipasha Basu and Neha Dhupia. Authorities are now examining whether these transactions were legitimate or part of a larger scheme.
Raj Kundra names Bipasha Basu and Neha Dhupia in £5.6m Bollywood fraud probe Getty Images
Why has Raj Kundra been questioned?
The case began after Indian businessman Deepak Kothari, director of Lotus Capital Financial Services Ltd, filed a complaint alleging he had been cheated out of £5.6m (₹60 crore) between 2015 and 2023. Following this, police in Mumbai registered a case against Kundra, Shetty, and another associate in August this year.
Kundra appeared before investigators this week and was extensively questioned. Officials described him as evasive on several points, leading them to plan further rounds of questioning. He was also asked to provide video material from a project called Best Deal, which he claimed had already been submitted to another police department.
Raj Kundra grilled over £5.6m fraud, links Bipasha Basu and Neha Dhupia to paymentsGetty Images
What did Kundra say about the money trail?
According to officials, Kundra admitted that some of the disputed funds were paid as fees to Bipasha Basu and Neha Dhupia. He also confirmed transactions linked to Shilpa Shetty and the production company Balaji Entertainment.
Investigators have tracked nearly £2.3m (₹25 crore) in direct transfers to these accounts. They are now assessing whether these were legitimate professional payments or part of a fraudulent operation. Officials also noted suspicious fund movements during India’s 2016 demonetisation, when the country’s financial system was under severe strain.
Bollywood fraud case: Raj Kundra under scrutiny as Bipasha Basu and Neha Dhupia payments emergeGetty Images
What role do the actresses play in the probe?
Financial records show that accounts connected to Shilpa Shetty, Bipasha Basu, and Neha Dhupia received transfers from the company under investigation. Kundra insists these were legitimate payments for work, but investigators said his answers were incomplete.
Neither Bipasha Basu nor Neha Dhupia have commented publicly on the case. Authorities have not alleged wrongdoing on their part, but their names remain part of the money trail being examined.
Raj Kundra tells police £5.6m fraud funds went to Bipasha Basu and Neha DhupiaGetty Images
What happens next in the investigation?
Indian financial crime authorities have said the investigation is ongoing and that more individuals may be summoned in the coming days. They are also expected to re-examine video material linked to Kundra’s company to determine whether it was used as a front to move money.
In an official statement, Mumbai Police said: “Investigations are going on against actress Shilpa Shetty and her husband Raj Kundra in an alleged fraud case of £5.6m (₹60 crore). A summon was issued to Raj Kundra, and he appeared before police for questioning.”
With financial records under fresh scrutiny, the case has become one of the most high-profile fraud investigations involving Bollywood figures in recent years.