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.
There’s no question who ruled the night at the 2025 BET Awards. Kendrick Lamar walked away with five trophies, including Album of the Year for GNX and Video of the Year for Not Like Us. The ceremony, held at the Peacock Theatre in Los Angeles, paid tribute to Black excellence in music, acting, and sports, and Kendrick made sure his voice and message were front and centre.
Kendrick Lamar accepts Best Album for GNX at the BET Awards in Los AngelesGetty Images
Lamar, Doechii, and a moment that mattered
The GNX rapper also won Best Male Hip-Hop Artist and shared the Video Director of the Year award with Dave Free. Accepting his award, Lamar reflected on his long-standing relationship with BET, saying, “They’ve always kept the culture at the core and put me in the middle of it.”
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Rising rapper Doechii also made headlines, not just for winning Best Female Hip-Hop Artist but for calling out former US President Donald Trump. In a fiery speech, she criticised the use of military force to break up protests in LA following ICE raids in Latino communities. “Every time we stand up for our rights, the military is sent in. What kind of leadership is that?” she asked the crowd.
A night of icons and throwbacks
The night wasn’t just about current stars. The BET Ultimate Icon Award honoured Mariah Carey, Snoop Dogg, Jamie Foxx, and gospel star Kirk Franklin for their decades of influence in music, entertainment, and community action. Stevie Wonder presented Foxx’s award as he opened up about his recovery from a 2023 stroke. “When I saw the ‘In Memoriam’ segment, I thought that could’ve been me,” he said.
Mariah Carey celebrates her Ultimate Icon Award with a rare live performanceGetty Images
Mariah Carey, presented her award by Busta Rhymes, lit up the stage with a brief but heartfelt speech. “If you're going to win one of these, it might as well be the Ultimate Icon,” she joked, hinting at the ups and downs of her legendary career.
With Lamar and SZA heading back on tour and voices like Doechii’s rising louder, the 2025 BET Awards proved it is a stage for change.
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Harris Dickinson debuts as Rhode’s first male model in new Glazing Mist campaign
Rhode, Hailey Bieber’s rapidly growing skincare label, has chosen Babygirl actor Harris Dickinson as the face of its new product, the Glazing Mist. Known for his understated performances and growing fashion presence, Dickinson is the first male model to front a campaign for the brand. The new mist, priced at £24 (₹2,520), goes live on 24 June exclusively at rhodeskin.com.
A surprising choice that feels just right
The campaign, shot in stark black-and-white, features close-up visuals of Dickinson misting his face with the Glazing Mist, designed to refresh skin and deliver a natural glow. With ingredients like ectoin, ceramides, and magnolia extract, the formula offers both hydration and barrier support. It has also earned a stamp of approval from the National Eczema Association.
Hailey Bieber explained her choice simply: she watched Babygirl, loved Dickinson’s performance, and sensed he could bring the kind of quiet edge she wanted. “I didn’t want it to feel too ‘on-the-nose’ with the film,” she said. “It had to be chic and sporty.” The internet, however, couldn’t resist the connection to Dickinson’s now-infamous milk scene in the film, and fans were quick to point out how the dewy mist echoed that very vibe.
Rhode expands, without changing its DNA
Since its 2022 launch, Rhode has stood out for sleek, limited product drops and a focused digital presence. Its recent £790 million (₹82,950 crore) acquisition by e.l.f. Beauty has only amplified interest in where the brand goes next. While introducing a male face might suggest a shift, Bieber was clear: this isn’t about launching a men’s line but widening the brand’s appeal. “I want everyone to see themselves in Rhode,” she said.
Dickinson’s inclusion reflects a subtle repositioning. Best known for roles in Beach Rats, Triangle of Sadness, and now Babygirl, he has also been a regular in fashion, working with Dior and Loewe.
With this campaign, Rhode continues to evolve clearly, without losing the minimalist identity that made it stand out in the first place.
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HBO’s Harry Potter reboot slammed for casting Italian actress as Indian character Parvati Patil
HBO’s upcoming Harry Potter reboot is already under fire, this time for casting Italian actress Alessia Leoni as Parvati Patil, a character rooted in Indian culture. The announcement has triggered widespread backlash from fans who accuse the makers of side-lining authentic South Asian representation in favour of what many see as surface-level diversity.
Parvati, originally portrayed by Shefali Chowdhury in the films, is one of the few explicitly Indian characters in the Harry Potter universe. The decision to cast someone with no clear Indian heritage has led to heated discussions across platforms like Reddit and X, with fans calling out what they perceive as performative inclusivity.
Fans question why Indian talent was overlooked again
Many online comments have shared similar frustrations: that casting a brown-skinned actor is not the same as casting someone of Indian origin. “They just picked someone who looks brown and called it a day,” one Redditor commented. Another added, “Parvati is not just a name, it’s a direct reference to Hindu culture. It deserved more thought.”
This is not the first controversy to hit the reboot. Earlier announcements like casting Paapa Essiedu as Snape and Arabella Stanton as Hermione also drew criticism from those who felt the series was playing fast and loose with established character identities. Supporters of accurate representation argue that while the intent may be diversity, the execution often feels tokenistic.
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Adding fuel to the fire is the casting history of the original films, where British-Bangladeshi actors Shefali Chowdhury and Afshan Azad played the Patil twins after being discovered through grassroots-level auditions. That sense of grounded authenticity, fans argue, is missing in the current reboot.
HBO's broader casting choices also under scrutiny
Alongside Leoni, HBO announced several other cast members: Katherine Parkinson as Molly Weasley, Lox Pratt as Draco Malfoy, Johnny Flynn as Lucius Malfoy, Leo Earley as Seamus Finnigan, Sienna Moosah as Lavender Brown, Bel Powley and Daniel Rigby as the Dursleys, and Bertie Carvel as Cornelius Fudge.
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The series, hoped to be a faithful adaptation of J.K. Rowling’s books, is scheduled to premiere in 2026. But with these early casting calls, many longtime fans feel HBO is missing the mark on cultural nuance—and all this before a single spell has been cast on screen.
The tense deliberations in Harvey Weinstein’s New York sex crimes retrial have descended into open conflict. Jurors are reportedly attacking each other, pressuring hold-outs, and improperly considering the disgraced movie mogul’s notorious past, information explicitly banned from their discussions. This internal strife forced the jury foreperson to urgently alert the judge on Monday morning about a “situation which isn’t very good”, casting serious doubt on their ability to reach a fair verdict.
Infighting and forbidden arguments taint deliberations
According to a court transcript, the foreperson painted a grim picture for Judge Curtis Farber. Jurors are “not on the same page”, with some actively “attacking” others in a bid to change minds. Crucially, they are “pushing people” by bringing up Weinstein’s public history, details not presented as evidence during this specific trial.
As per reports, Jurors are in a heated debate during Weinstein retrial deliberationsGetty Images
This is similar to the earlier “playground stuff” reported last week, where one young juror felt unfairly “shunned” and questioned the fairness of the process, though the judge kept him on the panel. The jury itself signalled deep divisions, requesting a reread of “reasonable doubt” rules and guidance on “avoiding a hung jury”.
Mistrial denied, but jury reminded “Stick to the evidence”
Weinstein’s lawyers, citing a “tainted” and “runaway jury”, immediately seized on the turmoil to demand a mistrial. Defence attorney Arthur Aidala argued jurors were “ganging up” and considering “things that were not brought into this trial”. Prosecutors countered that some past context was legally permissible. Judge Farber denied the mistrial but took swift action. He hauled the entire jury back in, sternly instructing them that deliberations must focus only on evidence presented during the retrial concerning the three specific charges, including rape and criminal sex acts involving three women. He reiterated they must disregard anything else they knew about Weinstein.
Weinstein jury divided by heated disputes over forbidden pastGetty Images
The jury ended Monday claiming they were “making progress”, even asking for coffee to fuel further talks and requesting to revisit some testimony. However, the damage from the infighting and forbidden discussions lingers.
Weinstein, 73, already serving a long sentence for a separate California rape conviction, awaits this jury’s verdict on charges stemming from allegations by a former production assistant, an aspiring actress, and a model. This retrial, ordered after his landmark 2020 New York conviction was overturned, remains a critical, though now deeply troubled, chapter in the #MeToo saga he set to fire.
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Charli XCX celebrates a year of Brat’s cultural takeover
It’s been a full year since Charli XCX dropped Brat, and the album’s neon-green grip on pop culture has not loosened. Forget fading summer anthems; Brat feels permanently wired into the now. How did an artist long celebrated for being ahead of the curve finally make the whole world tune in? Well, she did it entirely her own way.
Charli was no newcomer. She smashed charts a decade ago with “Fancy” and penned hits for others. Yet mainstream stardom on her own terms felt elusive until Brat. The rollout was masterful, starting with the divisive “Von Dutch”, then the It Girl-packed “360” video featuring faces like Julia Fox and Chloë Sevigny, who soon became unavoidable.
Charli XCX arrives for the 2025 Met GalaGetty Images
Crucially, she nurtured her core fans (“Angels”) with intimate pop-up shows, birthing the iconic Brat Wall, where teasers about collaborations and the deluxe album kept excitement boiling. When Brat landed, hitting No. 3 in the US and No. 2 in the UK, it was a moment of absolute cultural takeover.
Beyond the music: building a movement
Brat’s fire spread far beyond the songs. A simple tweet : “Kamala IS brat”, saw the US Vice President’s campaign adopt the album’s aesthetic overnight, sparking global chatter. Charli directly addressed fan speculation, confirming “Girl, So Confusing” was about Lorde, then brilliantly working it out with her on a remix weeks later. She refused to let the moment die, dropping a full remix album (Brat and It’s the Same but There’s Three More Songs so It’s Not), featuring everyone from Billie Eilish to underground stars, which pushed Brat to UK No. 1.
Charli XCX performing on stage Getty Images
The Sweat and Brat tours became must-see events, packed with surprise guests. Grammy wins followed, plus SNL, Coachella and film cameos. Even her older song “Party 4 U” surged up the charts years later. Charli questioned at Coachella: “Does this mean brat summer is finally over?” The answer seems clear. Brat wasn’t just a seasonal hit. It was almost like Charli XCX meticulously crafting a phenomenon, proving that staying fiercely true to her vision was the ultimate key to connect with a wide audience.