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Sat. Sep 27th, 2025

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Entertainment

‘Param Sundari’ row: When Bollywood went beyond ‘mullapoo’, Mohiniyattam and ‘laal colour ki sari’ to represent Malayalis


Two weeks after the controversy over the 71st National Film Awards, where The Kerala Story won Best Director and Best Cinematography despite significant backlash, a similar debate has arisen around the trailer of Param Sundari starring Janhvi Kapoor and Siddharth Malhotra. The criticism focuses on cultural representation and perceived stereotypes, echoing the earlier outrage.

Adah Sharma’s Shalini Unnikrishnan from Thiruvananthapuram in The Kerala Story is a victim of forceful religious conversions to join an Islamic terrorist faction. To emphasise her Malayali identity, she is attired in a half-saree and jasmine flowers in her hair, even to a pub. Shalini’s fluent Hindi is sprinkled with mispronounced Malayalam words to “mallufy” the character.

Adah Sharma as Shalini Unnikrishnan in The Kerala Story

Adah Sharma as Shalini Unnikrishnan in The Kerala Story
| Photo Credit:
SPECIAL ARRANGEMENT

Thekkapetta (or makeupitta, meaning wearing makeup, as recorded by few content creators) Sundari Damodaran Pillai in the Maddock Studios production adapts a few moves from the Shalini Unnikrishnan playbook—a protagonist who is unable to even correctly pronounce her name, Malayali goons who are experts in Kalaripayattu (an indigenous martial arts form), an abundant supply of coconut trees and backwaters, Mohiniyattam, Mohanlal and most importantly, mullapoo (jasmine flower). Phrases such as “Bloody thenga (coconut)” and “manunni” (idiot) were used in the trailer to further convince the audience that Sundari is a Malayali. The distorted family name could be Thekkepattil, which has not been confirmed by the makers yet. They have also been accused of reporting reels by content creators who have criticised the trailer and questioned the female lead’s pronunciation and casting choices.

According to the latest song, ‘Danger’, from Param Sundari, a new notion has been established that Malayalis are dangerous wearing red saris.

Let’s look at a few convincing Malayali characters from Hindi films, which had a less polarising take on the characters from the Southern state.

Preity Zinta as Preeti Nair in ‘Dil Se’ (1998)

Preity Zinta as Preeti Nair in ‘Dil Se’.

Preity Zinta as Preeti Nair in ‘Dil Se’.
| Photo Credit:
SPECIAL ARRANGEMENT

The Mani Ratnam film is the last addition to the veteran filmmaker’s trilogy on terrorism. Dil Se, headlined by Shah Rukh Khan and Manisha Koirala, focused on the insurgency in North East, and Shah Rukh plays radio jockey Amarkanth Varma in the movie, who falls in love with Meghna, played by Manisha, a separatist.

Preity Zinta, in her debut film, is convincing as a young Malayali woman. Preeti’s charm draws Amar to her, and even though her Malayalam is not perfect, her characterisation is not laced with stereotypical quirks. And who can forget ‘Jiya Jale’, crooned by Lata Mangeshkar, with visuals shot by Santosh Sivan. The Malayalam verse starting with ‘Punchiri thanji konchiko’, sung by MG Sreekumar, is iconic too.

Preeti’s characterisation is not weighed down by her linguistic identity, and she doesn’t resort to the formulaic “ayyayyo” to convey disappointment. Her use of the word “mandan” doesn’t come off as jarring.

Rajkumar Rao as Deepu Sebastian in Aligarh (2015)

Rajkumar Rao as Deepu Sebastian in Aligarh

Rajkumar Rao as Deepu Sebastian in Aligarh
| Photo Credit:
SPECIAL ARRANGEMENT

Hansal Mehta’s Aligarh, based on the life of Professor Ramachandra Siras, an academic who was discriminated against due to his sexuality, has Manoj Bajpayee and Rajkummar Rao in the lead. Rajkummar’s Deepu Sebastian is a journalist who stumbles upon the professor’s story, whose perspective undergoes a gradual metamorphosis as he interacts with Ramachandra Siras. Aligarh explores the beautiful friendship between the two.

Deepu is a Malayali by origin, and in one scene, we see him speak smoothly to his mother in Malayalam, without drawing much attention to his dialogue delivery. The movie’s subtle nature reflects in Rajkumar’s depiction of Deepu, which prevents his character from going over board.

Padmapriya as Radha Menon in Chef (2017)

Padmapriya as Radha Menon in Chef.

Padmapriya as Radha Menon in Chef.
| Photo Credit:
SPECIAL ARRANGEMENT

Released in 2017, the official Hindi remake of the John Favreau directorial Chef (2014) starred Saif Ali Khan in the lead. The movie, directed by Raja Krishna Menon, is about a chef whose only passion is cooking as he fails to spend time with his estranged son.

Roshan Kalra, played by Saif, is separated from his wife, Radha Menon, played by Padmapriya, and their son Arman. Roshan visits Radha in Fort Kochi, in Kerala, for a second chance with his son. While Radha is a dance instructor in the movie, it is not used in the stereotypical sense of fetishizing the profession. Padmapriya, an actress who has worked primarily in Malayalam films, is portrayed as a strong parent to Arman.

Parvathy Thiruvothu as Jayashree Shashidharan in Qarib Qarib Singlle (2017)

A still from the film Qarib Qarib Singlle

A still from the film Qarib Qarib Singlle
| Photo Credit:
SPECIAL ARRANGEMENT

Qarib Qarib Singlle, directed by Tanuja Chandra, is a romcom starring the late Irrfan Khan as Yogendra ‘Yogi’ Kumar Devendra Nath Prajapati and Parvathy as the widowed Jayashree, who cross paths on a dating website. The diametrically opposite characters set on a journey to meet Yogi’s former lovers, and the movie progresses through these encounters.

Parvathy, a familiar face in Malayalam movies, as Jayashree, is a breath of fresh air. In a hilarious moment, Jayashree yells at Yogi to get off the train, saying, Vegam erang kazhuthe! (’Get down fast, you donkey’, in perfect Malayalam). That’s an indicator of differences between the characters. This is another example of how a sudden emotion can be expressed in one’s mother tongue. The explicit words feel natural when they aren’t translated directly by AI.

Neeraj Madhav, Dinesh Prabhakar, and Zarin Shihab in Family Man season 1 (2019)

Neeraj Madhav as Moosa in ‘Family Man’ Season 1.

Neeraj Madhav as Moosa in ‘Family Man’Season 1.
| Photo Credit:
SPECIAL ARRANGEMENT

Creators Raj & DK have been lauded for their insistence on accurately representing the cultures of their characters. The casting of Vijay Sethupathi as Michael in Farzi and the Malayali trio of Neeraj Madhav, Dinesh Prabhakar, and Zarin Shihab in the first season of Family Man is a testament to this quality.

Manoj Bajpayee as Srikant Tiwari, a senior officer in the National Investigative Agency, headlines the series. Moosa Rahman and Asif, played by Neeraj Madhav and Dinesh Prabhakar, respectively, are two terrorists. Moosa, initially considered trivial to the terror mission, is later found to be one of the key players. The actor pulls off a convincing performance in conning the task force and doesn’t fall prey to irksome gimmicks stereotyping the community.

Zarin Shihab as Sahaya Mary in Family Man season 1

Zarin Shihab as Sahaya Mary in Family Man season 1
| Photo Credit:
SPECIAL ARRANGEMENT

Zarin Shihab plays Sahaya Mary, a nurse who falls for Moosa, in her onscreen debut.

Pearle Maaney as Sheeja Thomas in ‘Ludo’ (2020)

Pearle Maaney as Sheeja Thomas in ‘Ludo’.

Pearle Maaney as Sheeja Thomas in ‘Ludo’.
| Photo Credit:
SPECIAL ARRANGEMENT

Another Malayali nurse character that stays with the audience is Pearle Maaney as Sheeja Thomas in Anurag Basu’s Ludo. Rahul Avasthi, played by Rohit Saraf, and Sheeja, are on the run, chased by Sattu Bhaiya (Pankaj Tripathi). The duo is unable to communicate with one another as Sheeja does not know Hindi. In one of the scenes, Sheeja even shares a moment with a Malayali DJ and immediately starts vibing to Malayalam songs.

Sheeja in Ludo is the perfect example of a quirky character in an offbeat movie. The maker doesn’t fall back on the immediate coconut oil and “Malayalis are alcoholics” gags. But he shows Sheeja getting unhinged under the influence and dancing with a fellow Malayali. This is in fact an ode to a known Malayali trait of finding another Malayali from a crowd, and asking them “Nattil evdeya? (Where are you from in Kerala?)”.

Kani Kusruthi and Divya Prabha as Prabha and Anu, respectively, in ‘All We Imagine as Light’ (2024)

Kani Kusruti and Divya Prabha in a scene from ‘All We Imagine As Light’.

Kani Kusruti and Divya Prabha in a scene from ‘All We Imagine As Light’.
| Photo Credit:
AP

All We Imagine as Light, by Payal Kapadia, gained global attention by winning the Cannes Grand Prix, exploring the lives of two Malayali nurses in Mumbai. The film features dialogues in Malayalam and Hindi. It boasts a cast of talented actors from Kerala, such as Kani Kusruthi, Divya Prabha, Hridhu Haroon, and Azeez Nedumangad.

Kani as Prabha and Divya as Anu were lauded for their impactful performances delving into the nuances of relationships and intimacy, exploring the lives of migrants who move to Mumbai, hoping for an improved living standard.

Similar to Aligarh, All We Imagine as Light’s beauty lies in its subtlety. Both the actors are Malayalis and are able to convey the emotions of displacement as experienced by those around them in real-life, aligning with a more realistic representation.



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Praveen Kumar scored with his well-nuanced portrayal at Natyarangam’s Acharya Bharatham festival


Praveen Kumar chose to portray Madhvacharya at the Natyarangam’s Acharya Bharatam festival.

Praveen Kumar chose to portray Madhvacharya at the Natyarangam’s Acharya Bharatam festival.
| Photo Credit: SRINATH M

At Natyarangam’s 27th annual thematic Bharatanatyam festival Acharya Bharatham, held at Sathguru Gnanananda Hall, Praveen Kumar, who performed on August 16, paid a rich, meditative homage to Madhvacharya. With a performance that was both intellectually charged and viscerally moving, Praveen Kumar, who portrayed the Acharya, seamlessly brought together philosophy, narrative and aesthetic.

The evening opened with a soulful composition, a fitting tribute to Madhvacharya’s familial devotion, and how it shaped his early life. Against a silhouette poster and under a calm blue spotlight, the dancer emerged in a simple white dhoti, striking a contemplative pose that set the tone for the evening. Throughout the performance, visual minimalism was balanced by emotional and physical dynamism.

The highlight of the performance was the narration, interwoven between the pieces, an evocative script that reflected Madhvacharya’s philosophical lineage as the third avatar of Vayu, and tracing his descent from Hanuman and Bhima to Madhvacharya. These transitions were not just spoken; they were embodied. The dancer’s flexibility, particularly in portraying animal forms and divine energies, lent credibility to these celestial connections.

Wearing a kurta and turban, Praveen Kumar assumed the role of the wandering sage.

Wearing a kurta and turban, Praveen Kumar assumed the role of the wandering sage.
| Photo Credit:
SRINATH M

Switching into a kurta and turban while holding a tambura, Praveen Kumar assumed the role of the wandering sage, becoming both the seeker and the knower. Using a refined vocabulary of karanas and bhedas, he delineated complex philosophical ideas — the soul’s search for the divine, the dualistic clarity of Dvaita Vedanta — and portrayed Hari not as a god, but as a friend who walks with us, protects us, and even laughs with us.

The Prahlada-Hiranyakashipu episode was rendered with emotional clarity — the stillness of devotion against the turbulence of tyranny. Likewise, Lakshmana’s silent strength, his shadowing of Rama through exile and war, became a metaphor for unwavering service without expectation. These vignettes emphasised Madhvacharya’s core values: dharma, duty, and bhakti in its most disciplined form.

The performance asked: Who is God? Where do we find Him? Through dance, Praveen showed that divinity lives in all.. Echoing Krishna at Govardhan, he reminded us that God is not distant, but present in nature and in the people around us. To honour the divine, we must protect and cherish both.

The production closed on a powerful note, with the dancer reminding us of the timeless relevance of devotion rooted in wisdom.

The orchestra for the evening featured vocalist Pradesh Achar, nattuvangam by Navyashree K N, mridangam and tabla by Anoop Vinodh Shyam, flute by Mahesh Swamy, and lighting by T M Nagaraj.

Published – August 23, 2025 10:53 am IST



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Music composer Electronic Kili, the voice of ‘Eyy banane oru pootharamo’ from ‘Vaazha’, on making music for ‘Thalavara’


Music composer Electronic Kili 

Music composer Electronic Kili 
| Photo Credit: SPECIAL ARRANGEMENT

There is nothing about the way music composer  Electronic Kili (Stephin Jose) talks that reveals he is the voice behind that 2024 earworm ‘Eyy banane oru pootharamo’, from the underdog film, Vaazha – Biopic of a Billion Boys. “The lyrics don’t make a lot of sense, it is a ‘silly’ song. I just sang it for the director, while composing it. It worked, I didn’t realise the song would click the way it did. ‘Eyy banane…’ is high energy, and I did not like the raw version of it so much!” He is one of the five composers in Vaazha. 

Electronic Kili is now gearing up for his first solo release, Thalavara, in which he has tried to create a different kind of sound. “I spent a lot of time on the music, around three months on the film’s seven songs,” he says over the phone. 

While his music (films and independent music) has a more of an electronic element, he has tried keeping it simple for this movie. The songs have a certain slow, old world charm. He explains, “For example, for the song ‘Kand kand…’ I used the words as a hook for the music; I got the words and then the tune.” The Tamil song ‘Nila nila…’, from the film, is not his. 

He started his career with composer Ankit Menon, as music producer on Jaya Jaya Jaya Jaya Hey. For someone who claims he cannot sing, he is one of the singers in Ankit’s composition ‘Machinmele…’ in Extra Decent, ‘the Flip Song’ from Maranamass and ‘the Jeppu Song’ from Sarkeet composed by Govind Vasantha. He is the co-composer and music arranger of Maranamass. 

Like most young creatives in the Malayalam film industry, Electronic Kili took the engineering route to cinema. “I have always liked music, I played the keyboard. After engineering, I joined AR Rahman’s KM Music Conservatory in Chennai to learn music.” The musician says he is more interested in the composing part than singing. 

This leads us to the inevitable question, Why Electronic Kili? “I was not really thinking of films or something at the time. I just needed a name for my SoundCloud profile.” And the name just stuck.

Published – August 22, 2025 10:04 pm IST



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Meet VFX designers Lavan and Kushan who are part of some of the biggest films in South India


Kochi-based VFX designers Lavan and Kushan Prakashan are on cloud nine. They are part of the VFX team of the Telugu mythical, superhero film Hanu-Man, which won the National Award for Best Film in AVGC (Animation, Visual Effects, Gaming and Comic) and best stunt choreography. That is not all, three other films that they have been part of have also won National Awards in different categories — Ullozhuku (Malayalam), Parking (Tamil), and Kathal (Hindi).

For the brothers, who hail from Kodungallur, near Kochi, this is validation for the leap of faith they made 10 years ago when they moved back to Kochi, from Mumbai (where Lavan was working) and Bengaluru (Kushan’s base), to set up Digital Turbo Media better known as DTM.

They have traversed a long way to get here, relocating to work in an industry which, at that time, functioned largely on personal equations and relationships. “I wanted us to do something on our own. Lavan was not too keen, rightly so, because we did not know anybody here. I tried convincing him, but he was just not buying it. However, he called one day and over a five-minute phone call, we decided to take the plunge. His son was watching the animation movie Turbo, so that became part of the name of our company. That is how Digital Turbo Media came to be in 2015,” says Kushan.

One of the scenes from the Hindi film, ‘Jalsa’, before the VFX designing

One of the scenes from the Hindi film, ‘Jalsa’, before the VFX designing

“I still remember our first office in Panampilly Nagar, a one BHK which doubled as an office and a place to sleep when we had to work overnight. And those days when we did not have too many projects. The Malayalam industry was in its nascence in terms of visual effect.” They visited potential clients with showreels of their work in the other languages which were not of much help landing assignments.

Huge VFX budgets

Today, the scene is very different. The budget set set aside for VFX and art direction runs into a few crore rupees, the sky is the limit. “The scene has changed drastically… money is not an issue when it comes to making a movie top notch!”

While Lavan has a degree in computer application, Kushan came in without any education in the field except a love of cinema. Lavan first went to Mumbai, in 2005-06, learning everything he knows about computer graphics and design on his own or with help from his friends. He then worked with Sahara Movie Studios, Mumbai. “My brother worked very hard to pick up what he knows. Those days there were no YouTube videos to learn stuff from. But once he gained a foothold, I joined him. Everything I know, he taught me. My brother guided me into this career,” says Kushan.

The scene from ‘Jalsa’ afterwards

The scene from ‘Jalsa’ afterwards

Kushan remembers being asked why they were relocating to Kochi. “Those were the early days. Industry colleagues could not comprehend our move back home. But, today, in retrospect, they understand. Malayalam is one film industry where the money rotates pretty quickly. Post-production does not take more than 20-25 days. The sheer number of films being made is also huge.”

The first film the brothers did VFX for was Saigal Padugayanu. “One of the things we worked on was the tunnel sequence. When I revisit our work in it, I feel that we could have done so much better than we did. But then it is like that with one’s work, especially the earlier ones.” Puthiya Niyamam followed. These were times when they barely had a handful of films. The turning point was around the corner in the form of Rajeev Ravi’s Kammatti Padam.

“Lavan and Rajeev Ravi had known each other from Mumbai, that connection led to us being part of the film,” Kushan recollects. Kammatti Padam (2016) is located in Kammattipaadam, a locality in Kochi, which no longer exists. The brief was clear, the team had to recreate the area using VFX, among other visual effects they designed for the film. Not only had DTM created the locality but also other elements like building, skyline and the cityscape.

“Though the film made waves, we still did not get too much of work here. We were in two minds about releasing show reels of VFX breakdown when a comment from a friend set the ball rolling. They stared in disbelief when we told them parts of the film were VFX. So we released the showreel.”

That flipped the script. DTM went on to become one of the busiest VFX studios in Kerala. Their portfolio today boasts a long list of films that they have been part of — Trance, Varathan, Ezra, Parava, Ayyappanum Koshiyum, Rorschach, Neymar, Kannur Squad, ARM, Thuramukham, Puzhu, Nna Thaan Case Kodu, Guruvayoor Ambalanadayil, Ullozhuokku…. Some films come as a surprise or rather the presence of VFX in them.

The subtle art of VFX

Kushan laughs, “That is good, isn’t it? It is a win if it goes unnoticed. Also, the lay viewer may not notice it but those from the industry know. VFX and CG often complement art direction.”

Although they had worked in other language films before, as VFX technicians, as DTM one of their first project outside Malayalam was the Tamil film Dikkiloona. Then came the biggies that they were part of, Kannada, Tamil and Telugu films such as Kantara 1, Charlie, Virupaksha, Drishya 2, Vettaiyan, HIT3…which they landed either through their contacts or Malayali technicians working in these industries. They have been part of Hindi films such as Mard Ko Dard Nahi Hota and KILL; they have recently signed on a Dharma Production.

“There was a time when films from Kerala were taken outside the State to get VFX and CG work done. It is a matter of great pride for us that we have been getting some of the biggest Indian movies (as part of the VFX team) like the Kantara movies, Vettaiyan, HIT3 (VFX supervision included) to Kochi, to do the work. We, as in artists in Kerala, are among the best in the business!” He credits the success of DTM to the team, “these are the same people we have known for 20-odd years, the set of people from Mumbai who we hung out with. They are all part of DTM today. Since my brother and I have to travel a lot as part of our work, they are the backbone of our company.” DTM also runs a VFX school, VFX Skool to train budding visual effects designers.

Kushan explains how DTM came to be one of the VFX companies on Hanu-man. “That is how the industry works because if, for instance a single company takes on the entire VFX works of one film then they would not be able to commit to other projects. Often films take time getting made, and economically it does not make sense to be with a solo project. This way, under one VFX supervisor, multiple companies can work on a single film and do other work without feeling ‘stuck’.”

Malayalam projects, he says, wrap up quicker in comparison. “Interestingly, filmmakers outside Kerala wonder about the use of VFX in our films. Which is a compliment to the quality of work of technicians working in Kerala! This year, in 2025, the growth of VFX, if one were to go by the budgets, has been phenomenal. The sky is the limit,” he adds.

Even after 600 films under their belt, Kushan says every film comes with its set of challenges. “But the biggest challenge is delivering on time. We cannot make excuses.”



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Darshana Rajendran: Praveen Kandregula is trying something different with ‘Paradha’ and I am excited to be a part of it


Darshana Rajendran in Paradha 

Darshana Rajendran in Paradha 
| Photo Credit: SPECIAL ARRANGEMENT

Actor Darshana Rajendran speaks of the things she was worried about as she prepared to work in the Telugu film, Praveen Kandregula’s Paradha. It was a “very new world” as an actor because it was her first time in a Telugu film, the metre (as an actor) was unfamiliar, and the budget much larger than Malayalam films, which percolated to other aspects of filmmaking. All of which took time settling into. Then there was “the language and the driving that was involved,” she says over the phone. 

“Fortunately Amishta, my character, is based in Delhi, so her Telugu too is not fluent which gave me peace.”

Darshana Rajendran in a scene from the film

Darshana Rajendran in a scene from the film
| Photo Credit:
SPECIAL ARRANGEMENT

She confesses to being “really worried” about handling the language, unlike Tamil or Kannada, which can be picked up with some degree of ease by Malayalam speakers. With little or no time to learn the language, she enrolled anonymously for online Telugu language classes to understand it better. “The grammar, the usages…I knew I would be able to learn the lines but, as an actor, I wanted to know what was being said to me so that I would be able to respond.” She wanted to be present and intentional in her approach to the role. Incidentally she dubbed for the film in Telugu.

Among the “random things” she did to get a better hang of the language was watching Telugu-dubbed Jaya Jaya Jaya Jaya Hey. “I knew the lines, and the context; so I was able to understand the language and the responses better.” 

What complicated it was that the character spoke very fast, which meant she had to have command over the language. “I have quite a few lines in the movie; so, I spent my mornings, evenings and nights on it,” she adds, laughing. Fortunately sync sound plans were dropped.

With Anupama Parameswaran and Sangeetha Krish in the film

With Anupama Parameswaran and Sangeetha Krish in the film
| Photo Credit:
SPECIAL ARRANGEMENT

She had to work around no one challenge but rather a combination. “I was ready for the challenge, but doing it all together was difficult. It was not just the language. It was a different space for me, because Amishta is not like me.”  

She speaks fondly about how welcome she was made to feel and the affection she was showered with while filming. “The relationship the Telugu audience has with films and their actors is very different. I don’t feel like Hyderabad is not home, I am almost adopted, made friends and feel wrapped in its love.” Though she is a familiar face because of Hridayam and Jaya Jaya Jaya Jaya Hey, the warmth she experienced is special.

After these films she was getting offers from the Telugu film industry, none of which was tempting enough. That was until Praveen approached her. “I knew of him and his film, Cinema Bandi, which I enjoyed. I liked the story, when Praveen narrated it, and the character, immediately. I am very excited to be part of a path breaking film!” The others in the film are Anupama Parameswaran and Sangeetha Krish.

The draw was also that Praveen was attempting something different with Paradha — a story of three women (with three women in the lead) — which was not an indie project but a commercial film, unlike other Telugu films.

Did having another Malayali, Anupama Parameswaran, as part of the movie help? “Anupama had been in the industry for almost 10 years, navigating the industry. . She spends a lot of time there, when she is working. She helped me feel at home; held space for me. She and Sangeetha [Krish] akka saw me through a lot of things while filming!”

She will be in Hyderabad of the release. “I usually keep my parents away from movie release events but this time I have asked them to join me in Hyderabad because I feel we will be experiencing something different!”

Paradha is playing in theatres.

Published – August 22, 2025 09:41 pm IST



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‘Stranger Things’ actor Millie Bobby Brown, Jake Bongiovi adopt a baby daughter


Millie Bobby Brown and Jake Bongiovi.

Millie Bobby Brown and Jake Bongiovi.
| Photo Credit: milliebobbybrown/Instagram

Stranger Things star Millie Bobby Brown and Jake Bongiovi have announced that they have adopted a daughter, their first child since tying the knot.

Brown, 21, and Bongiovi shared the news in a brief statement posted on their respective Instagram pages.

“This summer, we welcomed our sweet baby girl through adoption. We are beyond excited to embark on this beautiful next chapter of parenthood in both peace and privacy. And then there were 3,” they wrote.

Brown and 23-year-old Bongiovi, who is the son of the renowned musician Jon Bon Jovi, got married in a private ceremony in 2024 after their engagement in 2023.

Brown broke out with her role of Eleven in the hit Netflix sci-fi series Stranger Things. She is currently awaiting the release of the fifth and final season of the show in November this year.

ALSO READ: Millie Bobby Brown slams media for ‘bullying’ over appearance

The British actor has also starred in two Godzilla movies as well as films such as Enola Holmes, Damsel and The Electric State.

Published – August 22, 2025 08:19 pm IST



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‘Mega 158’: Chiranjeevi teams up with Bobby Kolli and KVN Productions


Concept poster of ‘Mega 158’.

Concept poster of ‘Mega 158’.
| Photo Credit: KVN Productions/X

Telugu superstar Chiranjeevi has collaborated with director Bobby Kolli. The project was announced the occasion of the veteran star’s 70th birthday.

Tentatively titled Mega 158, the movie will be bankrolled by Venkata Narayana and Lohith N K of KVN Productions. This is the production house’s maiden Telugu project. KVN Productions’ other major projects include the upcoming Vijay-starrer Jana Nayagan, Toxic headlined by Yash and Balan, from Chidambaram, the director of Manjummel Boys.

The makers announced the project with a concept-poster. The poster shows an axe cutting a wall, with the line, “The blade that set the bloody benchmark.” The poster hints at an intense action drama.

Chiranjeevi and Bobby Kolli last collaborated for Waltair Veeraya, produced by Mythri Movie Makers. Bobby Kolli’s previous directorial is Daaku Maharaaj, starring Nandamuri Balakrishna. The film released on January 12, 2025.

ALSO READ: Chiranjeevi-Nayanthara film titled ‘Mana Shankara Vara Prasad Garu’

Other upcoming projects of Chiranjeevi are Vishwambhara, directed by Mallidi Vassishta and Mana Shankara Vara Prasad Garu, directed by Anil Ravipudi and also starring Nayanthara.

Chiranjeevi was last seen in Bola Shankar, directed by Meher Ramesh. The film was a remake of the 2015 Tamil movie Vedalam, starring Ajith Kumar.

Published – August 22, 2025 07:59 pm IST



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Chiranjeevi-Nayanthara film titled ‘Mana Shankara Vara Prasad Garu’


Chiranjeevi in first-glimpse video of ‘Mana Shankara Vara Prasad Garu’.

Chiranjeevi in first-glimpse video of ‘Mana Shankara Vara Prasad Garu’.
| Photo Credit: SHINE screens/YouTube

Chiranjeevi’s upcoming movie with Anil Ravipudi has got a title. The Megastar’s 157th film is called Mana Shankara Vara Prasad Garu. The makers announced the title on the occasion of Chiranjeevi’s 70th birthday.

Earlier, the film was tentatively titled Mega 157. Nayanthara is set to play the female lead in the highly anticipated movie. The movie’s title is drawn from Chiranjeevi’s full name, Konidela Shankara Vara Prasad. The makers announced the title with a video.

The glimpse shows Chiranjeevi in a stylish look, as the veteran star is seen walking with a bunch of commandos behind him. The background music refers to him as “boss” as Chiranjeevi lights a cigarette and walks stylishly in a black suit. The music offers an ode to the popular songs from Chiranjeevi’s films.

The movie is set to release on Sankranthi 2026. Touted to be a family entertainer, Mana Shankara Vaara Prasad Garu is produced by Sahu Garapati and Sushmita Konidela under the banners Shine Screens and Goldbox Entertainment.

ALSO READ: ‘Vishwambhara’ glimpse: Chiranjeevi’s film promises tale of saviour who emerges from chaos

S Krishna and G Adi Narayana have written the movie. Bheems Ceciroleo is the music composer while AS Prakash is the production designer. Tammiraju is the editor.

Published – August 22, 2025 07:22 pm IST





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Bob Odenkirk serves up a ridiculously gory sequel with a side of suburban angst


One more retired assassin hits our screens and delivers on the mission statement of adrenalin-fuelled, bloody action. The sequel to Ilya Naishuller’s Nobody (2021) begins like the earlier film, with Hutch Mansell (Bob Odenkirk) and an extremely good-looking wolf dog being interrogated by government agents.

Nobody 2 (English)

Director: Timo Tjahjanto

Starring: Bob Odenkirk, Connie Nielsen, John Ortiz, Colin Hanks, RZA, Colin Salmon, Christopher Lloyd, Sharon Stone

Runtime: 89 minutes

Storyline: Dad and former government assassin/auditor, Hutch, takes a family vacation, but trouble follows   

Hutch is a retired government assassin/auditor living a quiet life as a suburban dad. He takes on jobs for his handler, the Barber (Colin Salmon), to pay back the $30 million he burned of the Russian obshchak from the earlier film.

After the latest job, Hutch tells the Barber he is taking a break, a family vacation. The Barber sardonically comments, “Wherever you go, there you are.” Hutch convinces his successful real estate agent wife, Becca (Connie Nielsen), teenage son, Brady (Gage Munroe), and daughter, Sammy (Paisley Cadorath), that they could go to Plummerville, the only place his father, David (Christopher Lloyd), a retired FBI agent, took him for a holiday.

He recalls being happy in Plummerville, with its amusement park and duck boat rides, and wants to make new memories with his family. The Mansells set off determined to have a good time, taking David along. When the family reaches Plummerville, however, they find that apart from the amusement park, the water slides, the fun house and a handsome wolf dog up for adoption, the charming town is corrupt to its core.

When Max (Lucius Hoyos), the son of the theme park operator Wyatt (John Ortiz), picks a fight with Brady and decapitates Sammy’s stuffed toy, the gloves come off. And soon, la famille Mansell, including Hutch’s adopted brother, Harry (RZA), are in the fight. Hutch learns from the Barber that Plummerville is an important stop in an illegal pipeline running all manner of contraband.

The stage is set for bone-crushing violence, loud bangs and great balls of fire. At under 90 minutes, Nobody 2, while offering nothing new, delivers on its promise of ridiculous gore served with a side of deadpan angst from Odenkirk.

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It is wonderful to see Sharon Stone, being all husky and wicked with evil-looking talons as Lendina, the mastermind behind the pipeline. Tom Hanks’ son, Colin Hanks, makes for a contrarily clean-cut corrupt sheriff, Abel.

The assassin, government or freelance, has had a long and successful innings in pop culture. Judging by the slew of shows and movies featuring this multi-talented breed, the killer for hire shows no sign of going away and will continue to ply their special trade in the spotlight for our amusement.

Nobody 2 is currently running in theatres

Published – August 22, 2025 06:36 pm IST



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‘Vishwambhara’ glimpse: Chiranjeevi’s film promises tale of saviour who emerges from chaos


Chiranjeevi in ‘Vishwambhara’.

Chiranjeevi in ‘Vishwambhara’.
| Photo Credit: UV Creations/YouTube

The makers of Megastar Chiranjeevi’s Vishwambhara have shared a glimpse of the movie on the occasion of the actor’s 70th birthday. The movie is touted to be a socio-fantasy drama.

Directed by Vassishta and produced by UV Creations, the glimpse introduces a mystical world of Vishwambhara, opening with a conversation between a child and an elderly man about a past destruction caused by selfishness. From this chaos emerges the long-awaited saviour, brought to life by Chiranjeevi in a larger-than-life avatar.

The film stars Chiranjeevi, Trisha Krishnan, Ashika Ranganath, and Kunal Kapoor, with Mouni Roy appearing in a special number. MM Keeravani is composing the music, supported by Bheems Ceciroleo, with Chota K Naidu as cinematographer and AS Prakash as production designer.

ALSO READ: Will stay away from politics: Actor Chiranjeevi

In a major development, Abhishek Agarwal Arts has come on board to present the film in Hindi, ensuring the film’s reach across the country. The film is jointly produced by Vikram, Vamsi, and Pramod of UV Creations. Vishwambhara is scheduled for release in summer 2026 in Telugu, Hindi, Tamil, Kannada, and Malayalam.

Published – August 22, 2025 06:17 pm IST



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