Category: Entertainment

In a landmark initiative to nurture emerging film talent across India, the newly launched Screen Academy — a not-for-profit venture supported by the Lodha Foundation and spearheaded is set to provide fully-funded postgraduate fellowships to aspiring filmmakers. The Academy aims to democratize access to quality film education and will work closely with top Indian film institutes to identify students with extraordinary storytelling talent but limited financial resources. Backed by Icons of Indian Cinema The Academy boasts an impressive and diverse advisory panel featuring Cannes and Oscar winners such as Guneet Monga, Payal Kapadia, Resul Pookutty, and veteran screenwriter Anjum Rajabali, who will head the selection committee. In collaboration with premier institutions like FTII (Pune), SRFTI (Kolkata), and Whistling Woods International (Mumbai), the Screen Academy Fellowships 2025 will fully support tuition and related costs for postgraduate study. More institutions are expected to be added as the initiative scales. Government and Industry Support Maharashtra Chief Minister Devendra Fadnavis lauded the initiative’s timing and Mumbai-based launch, calling it deeply aligned with the city’s historic role in Indian cinema. Anant Goenka, Executive Director of The Indian Express Group, emphasized the need to institutionalize cultural excellence: “We will create an ecosystem that not only celebrates excellence but actively nurtures diverse and promising talent with both financial aid and access.” Abhishek Lodha, Founding Patron from the Lodha Foundation, noted the Academy’s role in India’s soft power: “Films and creative arts are a key strength of our nation, and the Screen Academy will help India become a global leader in this space.” Mentorship and Industry Integration In addition to scholarships, fellows will have access to a robust mentorship programme that includes masterclasses, internships, and long-term industry guidance from leading studios and professionals. Film school directors have welcomed the initiative: A Boost to Storytelling and Screenwriting Panel head Anjum Rajabali called the programme a vital investment in India’s creative ecosystem: “These scholarships will help in driving up the quality of writing and filmmaking in India, providing the industry with a much-needed pipeline of trained talent.” Applications for the fellowship can be made via With a focus on education, representation, and recognition, the Academy promises to become a cornerstone in India’s cultural and cinematic development.

Actor Sanjay Dutt, known for his recent work across pan-India projects, is all set for a packed 2025 with more than three big-budget films lined up for release. Among the most anticipated are ‘The Raja Saab’ with Prabhas and ‘Dhurandhar’ starring Ranveer Singh, both currently slated for release on December 5, 2025. Addressing the potential box office clash between the two films at the teaser launch event of his Kannada film ‘KD – The Devil’, Dutt expressed his hope that the release dates may change. “It’s amazing. Two different kinds of roles I’m playing. Dhurandhar is different, and The Raja Saab is different. I don’t want the films to clash, and I hope they don’t. Every film has its own journey,” the veteran actor said. Reflecting on his experience working in Telugu cinema, particularly alongside Prabhas, Dutt shared a warm anecdote: “I’m trying to learn Telugu because I’m doing a film with Prabhas. He makes me eat a lot! He’s one of the most amazing people and a great actor. I love Chiranjeevi sir—he did Munna Bhai here. I share a great relationship with him.” In a candid moment, Dutt also drew a comparison between Bollywood and Telugu cinema, pointing to what he sees as a loss of artistic drive in his home industry. “I take back the passion which Bollywood has lost. I hope it returns. I miss the passion for making good films back home. Everything has become about numbers in Bollywood, but it should be about passion,” he said. ‘Dhurandhar’, directed by Aditya Dhar, features an ensemble cast including Ranveer Singh, R. Madhavan, Arjun Rampal, and Akshaye Khanna. Meanwhile, ‘The Raja Saab’, directed by Maruthi, stars Boman Irani, Malavika Mohanan, and Nidhhi Agerwal alongside Prabhas. During the Mumbai launch of the teaser for ‘KD – The Devil’, Sanjay Dutt also spoke fondly of the team and expressed his excitement about the upcoming release.

In a delightful surprise for fans of both Bollywood and streaming content, Amazon Prime Video released a lighthearted crossover video featuring Panchayat’s beloved Pradhan ji (played by Raghubir Yadav) and Priyanka Chopra Jonas, star of the newly released action-comedy Heads of State. The unexpected interaction quickly went viral, charming netizens with its quirky humor and nostalgic Phulera charm. What Went Down The video begins with Pradhan ji watching Heads of State on his phone, thoroughly enjoying Priyanka’s performance. With his trademark rustic flair, he remarks, “Sachiv ji, zara dekhiye toh, kya dhamaal machaya hain Priyanka bitiya ne. Hum shubhkaamnayein de dete hain unko,” praising her energy and sending his good wishes. Soon after, he connects with Priyanka Chopra via a video call. Priyanka greets him warmly and jokes, “Arey toh isi baat pe thodi lauki yahaan bhi bhijwa dijiye na. New York mein kahi nahi milti,” referring to the now-iconic lauki (bottle gourd) subplot from Panchayat. Pradhan ji, ever the gracious village head, promises to send her some fresh Phulera lauki. Priyanka joyfully responds, “Dekh raha hai Binod? Humare liye Phulera se lauki aa rahi hai,” giving fans another meme-worthy Panchayat moment. She also complimented Season 4 of Panchayat, telling Pradhan ji he’s the “true winner” of the elections — a nod to the show’s storyline. How the Internet Reacted The charming interaction struck a chord online, with fans flooding social media with reactions: Why It Matters This creative crossover not only celebrates the global appeal of Priyanka Chopra and the desi-rooted charm of Panchayat, but also shows how streaming platforms like Prime Video are bridging gaps between Indian heartland narratives and international entertainment. With Panchayat Season 4 winning hearts and Heads of State adding to Priyanka’s global portfolio, this quirky crossover has offered fans a fun, wholesome treat — and possibly the most iconic lauki delivery in pop culture history.

Rating: ★★½ (2.5/5) The Verdict:Aankhon Ki Gustaakhiyan may not be a perfect film, but it certainly marks a promising debut for Shanaya Kapoor. Earnest performances from the cast and a nostalgic, melodious soundtrack by Vishal Mishra make this romantic drama watchable, even as it struggles under the weight of clumsy execution and a plot that relies too heavily on “how convenient!” moments. 🌟 What Works ❌ Where It Falters 💬 Final Word: Aankhon Ki Gustaakhiyan is the kind of film you want to like. It has heart, a solid cast, and musical soul — but it’s let down by lazy plotting and directorial missteps. Still, Shanaya Kapoor makes a confident debut, Vikrant Massey is endearing, and Zain Khan Durrani gives the audience a new swoon-worthy character. If you’re in the mood for an old-school romantic triangle with modern packaging, give it a shot — just don’t expect fireworks. Verdict: Almost charming, but “almost” isn’t always enough.

Rating: ★½ (1.5/5) In Maalik, director Pulkit attempts to steer Rajkummar Rao away from his usual boy-next-door persona into the dark alleys of 1980s-90s Allahabad as a hardened gangster. It’s a bold move, and one that piques curiosity—can the actor known for his realism and restraint embody a ruthless crime lord? ❌ The Verdict: Not Quite. Despite Rao’s earnest transformation—complete with gruff styling, grim expressions, and a gold-chain-clad persona—the film itself is a tepid and overlong rehash of every gangster trope we’ve seen before. From the rise of the underdog to the inevitable betrayal and downfall, Maalik offers little in the way of novelty or engagement. 🧊 What Doesn’t Work ✅ What Slightly Works 🎭 Cast Highlights: 📝 Final Word: Maalik tries to rebrand Rajkummar Rao as a larger-than-life anti-hero, but the effort is let down by uninspired writing and excessive length. What could’ve been a bold genre switch for Rao ends up being a forgettable detour. Skip it unless you’re a die-hard Rajkummar Rao fan.