Entertainment

Sara Ali Khan, On Movies, Moving To The Beat and Motherly Love.

The svelte Sara Ali Khan ventured into acting with Kedarnath and Simmba. Since then, there has been no looking back for this petite beauty. Since her debut, and following the commercial success of her films, she has gone on to work in a variety of advertisements. Her latest venture, Atrangi Re, saw a Christmas Eve release on Disney+ Hotstar. Produced by Yellow Productions and T-Series, and directed by Aanand L Rai, the film stars Akshay Kumar, Dhanush and Sara Ali Khan in the leading roles. Sara discloses her wish of working with filmmakers Zoya Akhtar and Sanjay Leela Bhansali, her relationship with her mother and her sibling and more in this enticing interview with Lipika Varma.

We have a lot of expectations from director Aanand L Rai’s film. How was your experience working with him?

Insha’Allah, I hope people love it. I would like to say that I had a lot of fun working with [Director] Aanandji. More than anything, what is special about him is that he is an extremely simple person. This is not a simple story. But Aanandji is so simple, emotional, and sensitive that he has managed to present his character in the same light. I have learned so much through Aanandji. Himanshu [Writer] pens it beautifully; both don’t give weightage to the lines as much as the character. He wants you to understand the thought of the character. He wants your eyes to speak differently than your words. This is the first time the director has told me ‘You are mouthing cuss words with your tongue, but your eyes are filled with tears…aankhen ro rahi hai.’ I was like ‘How do I do this?’ Slowly and gradually, I started understanding Aanandji’s language.

‘Chaka Chak’ is a peppy folk number and you have danced so well. How many days have you rehearsed?

It wasn’t that; we were in lockdown. We were shooting in March 2020 in Banaras and then the lockdown happened. No sooner was the lockdown to open that we were to do this song. Thus, I got 5-6 days to shoot. But my body had not moved for so long. I was locked down. We didn’t do anything for almost 6-7 months. All that irritation of not working was put into this song. Vijay Ganguly [Choreographer] made me sizzle to his tune very nicely.

Will we see you working down South? Any discussions in the offing?

I would love to work in every language. Not only South films, but I wish to work in Punjabi films, and Bengali films. Undeniably, I am Indian, and wish to do any film from any territory of our country. I only intend to make a mark of my own first in Hindi films. In the meantime, if I get offered films from any region of our country I shall do it happily. I have yet to get any offers from down South.

Any future films signed?

There will be an announcement. From the very beginning until today the two things that have been important to me is that I want to be a part of stories that deserve to be told and I want to work with filmmakers that will help me perform. I think I am trying to do that with films.

Would you like to name the filmmakers that you wish to work with?

I want to work with everybody. Mr Bhansali, and Zoya Akhtar are the names that excite me, off the top of my head.

Would you like to work for any particular genre?

I don’t think there is any genre I don’t wish to do. Kedarnath, Simmba, Luv Aaj Kal and Atrangi Re are all different films. Whether people appreciate my films or not, I feel good. Even my songs are so different; Aankh Mare is not the same as Chaka-Chak which is not the same as Husnn Hai Suhaana. All are very different. If I can sit in my room and have fun watching YouTube videos of my work my songs, I feel like I have done different stuff. I need to do much more; I would love to explore action

The Professional Side

What are some technical know-hows you have learnt from your co-stars and directors?

All my directors have been very supportive for me. Right from Gattu [Abhishek Kapoor] sir to Aanandji, if the continuity AD comes to remind me of something, they will tell him to go away and encourage me to do whatever I want to do. The technical thing about Aanandji is that he is emotionally very strong. He is sensitive but does not want to limit you technically. You learn so much. I learned that when you scream with blank eyes, it’s irritating. From my co-stars…I remember all the actors, right from Shushant to Dhanush, who’ve told me this – ‘Since this is a tight close-up shot, don’t shake your heads and eyebrows too much. Be natural.’ Varun [Dhawan] and Ranveer [Singh] also all gave me these tips.

Dhanush is known to be a very disciplined actor. Did you give him a tough competition?

Not at all. That was never the intention. It was great as he is so senior. He is a multiple National Award winner. He is called Thalaiva for a reason. I remember, when we were shooting in Madurai, it was so crowded, and people were yelling Thalaiva at the top of their voice. I was like wow, what’s this? He has also worked with Aanandji before and so they had that kind of rapport. Aanandji was like my father figure and Dhanush was like my fairy godmother, that was the dynamic. It was never ‘Actor hai aur usko takkar dena hai!’ That can never happen. No one can give him any competition. He is outstanding. The intention was to be inspired by him and learn from him and perform to the best of my ability.

Do you agree that down South, the fans hero worship actors?

I don’t know about this; all I can say is that people in places all over the world have a different way to do it. When I worked with Ranveer [Singh] and walked with him in malls, people were screaming his name as loudly as they were screaming Thalaiva. If you idolize or are a fan or a well-wisher then the language you follow does not matter. Of course, there is hero worship down South that is more prevalent than with us. But in our industry – with whatever I have gauged through social media – there is an element of aspiration which is not so much about ‘Yeh Bhagwan Hai’ but ‘I can become this,’ especially with the girls in our generation. I feel relatability is an aspect and very important in today’s day and age, rather than that godly kind of fan worship.

The Personal Equation

What did you do during the lockdown?

I spent a lot of my time with my mother and forced my brother to spend as much time as possible with me. I watched movies and read; in fact, I had stopped reading. Life had gotten so busy in 2019. By the end of 2018, two films of mine had seen the light of the day. The entire year of 2019, I was either shooting or doing some brand adverts, working on covers etc. It was a beautiful year for me but very hectic. Between all this, getting time for myself and with my books stopped. So, I think a large part of the lockdown was kind of family time. More than family time, I love my mom and my brother. I was happy to have some, me time. Even if I must sacrifice work sometimes to be with my mom and brother I shall do it. But prioritizing time for myself, and my reading, that was important.

What books did you read?

I did a lot of reading. I finished Anna Karenina which is just a beautiful book and I’m happy about it. I also completed Madame Bovary and finished a lot of [Leo] Tolstoy books consisting of short stories. I read a lot of Russian literature. I read a lot of love poems by William Wordsworth, the nature poet.

December 28, 2021

Exclusive Interview: Nikhil Siddhartha on Swayambhu, Family and Politics

After the pan-India success of Karthikeya 2, Nikhil Siddhartha finds himself at a pivotal phase in his career. The actor is currently gearing up for the release of Swayambhu, one of the most ambitious projects he has undertaken to date, a historical action drama that demanded nearly two-and-a-half years of dedication, extensive physical transformation, and months of post-production work. In a candid conversation with Priyanka Goud, Nikhil opens up about the challenges of mounting a large-scale period film, why he prioritises quality over quantity, how fatherhood has changed his outlook on life, and his belief in using cinema as a tool for social awareness. A Two-and-a-Half-Year Commitment Describing Swayambhu as a project unlike any other in his career, Nikhil revealed that he dedicated nearly two and a half years exclusively to the film.“Some films are easy to make, and some are difficult. Swayambhu falls into the category of films that demand complete commitment. I underwent a significant transformation for the role, growing my hair long, maintaining a specific physique, and immersing myself in the character and story throughout the production period,” he said. A Historical Story with Universal Appeal One of the aspects that attracted Nikhil to Swayambhu was its historical backdrop. Nikhil plays Krishnan Raman, a historical figure whose name appears on ancient copper plate inscriptions that have recently gained attention. “This story is rooted in history, but its themes are universal,” he said. “It’s not confined to one region; audiences across India will be able to connect with it.” The actor also highlighted the growing importance of visual effects in modern filmmaking. Swayambhu reportedly contains nearly 2,700 VFX shots, making post-production one of the most demanding phases of the project. “We completed principal photography in December 2025, but for the last five to six months it has been

Entertainment

Preity Zinta on Batwara 1947, Motherhood and Finding Her Way Back to Cinema

For Preity Zinta, returning to the screen with Batwara 1947 is about more than making a comeback. The period drama allowed her to explore a chapter of India’s history, work with director Rajkumar Santoshi for the first time, and step into a world far removed from her own. But the film also made her reflect on how much life has changed since she began her career, from the freedoms available to women today to the perspective that comes with becoming a mother. For Zinta, Batwara 1947 is ultimately a story about family, resilience and hope, as she tells Lipika Varma in an exclusive conversation. Why did you say yes to doing this film? What touched you the most? There were a couple of things. First, I really wanted to work with Raj ji. I had never worked with him before, so working with him was always on my bucket list. I had also always wanted to do a period film. Beyond that, I genuinely loved the story. What touched me most was that even in the darkest of times, there is always a ray of hope. People may see this as a story about two countries, but for me, it is essentially about a family. I was also deeply affected by stories of families who believed they were leaving their homes temporarily, even burying their jewellery and valuables, thinking they would return. They never imagined they would lose everything forever. Since this is my first period film, I spent time researching and understanding that era. After such a long break from films, why did you choose this project? I was enjoying my personal life, focusing on my family and raising my children. Professionally, I had always wanted to work with Raj ji and also wanted to do a period film.

Entertainment

Exclusive Interview with Sunny Deol: Life Beyond Bollywood

Sunny Deol: “Every Film Leaves Some Kind of Impact” With Batwara 1947, Sunny Deol returns to a story rooted in Partition, family and the human cost of one of the most defining moments in Indian history. The actor reflects on why he sees the film as fundamentally different from Gadar, his long-standing association with director Rajkumar Santoshi, his father Dharmendra’s connection to their shared cinematic history, and the responsibility actors carry when their work leaves a lasting impact on audiences. In conversation with Lipika Varma, Sunny Deol also opens up about playing a character outside the action-driven image audiences often associate with him and working alongside his son Karan. How did you approach the character in this film? For me, it was the subject, the story and the character that I had heard about, and I approached it accordingly. I don’t know exactly what was tweaked. I didn’t read the original play or see it. Vivek Raj had read it, and we had been working on this story since 2010. Unfortunately, we couldn’t make it back then, so we had been waiting all these years. As soon as we got the opportunity, we jumped into it. Sunny, are you happy that your fans, including those in Pakistan, will get to see you in a completely different kind of role this time, without the iconic hand-pump moment or typical action scenes? Actually, I don’t think it’s about that. Fans are always there, and they love you no matter what. Sometimes journalism and politics come into the picture and change the colours of things. But the actual viewer, the person sitting in the theatre and watching the film, doesn’t necessarily look at things that way. They simply watch the film. I’ve met a lot of fans across the country and around the

Entertainment

Akshay Kumar: “The Craft Has Changed, But Hard Work Never Goes Out of Style”

With a career spanning over three decades, Akshay Kumar continues to reinvent himself across genres, from action and comedy to social dramas and entertainers. As he looks ahead to his upcoming projects, including the action-thriller Haiwaan and a lineup of comedy entertainers, the actor reflects on his journey, his approach to cinema, discipline, and why staying connected to the craft remains his biggest priority. In conversation with Lipika Varma, Akshay opens up about his evolving approach to cinema, the importance of teamwork, and the values that guide him both on and off screen. You have played action heroes, comedians, romantic leads, and intense characters. What kind of roles excite you the most today? I enjoy all kinds of roles. When I entered the industry, people mostly saw me as an action hero. After that, I consciously chose to explore different genres and keep discovering myself as an actor. I have done comedy, romance, social dramas, and action films. Every genre brings a different challenge, and that is what keeps the journey interesting. Comedy has been one of your strongest genres. What makes it so special for you? Comedy is definitely one of the hardest genres. Making someone emotional can sometimes be supported by the situation or background music, but making someone genuinely laugh requires precision, timing, and a lot of hard work. Comedy often looks effortless on screen, but there is a lot of discipline behind creating that moment. That challenge is what makes it exciting for me. You have been part of several ensemble films. What is your view on multi-starrers? Everyone has their own approach. Some actors prefer solo films, while others enjoy working in ensemble projects. There is no fixed formula for success. A film works because of its content, storytelling, and execution, not simply because of