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

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.

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