The Hindi film industry is currently entangled in a series of compelling narratives, fronting ongoing challenges and remarkable developments alike. One primary hindrance centers around the latest film by esteemed director Nikkhil Advani, Vedaa, starring John Abraham. As the film approaches its scheduled release date of August 15, Advani has made a public appeal regarding delays in certification by the Central Board of Film Certification (CBFC).
Taking to Instagram, Advani shared a joint post alongside John Abraham, Abhishek Banerjee, and other key stakeholders from the production company. He posted, “We, the producers of Vedaa, feel compelled to share with our fans and supporters that despite our best efforts, we are still to secure clearance and certification from the CBFC of India. Adhering to protocols, we applied for certification well before the prescribed eight weeks to release. Our film was screened for the CBFC on June 25. Post this, we were advanced for a revising committee review without any explanation as to what the esteemed examining committee’s concerns or objections were. It is our earnest request that these words reach those who are able to help us resolve and dissipate this impasse, and have our film certified.”
The appeal is particularly urgent as the slated release date coincides with India’s 75th Independence Day, adding an emotional and symbolic layer to the film’s public debut. Alongside John Abraham, Vedaa also stars Sharvari and Tamannaah Bhatia. The film industry is closely watching how this situation will resolve, given its implications for future productions facing similar bureaucratic obstacles.
In an unrelated yet notable development, veteran filmmaker Shekhar Kapur has been appointed as the festival director for the prestigious International Film Festival of India (IFFI). The Information and Broadcasting Ministry’s official notification confirmed that Kapur, known for his books office hit Mr. India, the gritty biopic Bandit Queen, and the critically acclaimed Elizabeth, will head the festival for the 55th and 56th editions. Slated to be held annually in Goa, the IFFI’s latest appointments have been met with widespread approval within the industry. Kapur, who most recently directed the British comedy What’s Love Got to Do with It?, brings extensive experience and international acclaim to the role. His tenure as the chairperson of the International Competition Jury at the 54th IFFI further underlines his capability. The news of Kapur’s appointment is expected to bolster the festival’s reputation both domestically and internationally.
Meanwhile, the Delhi High Court has called upon the Centre to deliberate on a plea against filmmaker Nisha Pahuja and streaming giant Netflix. The plea, which concerns the documentary To Kill a Tiger, involves allegations that the filmmakers unlawfully revealed the identity of a minor gang rape survivor.
. Set in a Jharkhand village, To Kill a Tiger narrates the harrowing journey of a father seeking justice for his 13-year-old daughter who was sexually assaulted by three men. The survivor, whose identity remains protected under India’s Protection Of Children from Sexual Offences Act, has reportedly not consented to the public revelation. Allegations suggest that “a kind of Stockholm syndrome” influenced her capacity to deny consent explicitly once she turned a major. The court’s intervention underscores the ongoing tension between creative freedom and ethical responsibilities in documentary filmmaking.
For Wamiqa Gabbi, her professional journey has been significantly shaped by her collaboration with renowned director Vishal Bhardwaj. Gabbi has worked with Bhardwaj on several projects, including Khufiya, Charlie Chopra and The Mystery of Solang Valley, Modern Love: Mumbai, and Fursat. Reflecting on her experience, she said, “It’s something that I never thought would happen to me—being Vishal Bhardwaj’s sir muse and working with him on four projects. Because I worked with him for so long, it has affected my choices, and sense of decision-making”. Gabbi’s words resonate with many actors who seek meaningful collaborations that elevate their craft.
In another wave of nostalgia, iconic on-screen pairs from the ’80s are making a comeback. News has emerged of Jackie Shroff and Neelam Kothari, a beloved romantic pair, reuniting after nearly three decades for the song Tu. Known for their chemistry in films like Doodh Ka Karz, Hum Bhi Insaan Hain, Laat Saab, and Antim Nyay, the reunion is being eagerly anticipated by fans, indicative of Bollywood’s penchant for revisiting successful formulas from the past.
Actor-turned-politician Kangana Ranaut has made headlines with her impassioned plea in the Lok Sabha to preserve the cultural heritage of Himachal Pradesh. Representing the Mandi constituency, Ranaut called upon the government to protect traditional art forms, which she noted are on the verge of extinction. Highlighting the regional heritage, she said, “We have the kath kuni style of building houses, the tradition of making clothes from sheep and yak wool, and the musical traditions of Spiti, Kinnaur, and Bharmour. They are all becoming extinct.” Ranaut emphasized the economic potential of Himachali traditional dresses, such as jackets, caps, and sweaters, known to fetch high prices abroad.
On the international front, a film backed by Farhan Akhtar and Ritesh Sidhwani, titled Boong, is set to premiere at the upcoming Toronto International Film Festival (TIFF). Directed by debutant Lakshmipriya Devi, who previously served as a first assistant director on acclaimed films like Luck by Chance and Talaash, as well as Mira Nair’s A Suitable Boy, Boong will debut in the discovery section at the 49th TIFF, to be held from September 5 to 15. This is a significant milestone for emerging Indian filmmakers aiming for international recognition.
As the Hindi film industry navigates these varied narratives, it remains to be seen how each of these stories will unfold—each one emblematic of the art, struggle, and cultural significance of Indian cinema.
