“Do Deewane Sahar Mein” Yes, it’s written correctly. The word is 'Sahar', not 'Shahar'. In Urdu, 'Sahar' means “morning”. But this “morning” has nothing to do with the film. Since the film’s hero pronounces “Sh” as “S,” the title also uses “S”. The heroine, however, doesn’t care whether her hero says “Sh” as “S” or even “Ph.” By the end of the film, she still isn’t “phure”, I mean "sure", about their relationship. Director Ravi Udyawar’s work also feels somewhat like that.

The ‘soul’ of Bollywood is returning to Hindi films, and it seems that what Hindi audiences have desperately been missing for at least the past two decades is now being served back to them. Be it music, explosive action, or unbelievable villains standing tall, far away from the real world. After several recent films, ‘O Romeo’ also proves this point.

For cinephiles who grew up on Abbas-Mustan’s taut thrillers like Khiladi, Baazigar, Soldier, Ajnabee, and Humraaz, it is nothing short of heartbreaking to see the duo associated with films like Kis Kisko Pyaar Karoon. The bigger mystery, however, is what compelled them to revisit the same formula with Kis Kisko Pyaar Karoon 2.

In its nearly two-hour runtime, 'Mardaani 3' gives away key plot turns too early. Before Ramanujan’s identity is revealed, it’s already clear he’s the antagonist. Similarly, Fatima’s undercover role becomes obvious well before the script confirms it.

When the curtains rise on the 24th Pune International Film Festival (PIFF) this January, the spotlight will not only shine on world cinema but also on the enduring brilliance of Guru Dutt—one of India’s most revered filmmakers, directors, and actors.

​When a VCR first arrived in our village, we didn’t even know what a cinema was. The owner would sell tickets in a big hall and play films on a colour TV. He was a friend of my father, so one day he invited us children to watch a movie. Our whole family went. The film was ‘Jai Santoshi Maa’, and I must have been three or four years old.