Actor Ranveer Singh has landed in legal trouble following a controversy surrounding his public remarks and stage performance at the International Film Festival of India (IFFI) 2025. Months after facing criticism online, an FIR has now been registered against the actor at the High Grounds Police Station in Bengaluru, as reported by NDTV. The complaint alleges that Ranveer insulted Hindu religious sentiments and disrespected the Chavundi Daiva tradition of coastal Karnataka.

According to the FIR, the case has been registered under Sections 196, 299, and 302 of the Bharatiya Nyaya Sanhita (BNS). The complaint was filed by Bengaluru-based advocate Prashanth Methal, who accused the actor of making derogatory remarks and performing a mocking stage act that allegedly demeaned sacred elements of the Daiva worship tradition.

The incident in question reportedly took place on November 28, 2025, during the closing ceremony of IFFI in Goa. Actor Rishab Shetty, whose film Kantara: A Legend – Chapter 1 draws heavily from the Daiva worship traditions of Karnataka’s coastal belt, was also present at the event. Ranveer Singh took to the stage and imitated a Daiva possession scene performed by Rishab in the Kantara films, which soon sparked backlash from sections of the audience and social media users.

In his complaint, advocate Prashanth Methal alleged that Ranveer imitated expressions associated with Panjurli and Guliga Daiva in a crude, comical, and derogatory manner. The complaint further claimed that Ranveer referred to Chavundi Daiva as a “female ghost,” a description the complainant said was deeply offensive and factually incorrect. According to the advocate, Chavundi Daiva is a revered guardian deity symbolising divine feminine energy in the coastal regions of Karnataka, and referring to the deity as a ghost amounted to a serious misrepresentation.

The FIR stated that such remarks and actions hurt the religious sentiments of devotees who hold the Daiva tradition sacred. The complainant maintained that the stage act trivialised an ancient spiritual practice and crossed the line between appreciation and mockery.

The matter has now been referred to the 1st Additional Chief Metropolitan Magistrate (CMM) Court in Bengaluru and is scheduled for a hearing on April 8. Notably, a private complaint had been filed earlier on December 27 last year before the Additional Judicial Magistrate in Bengaluru. Subsequently, on January 23 this year, the court directed the High Grounds Police Station to register an FIR under Section 175, clause 3 of the Bharatiya Nyaya Sanhita, leading to the current proceedings.

Following widespread criticism and outrage on social media, Ranveer Singh issued a public apology. In a note shared online, the actor clarified that his intention was never to offend religious sentiments. “My intention was to highlight Rishab’s incredible performance in the film,” Ranveer wrote. “Actor to actor, I know how much it takes to perform that particular scene the way he did, for which he has my utmost admiration.”

He further added, “I have always deeply respected every culture, tradition, and belief in our country. If I’ve hurt anyone’s sentiments, I sincerely apologise.” Despite the apology, the controversy continued to gain traction, with several users calling the act insensitive and disrespectful, particularly given the cultural and spiritual significance of the Daiva tradition.

Videos from the IFFI event that circulated online showed Ranveer praising Kantara Chapter 1 before referring to a scene as one where “the female ghost (Chamundi daiva) enters your body.” He then proceeded to imitate the possession sequence on stage. This reportedly happened despite Rishab Shetty having earlier requested Ranveer not to recreate the act publicly.

While some defended Ranveer’s intent as admiration for a fellow actor’s performance, critics argued that sacred rituals and spiritual traditions should not be reduced to performative mimicry on public platforms. The controversy reignited broader discussions around cultural sensitivity, representation, and the responsibilities of public figures when engaging with religious and traditional practices.

As the legal process unfolds, the case is expected to draw continued attention, especially given the popularity of Kantara and the cultural significance of Daiva worship in Karnataka. All eyes will now be on the upcoming court hearing as authorities examine whether the actor’s actions constitute a legal offence under the Bharatiya Nyaya Sanhita.

With O’ Romeo, Triptii Dimri isn’t merely adding another project to her fast-expanding filmography—she is making a deliberate, powerful pivot into a space defined by emotional volatility, violence, and raw human intensity. The film marks a significant turning point in her career, positioning her in a darker, more complex cinematic landscape that demands vulnerability, restraint, and fearless immersion. For Triptii, O’ Romeo is not just a role; it is a long-cherished dream collaboration coming to life under the direction of master filmmaker Vishal Bhardwaj.

Vishal Bhardwaj, celebrated for his poetic storytelling, morally ambiguous characters, and atmospheres steeped in tension, offers actors a rare kind of creative playground. His worlds are layered, unpredictable, and emotionally charged—spaces where performances matter as much as silence. For Triptii, stepping into this universe is both a challenge and an opportunity, one she has embraced with remarkable conviction.

The recently released trailer of O’ Romeo makes it immediately clear that Triptii is charting new territory. Known earlier for her soft charm and quiet emotionality, the actress takes a striking detour here, shedding familiarity to step into something far more intense. As Afsha, she presents a character that is visually stripped down, emotionally loaded, and controlled—someone whose inner turmoil simmers beneath a composed exterior.

Afsha is not designed to seek sympathy or easy validation. Instead, she exists in the grey zones that Vishal Bhardwaj is known for—where love is obsessive, emotions are dangerous, and choices carry consequences that echo violently. Triptii’s portrayal reflects her growing confidence as an actor who refuses to be predictable. She allows discomfort, silence, and restraint to do the heavy lifting, trusting the material and her own instincts.

What makes this performance particularly compelling is how Triptii holds her ground in a world shaped by Vishal Bhardwaj’s distinctive vision. Rather than getting lost in the weight of his storytelling, she adds gravity to it. Her individual presence and acting range flourish under his directorial guidance, resulting in a performance that feels both grounded and deeply unsettling.

Triptii doesn’t merely exist within the narrative—she propels it. Her character carries emotional stakes that influence the film’s trajectory, adding depth and unpredictability to the story. It’s a collaboration that reshapes expectations from a romantic-action drama, transforming it into something more obsessive, high-octane, and spine-chilling.

O’ Romeo promises a cinematic experience that thrives on intensity—where passion is not gentle, love is not safe, and emotions push characters toward destructive edges. Triptii’s Afsha becomes a reflection of that chaos, embodying emotional complexity without overt dramatization. Her performance signals a clear evolution—one that prioritizes storytelling over comfort and risk over repetition.

This film also reinforces Triptii Dimri’s growing reputation as an actor chasing cinema rather than formulas. Each career choice appears increasingly intentional, aimed at expanding her range and redefining how she is perceived on screen. Collaborating with Vishal Bhardwaj, a filmmaker known for extracting unforgettable performances, is a decisive step in that direction.

If early excitement and audience anticipation are anything to go by, O’ Romeo could easily become one of the most talked-about collaborations of Triptii’s career. It places her at the intersection of poetic violence, emotional obsession, and character-driven storytelling—territory that not only challenges her craft but elevates it.

With O’ Romeo, Triptii Dimri signals that she is ready to inhabit complex worlds, confront darker emotions, and anchor stories that linger long after the screen fades to black. And in Vishal Bhardwaj’s cinematic universe, she seems to have found the perfect canvas to do just that.

Actor-producer Richa Chadha continues to redefine her creative journey with an exciting new venture that expands her storytelling universe beyond fiction. Known for her bold choices, fearless performances, and deep-rooted commitment to meaningful narratives, Richa is now set to explore the non-fiction space with an upcoming series focused on travel, culture, and the human stories that shape places and communities.

This new project marks a significant milestone in Richa’s evolution as a creator. While she has consistently delivered powerful performances on screen, her transition into producing has allowed her to tell stories that reflect her worldview—honest, layered, and socially resonant. With this non-fiction series, Richa takes a fresh leap, blending real-world exploration with cultural discovery, and bringing lived experiences to the forefront.

The upcoming series will offer audiences an immersive journey into the heart of Bharat’s diverse cultural landscape. From its varied traditions and histories to the everyday lives of people across regions, the show promises a vibrant tapestry of stories that celebrate India’s richness in all its complexity. What sets this project apart is Richa’s sharp observational lens and empathetic sensibility, which will guide the narrative beyond surface-level travel content into something more intimate and reflective.

For Richa, storytelling has always been about people—their struggles, resilience, contradictions, and connections. This philosophy carries seamlessly into her non-fiction ambitions. The series aims to uncover untold narratives and lesser-known perspectives, inviting viewers to pause, observe, and engage with cultures that are often overlooked or misunderstood. It’s not just about destinations, but about the soul of places and the voices that define them.

Richa’s foray into non-fiction further solidifies her status as a multi-hyphenate film personality—an actor, producer, and now a creator who is unafraid to explore new formats. Her debut production, Girls Will Be Girls, earned widespread acclaim at international film festivals, establishing her as a producer with a strong, distinctive voice. The film’s global recognition underscored her commitment to bold, nuanced, and emotionally honest storytelling—values she continues to uphold with each new project.

Speaking about this new chapter, Richa Chadha shared her perspective on why non-fiction storytelling feels like a natural progression. “I’ve always believed that stories exist everywhere—in people, in places, in cultures we’ve never paused to understand,” she said. “With this non-fiction series, I want to explore that world with curiosity and compassion. As an artist, it’s important to keep experimenting, keep growing, and keep challenging yourself.”

She further reflected on her journey as a producer, adding, “Girls Will Be Girls was my first step in that direction, and this new series is another leap into a space that excites me deeply. I’m eager to bring real stories of travel, heritage, and human connection to life.” Richa also revealed that this isn’t her first brush with the format. During the second wave of COVID-19, she experimented with similar content through KINDRY, which served as a test run and reaffirmed her belief in the emotional impact of such storytelling. “I know this kind of content will touch the hearts of Indians all over the world,” she added.

The series is expected to spotlight diverse landscapes, cultural histories, and personal narratives, encouraging audiences to see familiar places through fresh eyes. By focusing on authenticity and emotional depth, the project aims to inspire curiosity, empathy, and a renewed appreciation for the interconnectedness of people and cultures.

While details regarding the format, platform, and release timeline are yet to be announced, anticipation around the project is already building. With Richa Chadha at the helm, audiences can expect a non-fiction series that goes beyond conventional travel shows—one that resonates on a human level and reflects her enduring passion for stories that matter.

As Richa continues to push creative boundaries across fiction and non-fiction, this new venture stands as a testament to her evolving artistic vision—one that embraces experimentation, cultural dialogue, and the power of real stories to connect us all.

Filmmaker Vipul Amrutlal Shah is back with a bold new chapter as he gears up for the release of his upcoming film The Kerala Story 2: Goes Beyond. The makers have unveiled a gripping new motion poster, instantly drawing attention for its haunting visuals and emotionally charged tone. Packed with fear, pain, and simmering rage, the poster promises a sequel that intends to push boundaries far beyond what audiences experienced in the first installment.

The newly released motion poster features the tear-streaked faces of women frozen in expressions of terror and anguish. Each frame conveys a sense of suffering and defiance, hinting at darker truths and intense storytelling ahead. The visuals strongly suggest that The Kerala Story 2 will explore themes of deception, humanity, and hatred at a much deeper and more disturbing level. The motion poster also reveals that the film’s official teaser will be released on January 30, further raising anticipation among viewers.

Earlier, industry sources revealed that the film was shot under extraordinary security measures. Producer Vipul Amrutlal Shah reportedly wanted to avoid any controversy or content leaks during filming. As a result, the production followed strict confidentiality protocols, including a no-phone policy on set. Cast and crew were said to have no access to their mobile devices throughout the shoot to ensure that nothing from the film’s content was leaked before release. The entire project was filmed in a highly controlled and secured environment, highlighting the sensitivity of its subject matter.

View this post on Instagram

A post shared by Sunshine Pictures Ltd (@sunshinepicturesofficial)

The Kerala Story 2: Goes Beyond is produced under the banner of Sunshine Pictures and marks the collaboration of an accomplished creative team. The film is directed by National Award-winning filmmaker Kamakhya Narayan Singh and written by Amarnath Jha along with Vipul Amrutlal Shah. Aashin A. Shah serves as co-producer.

Adding to the emotional depth of the project is the film’s music composed by Mannan Shaah, with powerful lyrics written by Manoj Muntashir — a combination known for delivering stirring soundtracks.

The film is slated for a theatrical release on February 27, 2026, setting the stage for what could become one of the most talked-about and controversial films of the year. With its intense subject matter, secretive production process, and unsettling teaser visuals, The Kerala Story 2: Goes Beyond is already generating strong curiosity and debate.

As anticipation builds, audiences are preparing for a sequel that promises not just storytelling — but a cinematic experience that challenges, provokes, and pushes emotional limits.