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Saif Ali Khan Reveals Why He Shut Down His Production House

Shweta Ghadashi
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Saif Ali Khan Reveals Why He Shut Down His Production House

There was a time when Saif Ali Khan was not only choosing different kinds of films as an actor but was also building his own production company in Bollywood. His banner Illuminati Films backed several movies that later became popular among audiences. However, despite the success, Saif eventually decided to step away from film production.

In an interview with SCREEN, Saif spoke about why he shut down Illuminati Films, which he started in 2009. The actor admitted that producing films became difficult and emotionally tiring over time. “I think it can be an extremely thankless job,” Saif said while talking about his experience as a producer.

Illuminati Films began its journey with Love Aaj Kal, directed by Imtiaz Ali. The film became a major success and was followed by projects such as Agent Vinod, Cocktail, Go Goa Gone and Happy Ending. Many of these films later developed a strong fan following.

Saif said he enjoyed the creative side of production, especially discussions related to the film’s look, sound and overall presentation. However, he also explained that handling production came with many challenges. “But it’s very creative. I like the idea of having an idea and discussing some creatives like the sound and look of things. I did enjoy producing, but it can also be a massive pain,” he shared.

The actor also credited producer Dinesh Vijan and Eros International for the success of Illuminati Films. Saif and Dinesh worked together for several years before parting ways professionally in 2014. Speaking about their collaboration, Saif said, “Things move, people move. You see it all over the place. Dinesh has gone on to become a wonderful producer, and that’s great. We had our time, and I did extremely well out of it, and it had a lot to do with what Eros was doing at the time. It was a wonderful opportunity. But some things are meant to last however long they do.”

After leaving Illuminati Films, Dinesh Vijan built Maddock Films into one of the leading production houses in Hindi cinema with films like Badlapur, Hindi Medium, Mimi, Chhaava, Stree, Bhediya and Munjya.

Saif also praised Shah Rukh Khan’s Red Chillies Entertainment while talking about his Netflix film Kartavya. Speaking about Shah Rukh as a producer, he said, “Actually, as a producer, he hasn’t made his presence felt in the film.”

Star Wars: The Mandalorian and Grogu Review | Little Grogu steals the show

Nitin Jain
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Star Wars: The Mandalorian and Grogu Review | Little Grogu steals the show

After spending the last few years building its presence through streaming shows, Star Wars finally returns to theatres with Star Wars: The Mandalorian and Grogu, a film that carries far more responsibility than a routine franchise release. Directed by Jon Favreau, the movie continues the journey of Din Djarin and Grogu, the unlikely duo who gradually became the emotional heart of modern Star Wars.

Set after the events of Season 3, the story follows the Mandalorian taking up assignments connected to the New Republic while another galactic conflict quietly grows in the background. Pedro Pascal returns as Din Djarin, once again bringing a calm and restrained screen presence to a character who spends most of the film hidden behind a helmet. The film also introduces new faces like Sigourney Weaver as Colonel Ward and Jeremy Allen White as Rotta the Hutt, the son of Jabba the Hutt.

At the centre of the film is still the relationship between Din Djarin and Grogu, and thankfully that emotional connection remains the strongest part of the experience. Unlike several recent Star Wars projects that leaned heavily on nostalgia and complicated lore, this film works best when it keeps things simple and personal. Grogu once again becomes the soul of the narrative. Even without speaking a single word, the Yoda-like creature communicates emotions clearly through expressions, gestures and movement. His scenes are funny, warm and unexpectedly touching. Since the Mandalorian himself is rarely seen without his helmet, it is Grogu who naturally draws the audience’s attention almost every time he appears on screen.

The later portions of the film especially give Grogu several memorable moments that balance humour, emotion and imagination. The filmmakers deserve credit for how effectively they use animatronics, puppetry and visual effects to make the character feel alive. Even viewers unfamiliar with deeper Star Wars mythology can easily connect with him because his emotions are visually so clear and expressive.

The film also attempts to expand its scale beyond the streaming series. There are larger action set pieces, aerial chases and gladiator-style fights involving several strange alien creatures. One sequence featuring grotesque monsters emerging from swampy depths is visually creative, while the confrontation involving Rotta the Hutt adds some chaotic fun to the adventure. The CG work and visual effects remain polished for the most part, helping the film achieve the look of a proper theatrical spectacle.

There are also a few entertaining side characters scattered throughout the film. One particularly amusing addition is Hugo, an overexcited four-armed street vendor voiced by Martin Scorsese, whose brief scenes add an unexpected layer of humour.

Still, despite its entertaining moments, the film never fully reaches the level of excitement expected from a major Star Wars theatrical comeback. The action scenes are decent but rarely breathtaking, and the overall structure often feels closer to an extended streaming episode than a truly grand cinematic event. Throughout the film, there is a feeling that audiences have seen many of these ideas before, whether it is rescue missions, imperial remnants or giant creature battles. Very little here feels genuinely fresh or unforgettable.

Nevertheless, the film remains enjoyable because of its emotional simplicity and the undeniable charm of Grogu. It may not redefine Star Wars, but it clearly understands what audiences loved about The Mandalorian in the first place. For longtime Star Wars fans, this remains a satisfying one-time watch, and for viewers who simply adore Grogu, the film delivers enough lovable moments to make the journey worthwhile.

Movie : Star Wars: The Mandalorian and Grogu
Directed by: Jon Favreau
Based on: Characters by George Lucas
Featuring: Pedro Pascal, Jeremy Allen White, Brendan Wayne, Lateef Crowder, Sigourney Weaver
Music by: Ludwig Göransson
Theatrical Release date: May 22, 2026
Running Time: 2hrs 12mins

Chand Mera Dil Review | Romantic Drama

Nitin Jain
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Chand Mera Dil Review | Romantic Drama

Chand Mera Dil arrives at a time when relationship dramas are either trying too hard to appear glossy or are completely dependent on social media styled romance. What makes Vivek Soni’s film stand apart is that beneath its soft romantic title lies a heavier and emotionally twisted story about two young people trying to navigate love, responsibility and adulthood together.

After Tu Meri Main Tera Main Tera Tu Meri, Ananya Panday once again chooses a character that carries emotional conflict and so-to-say sacrifice in love, but Chand Mera Dil pushes that emotional space into darker territory. Her character Chandani is not written like a helpless romantic heroine waiting for life to happen around her. She is expressive, emotional and at times even stronger than Aarav, played by Lakshya.

The title Chand Mera Dil almost feels like a statement from Aarav, who silently falls deeply in love with Chandani lovingly addressed as Chand. Interestingly, Chandani, who metaphorically becomes the “Chand” of the story, is the one who takes charge of the relationship and pushes the romance forward. Their chemistry begins with the warmth and innocence of a youthful campus romance before the narrative slowly slips into emotionally heavier territory.

As expected in stories centered around impulsive young love, romance soon leads to consequences. A sudden turn of events transforms the couple into young parents, and from there Chand Mera Dil shifts into a much more serious relationship drama. The film touches upon career pressure, fractured families, emotional incompatibility and the burden of adulthood arriving too early. Most importantly, the narrative also addresses domestic violence, which becomes one of the central emotional conflicts in the story.

Vivek Soni appears completely comfortable handling this emotional space. He understands modern relationships and presents emotional discomfort without turning the film into something overly preachy. While the storyline may not be entirely new, the treatment gives Chand Mera Dil an intense and layered feel. Most of the drama remains confined between the lead pair, while the supporting characters largely remain on the sidelines witnessing the emotional collapse of the relationship.

A special mention for one of the film’s better creative choices comes through its dance sequences. Chandani’s performances at the beginning and towards the climax leave a strong visual impact because of their unique choreography. Instead of presenting traditional dance in a routine manner, the film smartly blends classical movements with contemporary styling and staging. The choreography not only elevates the visual appeal of those scenes but also quietly reflects the metaphorical combination of traditions and new age thinking blending together.

Ananya Panday once again proves that she can handle emotionally vulnerable roles with maturity and restraint. Her breakdown scenes and moments of conflict feel controlled rather than exaggerated. Lakshya, after the aggressive intensity of Kill, transitions comfortably into a softer and emotionally conflicted romantic lead. Together, both actors manage to hold the film together even when the screenplay occasionally enters familiar territory.

Chand Mera Dil also leaves behind a few noteworthy dialogues. One particularly effective moment comes when Chandani expresses that while she may be in love, respect matters more to her than love. Another impactful scene revolves around compatibility versus compromise in relationships, something that many younger audiences may strongly relate to today.

At its core, Chand Mera Dil is less interested in presenting fairy tale romance and more focused on showing the emotional cost of impulsive decisions. The film subtly comments on how today’s youth often feel trapped between ambition, careers, expectations and personal relationships. Love exists in the story, but survival, dignity and self respect slowly become equally important.

The romantic sounding title eventually unfolds into a tragic yet ‘legendary’ love story that feels emotionally bruised rather than dreamy. Chand Mera Dil may not reinvent the romantic drama genre, but it succeeds in delivering a mature and emotionally heavy relationship drama targeted at younger audiences.

Overall, it works as a one time watch tragic romantic drama that leaves behind a few thoughtful moments despite its familiar setup.

Movie: Chand Mera Dil
Directed by: Vivek Soni
Featuring: Ananya Panday, Lakshya
Theatrical Release Date: 22 May 2026
Run Time: 2hrs 15mins

Krishnavataram Part 1 Crosses Rs. 20 Crore But Big Challenge Still Remains

Shweta Ghadashi
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Krishnavataram Part 1 Crosses Rs. 20 Crore But Big Challenge Still Remains

Krishnavataram Part 1: The Heart continued its run at the Indian box office by collecting around Rs. 1 crore on its second Wednesday. With this, the total collection of the mythological fantasy drama has reached approximately Rs. 20.60 crore nett in India.

The film is expected to finish its second week with collections close to Rs. 21.50 crore. However, trade experts believe the movie will need a major jump in collections during the third week if it wants to reach a stronger final total at the box office.

The film stars Siddharth Gupta, Sanskruti Jayana, Sushmitha Bhat, and Nivaashiyni Krishnan in important roles. Expectations from the movie were high because mythological films have recently shown strong box office growth in India. Some trade analysts expected Krishnavataram Part 1 to follow a similar trend to films like Mahavatar Narsimha and Laalo Krishna Sada Sahayate.

So far, that kind of growth has not happened. Even so, there is still some hope because mythological films can sometimes show unexpected jumps after weeks in theatres. For example, Laalo Krishna Sada Sahayate reportedly had a slow start and later gained strong audience support. Similarly, Mahavatar Narsimha opened with only Rs. 1.25 crore nett on its first day but later showed major growth over the weekend and eventually collected around Rs. 170 crore nett in Hindi.

At present, the budget of Krishnavataram Part 1 is being seen as high compared to its current box office performance. The coming weeks will decide whether the film can attract a larger audience and improve its collections.

The day wise box office collections of Krishnavataram Part 1: The Heart in Hindi are as follows:

Previews collected Rs. 0.40 crore.
Friday collected Rs. 1.05 crore.
Saturday collected Rs. 2.15 crore.
Sunday collected Rs. 3.20 crore.
Monday collected Rs. 1.05 crore.
Tuesday collected Rs. 1.55 crore.
Wednesday collected Rs. 1.15 crore.
Thursday collected Rs. 1.20 crore.

In the second week, the film collected Rs. 1.00 crore on Friday, Rs. 2.00 crore on Saturday, Rs. 2.85 crore on Sunday, Rs. 0.80 crore on Monday, Rs. 1.20 crore on Tuesday, and around Rs. 1.00 crore on Wednesday.

The total India collection currently stands at Rs. 20.60 crore nett.

Duffer Brothers Say Fans Will Have to Wait 20 Years to Learn Eleven’s Fate

Kriti Pandey
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Duffer Brothers Say Fans Will Have to Wait 20 Years to Learn Eleven’s Fate

The mystery surrounding Eleven’s fate at the end of Stranger Things isn’t going away anytime soon, at least if creators Matt Duffer and Ross Duffer have their way. During a live recording of the Happy Sad Confused podcast hosted by Josh Horowitz, the Duffer Brothers joked that fans may have to wait two decades before they reveal what really happened to Eleven following the series finale. Ross Duffer playfully suggested that if people are still talking about the show 20 years from now, he would finally explain everything. Until then, the creators appear determined to keep one of the franchise’s biggest mysteries unresolved.

The approach mirrors the strategy used by David Chase, who spent years refusing to definitively answer questions about the ending of The Sopranos. The ambiguity surrounding Tony Soprano’s fate became one of television’s most discussed endings, and the Duffers seem content to let fans debate Eleven’s future in a similar way.

The conversation also addressed a popular fan theory involving a heartbeat-like sound heard shortly before the bridge collapse in the finale. Many viewers interpreted the sound as evidence that Eleven survived. However, Matt Duffer explained that the sound was originally scripted as a distorted brick noise that was intended to possibly resemble a heartbeat without providing a definitive answer.

That clarification has done little to settle the debate.

Interestingly, several cast members have offered their own interpretations of the ending. Caleb McLaughlin, Sadie Sink and Gaten Matarazzo have all suggested in interviews that they believe Eleven did not survive the events of the finale.

According to the Duffer Brothers, those opinions surprised them, as the actors never checked with the creators before sharing their personal conclusions.

The uncertainty has only fueled fan speculation. Since the finale aired, viewers have dissected scenes, audio cues and visual details in search of clues about Eleven’s ultimate fate. Every new interview seems to generate another theory, keeping discussion alive long after the series concluded.

For now, the creators are offering no definitive answers. Whether Eleven survived, sacrificed herself, or met another fate entirely remains one of the biggest unanswered questions in the Stranger Things universe.

If the Duffer Brothers stick to their joke, fans may have to wait until 2046 before they finally learn the truth.

Kylie Jenner’s Flirty ‘Daddy’ Comment on Timothée Chalamet TikTok Sends Fans Into a Frenzy

Kriti Pandey
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Kylie Jenner’s Flirty ‘Daddy’ Comment on Timothée Chalamet TikTok Sends Fans Into a Frenzy

Kylie Jenner has once again given fans a rare glimpse into her relationship with Timothée Chalamet, and it only took one word to set the internet buzzing. On May 20, Jenner caught social media’s attention after commenting “daddy” under a TikTok video shared by Page Six showing Chalamet arriving at Madison Square Garden for Game 1 of the Eastern Conference Finals between the New York Knicks and Cleveland Cavaliers.

The video featured Chalamet making his way into the arena wearing an oversized graphic sweatshirt while surrounded by fans and security. While the clip itself quickly gained traction online, it was Jenner’s playful comment that became the main talking point.

Fans immediately flooded the comments section with reactions, with many joking that Jenner had simply said what everyone else was thinking. Others praised the couple for becoming more comfortable sharing glimpses of their relationship in public.

The cheeky comment is the latest example of Jenner publicly showing affection for Chalamet, despite the pair largely keeping their romance out of the spotlight. Over the past year, the couple has occasionally shared lighthearted moments that have fueled fan interest in their relationship.

Jenner previously sparked conversation online when she reposted a TikTok referencing a memorable scene from the HBO series Sex and the City. In the clip, Kim Cattrall’s character Samantha Jones jokes that she only gets intimate with her basketball-obsessed boyfriend when the New York Knicks win. Fans interpreted Jenner’s repost as a playful nod to Chalamet’s well-known devotion to the Knicks.

kylie jenner
Kylie Jenner’s Flirty ‘Daddy’ Comment On Timothée Chalamet Tiktok Sends Fans Into A Frenzy 2

The relationship between Jenner and Chalamet first became public in 2023 after reports linked them romantically following Paris Fashion Week. Since then, they have been spotted together at major events including concerts, award shows, tennis matches and NBA games.

Their relationship reached another milestone in 2025 when they made their official red carpet debut at the David di Donatello Awards in Italy.

More recently, Chalamet publicly acknowledged Jenner during his acceptance speech at the 2026 Critics Choice Awards, thanking her for being his partner and expressing his love and appreciation. The moment marked one of the actor’s most direct public comments about their relationship.

Sources close to the couple have previously described the romance as both serious and fun, noting that they have developed strong relationships with each other’s families while balancing busy professional schedules.

While neither Jenner nor Chalamet regularly share details about their private life, moments like a single TikTok comment continue to generate outsized attention. Judging by the reaction online, Jenner’s one-word message may have been brief, but it was enough to send fans into a frenzy.

Jeff Bezos Defends Amazon’s $75 Million Melania Documentary Deal

Kriti Pandey
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Jeff Bezos Defends Amazon’s $75 Million Melania Documentary Deal

Jeff Bezos is pushing back against criticism surrounding Amazon’s reported $75 million investment in the documentary Melania, insisting that he had no role in the deal while defending the project as a sound business decision. Speaking during an interview on CNBC’s Squawk Box, Bezos addressed speculation that Amazon’s acquisition of the documentary was an attempt to build goodwill with President Donald Trump and First Lady Melania Trump.

“The Melania thing is a falsehood that will not die,” Bezos said, rejecting reports that he was personally involved in discussions about the project during a visit to Trump’s Mar-a-Lago resort. According to Bezos, both Amazon and Melania Trump’s office have repeatedly denied claims that he played any part in securing the documentary.

The project reportedly cost Amazon around $35 million in licensing fees, with an additional $40 million spent on marketing and promotion. Directed by Brett Ratner, the documentary earned approximately $16 million at the worldwide box office during its theatrical run.

While those numbers fall far short of recouping Amazon’s reported investment through ticket sales alone, Bezos argued that the film should not be judged solely on theatrical revenue. He claimed that audience interest in Melania Trump helped drive strong performance both in cinemas and on streaming platforms.

Objectively, the box office total would be considered disappointing for a traditional studio release. However, within the documentary genre, a $16 million global gross is relatively significant. Recent documentary releases have struggled to reach those numbers, making Melania one of the stronger theatrical performers in the category, even if its acquisition and marketing costs were unusually high.

Bezos also used the interview to emphasize that Amazon is a massive company that makes many decisions independently of him. To illustrate that point, he referenced Project Hail Mary, one of Amazon MGM’s biggest recent successes, saying he had no involvement in greenlighting that project either.

“I wish I had greenlit that, but I didn’t,” Bezos said, arguing that assumptions about his direct involvement in every major Amazon decision are often inaccurate.

He also dismissed suggestions that the documentary was intended to buy political influence, calling the theory incorrect. According to Bezos, the decision was made by Amazon’s entertainment team based on business considerations rather than political motivations.

During the same interview, Bezos spoke positively about Trump’s second term, describing the president as “more mature” than during his first administration. He argued that business leaders should maintain relationships with government officials regardless of political affiliation and said that providing input to an administration is important no matter who occupies the White House.

The controversy surrounding Melania highlights the growing scrutiny faced by major media and technology companies when business decisions intersect with politics. Whether the documentary ultimately proves profitable for Amazon remains unclear, but Bezos remains adamant on two points: he says he had nothing to do with the deal, and he believes the company’s team made a smart business decision in pursuing it.

Pati Patni Aur Woh Do Crosses Rs. 25 Crore Despite Slow Box Office Trend

Shweta Ghadashi
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Pati Patni Aur Woh Do Crosses Rs. 25 Crore Despite Slow Box Office Trend

Pati Patni Aur Woh Do continued its run at the Indian box office by collecting Rs. 2.75 crore on Day 6, which was Wednesday. The film recorded a 20 per cent drop compared to Tuesday and around 10 per cent drop from Monday. While the collections have remained steady during weekdays, trade discussions suggest that the film has benefited from strong promotional push and audience support since Sunday.

The romantic comedy stars Ayushmann Khurrana, Wamiqa Gabbi, Sara Ali Khan, and Rakul Preet Singh in lead roles. With Wednesday’s collections, the movie has crossed Rs. 25 crore nett at the Indian box office. The film is now expected to end its first week with around Rs. 29 crore nett.

Current trends indicate that the film could finish its total theatrical run near Rs. 60 crore. Directed by Mudassar Aziz, the movie will face competition from Chand Mera Dil starting from the second weekend.

The performance of Pati Patni Aur Woh Do has also started discussions around the changing box office trends for small and mid budget comedy films after the pandemic. Before 2020, especially during 2018 and 2019, small town comedy dramas were performing strongly in theatres. During that period, Ayushmann Khurrana delivered several successful films that also opened with much bigger collections.

Trade experts believe that if this film had released before the pandemic, its opening collections could have been three to five times higher than the current numbers. Audience viewing habits and theatrical business have changed significantly in recent years, especially for comedy dramas and smaller budget films.

The day wise box office collections of Pati Patni Aur Woh Do are as follows:

Friday collected Rs. 3.75 crore.
Saturday collected Rs. 5.50 crore.
Sunday collected Rs. 7.75 crore.
Monday collected Rs. 3.00 crore.
Tuesday collected Rs. 3.50 crore.
Wednesday collected Rs. 2.75 crore.

The total collection of the film currently stands at Rs. 26.25 crore nett in India.

Raja Shivaji Continues Strong Box Office Hold In Third Week

Shweta Ghadashi
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Raja Shivaji Continues Strong Box Office Hold In Third Week

Riteish Deshmukh’s historical drama Raja Shivaji continues to perform steadily at the Indian box office. On its 3rd Wednesday, the film collected around Rs. 1 crore, taking its total collection for the 3rd week to Rs. 13.25 crore in 6 days.

The film is expected to finish its 3rd week with collections close to Rs. 14.50 crore. With this, the total India collection of the movie is likely to reach around Rs. 103 crore by the end of the week. Trade estimates currently suggest that the film may finish its complete theatrical run between Rs. 110 crore and Rs. 115 crore gross in India.

Raja Shivaji has already created a major record by becoming the highest grossing Marathi film of all time at the Indian box office. The movie has crossed the collections of Sairat and Baipan Bhari Deva, which previously held the top positions.

However, box office comparisons also show an important difference. Both Sairat and Baipan Bhari Deva earned most of their collections from Maharashtra, which is considered the main market for Marathi cinema. In comparison, Raja Shivaji has received a noticeable share of its earnings from outside Maharashtra as well.

Despite becoming the highest grossing Marathi film overall, the movie may still remain behind Sairat and Baipan Bhari Deva in Maharashtra collections alone. Expectations from the film were especially high because historical dramas like Tanhaji and Chhaava had performed exceptionally well in Maharashtra. Tanhaji would be equal to around Rs. 250 crore today after inflation adjustment, while Chhaava crossed Rs. 300 crore in the state. Raja Shivaji is not expected to reach Rs. 100 crore in Maharashtra alone.

The box office collections of Raja Shivaji in India are as follows:

Week 1 collected Rs. 61.75 crore.
Week 2 collected Rs. 28.00 crore.

In the 3rd week, the film earned Rs. 1.60 crore on Friday, Rs. 3.00 crore on Saturday, Rs. 3.75 crore on Sunday, Rs. 1.15 crore on Monday, Rs. 1.50 crore on Tuesday, and around Rs. 1.10 crore on Wednesday.

The total India collection currently stands at Rs. 101.85 crore.

Daisy Shah Reveals How Bollywood Actors Worked Without Vanity Vans Earlier

Shweta Ghadashi
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Daisy Shah Reveals How Bollywood Actors Worked Without Vanity Vans Earlier

Actor Daisy Shah recently spoke about her experience working as a background dancer in the film Rehnaa Hai Terre Dil Mein before making her Bollywood acting debut opposite Salman Khan in Jai Ho in 2014. During an interview with Bollywood Bubble, Daisy shared memories from the shoot and explained how film sets functioned very differently at that time compared to today.

Rehnaa Hai Terre Dil Mein released in 2001 and marked the Bollywood debut of Dia Mirza and R Madhavan. Over the years, the romantic drama has gained a strong fan following because of its music, performances and emotional story.

Daisy recalled that the team had travelled to South Africa for one of the shooting schedules. She said that during those days, even lead actors did not have vanity vans on outdoor shoots. According to her, actors and dancers had to adjust with limited facilities while filming.

Sharing one memory from the shoot, Daisy said, “I remember, Dia once had to change her costume during a song so she had to go to a mall to change her outfit. We didn’t have vanity vans. Even the main actors didn’t have them, let alone the dancers, and even the celebrities didn’t have vans at that point. They would look for nearby malls and change there. Or we would be sitting in a restaurant and they would be doing their makeup there, and we would be doing it there too. That’s how things worked then.”

She also spoke about the weather conditions during the South Africa schedule and said the team faced extreme cold while shooting outdoors. Daisy remembered that the background dancers would stand close to the shooting lights between takes just to stay warm.

Talking about how the production team handled the situation, she said, “When we would be asked to go for the shot, we would be freezing. But the good part was that the makers did not ignore us. The next day, they got body suits to wear under our costumes so we don’t feel cold.”

Rehnaa Hai Terre Dil Mein was the Hindi remake of director Gautham Vasudev Menon’s Tamil film Minnale. Apart from R Madhavan and Dia Mirza, the film also featured Saif Ali Khan and Anupam Kher in important roles.

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