The latest wave of celebrity gossip is intensely focusing on actress Sobhita Dhulipala, wife of actor Naga Chaitanya, following persistent rumors that the couple is expecting their first child. This speculation intensified shortly after the pair celebrated their first wedding anniversary on December 4, 2025. The rumors gained huge traction when the actress made a public appearance in Mumbai, where she was observed wearing a loosely fitted saree. Netizens and some reports quickly interpreted this fashion choice, along with other recent anti-fit ensembles, as a deliberate attempt to conceal a baby bump. However, sources close to the celebrity couple have officially dismissed the pregnancy claims. An insider told the media that Sobhita's choice was simply an "anti-fit" fashion statement, not maternity wear, adding that it was "amazing how a change in silhouette can birth a whole new storyline." As of now, there has been no official confirmation or announcement from either Sobhita Dhulipala, Naga Chaitanya, or the Akkineni family. The news remains unconfirmed, with the couple reportedly focused on their professional commitments in the film industry. Fans must await a direct statement from the actors to know the truth. Disclaimer: The news article is written based on information shared by various sources. The organisation is not responsible for the factual nature of them. While we do try to do thorough research at times people could misguide. So, we would encourage viewers' discretion before reacting to them. 

After backing distinctive films such as Colour Photo and the blockbuster Bedurulanka 2012, Loukya Entertainments head Ravindra Banerjee Muppaneni returns with his latest production Dhandoraa. Directed by MuraliKanth, the film features Shivaji in a central role, alongside Navdeep, Nandu, Ravi Krishna, Manika Chikkala, Mounika Reddy, Bindu Madhavi, Radhya, and Aditi Bhavaraju, among others. Slated for a grand theatrical release on December 25, Dhandoraa is a rooted rural drama set in a Telangana village, exploring the social, emotional, and political tensions that surface around a death, not after but before cremation. Drawing from lived experiences, real incidents, and strong literary influences, the film reflects on caste, dignity, and power structures that continue to exist even in death. As part of the film’s promotions, director Murali Kanth interacted with the media and spoke at length about the journey, intent, and ideas that shaped Dhandoraa. Q. What is the motivation behind this idea? What motivated you to tell this story? A. I am from Medak, and cinema has always been something I wanted to pursue seriously. I was working with TCS in the US, but that life never truly excited me. Professionally it was stable, but personally it felt empty. Even while I was there, cinema kept pulling at me constantly. It was always at the back of my mind, nudging me. That’s when I decided to take things seriously. I attended several filmmaking workshops, spent time understanding the craft, and once I gained confidence, I took the risk. I resigned from my job and came back to India. After returning, I began developing this story properly. I already had a core idea in mind. I find love stories particularly difficult to narrate. Capturing those emotions honestly on screen is not easy for me. Instead of choosing something high-octane or purely thrilling, I decided to go with rooted, lived-in concepts. The literature I read had a huge influence on me. Writers like Kesava Reddy garu, Yandamoori Veerendranath, and K. Bala Gopal introduced me to worlds I would never have known if not through their writing. That exposure made me think why not return to my Telangana roots and tell a story about a world that many people don’t even realise exists. That thought became the high point for me. From there, I decided to focus on the cremation process in rural areas, and the drama, politics, and conflicts that surround it. Q. Since you are from the US, what research did you do about this rooted culture apart from reading books? A. The incidents shown in this film are not historical or imaginary. They are things that still happen in villages today. I have personally encountered them. In our village, we have a cricket ground where we also used to dry paddy. One day, while we were working there, a man came and asked us to clear the place because a burial had to take place there. I was completely taken aback. I didn’t understand why a burial had to happen in that particular spot. After discussing it further, I realised that even cremation grounds are segregated based on community and caste. That revelation shocked me deeply. I asked him what he would do if this land wasn’t available. His response was disturbing. He said he didn’t know and didn’t really care. Films like Thithi and Ee.Ma.Yau also deal with death as a central point and yet create brilliant cinema. That inspired me further and strengthened my decision to make a film in this space.   Q. When you say cremation, people are reminded of Balagam. How different is your film from it? A. Balagam deals with what happens after cremation, focusing on the rituals that follow. My story takes place before cremation. In Dhandoraa, a person dies and needs to be cremated. What are the problems that surface during that process? Why do these problems exist in the first place? How are they confronted, and do they get resolved at all? That journey forms the core of this film. Q. If that’s the case, who is the main character here? Shivaji or someone else? A. The story largely revolves around Shivaji’s character, but the other characters, played by Nandu, Ravi Krishna, Manika, and others, are all directly or indirectly linked to him. Every character contributes to the narrative in a meaningful way. Q. Like Om Shanti or Vedam? A. No. Because there are several prominent actors, one might initially assume that this is an anthology, but it is not. Dhandoraa is a straightforward, single narrative that unfolds within a village. The credit here really goes to the actors. Once they heard the story and understood their characters, they were genuinely interested in being part of the film. Q. Can you speak about Bindu Madhavi’s character? A. She has a very strong and impactful character. Audiences will be genuinely surprised when they see her performance in the theatre. All my life, I have been surrounded by strong women, my mother, my sister, and many women I’ve met across different phases of life. Over time, I’ve felt that such perspectives are becoming less visible in our cinema. In my own house, it’s always the women who take the major decisions. So I was genuinely surprised when I realised that in many households, people believe men are the sole decision-makers. That observation influenced my writing deeply. By default, I tend to write strong, women-centric characters. In Dhandoraa, all the women play decisive roles. I don’t want to reveal too much right now, but although Shivaji is the central character, many of the pivotal decisions and twists in the story are driven by women. Q. Do you think caste issues still exist in villages? A. Two hundred percent. They absolutely still exist. Q. Then what about the solution? A. I am not making this film to present a clear-cut solution. Around 2019–2020, the government introduced schemes like Vaikunta Dhamam, but even today, discrimination continues, even in death. People say things like, “Why should someone be buried there? That land is already defiled by a lower-caste body.” Caste is so deeply rooted that it doesn’t even end with death. There are strict laws in place for Vaikunta Dhamams, yet people refuse to use them. Laws and morals alone are not enough. People themselves have to participate and change. My film reflects what is happening in reality. It is not about fixing the problem outright. As for the solution, we believe we have addressed it in the right way within the film, but the audience must engage with it and decide. Q. How hard was it to convince the producer? A. I completed the story in a couple of months and prepared a pitch deck. Like most newcomers, I approached several big producers first, but I couldn’t understand why there was no response. Later, I realised that producers choose stories based on their own mindset and taste. After watching Colour Photo, I was deeply impressed by the producer’s sensibility, so I approached Ravindra garu. When I narrated the story to him, he connected with it immediately. I initially suggested making the film on a modest budget, but he was firm that it should be made with proper scale and quality. He stood by that decision throughout. We had many creative discussions, and he was involved at every stage. After watching the final film, he felt genuinely happy, and that gave me immense confidence as a filmmaker. Q. What was your experience directing this film? A. I have never worked as an assistant director under anyone. On my first day on set, seeing nearly a hundred or two hundred people around me was intimidating. The first couple of days were quite difficult. But once I settled in, things changed quickly. When the team saw the output I delivered within the first two or three days, their confidence in me grew. We completed 18 days of shooting in the very first schedule, which gave everyone clarity about the film’s direction. Q. How did the title Dhandoraa come about? A. This has been a three-year journey for me. Initially, the working title was Anthima Yatra, but many felt it sounded dull and didn’t reflect the film’s energy. The producer strongly believed that if the story was powerful, the title should be equally powerful. Around that time, a friend suggested Dhandoraa. The moment we heard it, it immediately felt right. Q. What should audiences expect when they come to watch Dhandoraa? A. The moment people hear the title Dhandoraa, many assumptions form in their minds. They begin guessing the theme, the politics, and the message. But once they watch the film, they will be genuinely surprised. I am a big admirer of Mark K. Robin’s music and background score, and the RR in this film will deeply move audiences. The screenplay is strong, emotionally engaging, and layered. Dhandoraa is a film that will stay with viewers. They will walk out of the theatre carrying a beautiful, lingering emotional experience. Disclaimer: The news article is written based on information shared by various sources. The organisation is not responsible for the factual nature of them. While we do try to do thorough research at times people could misguide. So, we would encourage viewers' discretion before reacting to them. 

Sree Vishnu, known for marrying unconventional roles with commercial success, is set for another cinematic adventure. His latest film, an action-packed comic entertainer titled Vishnu Vinyasam, is helmed by debutant director Yadunaath Maruthi Rao and produced on a grand scale by Sumanth Naidu G. The title was unveiled today via a sleek animation video, showcasing the actor's quirky spirit. The urban-set glimpse features Sree Vishnu zipping across the city on a distinctive yellow motorcycle, establishing his energetic, off-the-wall character.  The title perfectly captures his screen persona, completed by the hilarious tagline: “No Brakes – Just Laughs.” Anticipation is further heightened by a voiceover suggesting, “History, Numerology, Astrology were all invented for him.” Nayana Sarika stars as the female lead and she delivered hits like KA and Aay.  The team has wrapped up the entire talkie portion, with only two songs remaining to be shot. Following his recent successes, Sree Vishnu is promising a thorough entertainer for all, confirming that Vishnu Vinyasam will hit theaters in February 2026. Disclaimer: The news article is written based on information shared by various sources. The organisation is not responsible for the factual nature of them. While we do try to do thorough research at times people could misguide. So, we would encourage viewers' discretion before reacting to them. 

Funky starring Mass ka Das Vishwak Sen has created good impression among audiences with the first glimpse. He is playing the role of a film director and Kaydu Lohar is debuting in Telugu, as leading lady. Jathiratnalu director KV Anudeep is directing this hilarious entertainer.  Well, the makers have decided to prepone the film to Valetine's Day weekend and locked 13th February release date. Interestingly, Vishwak's previous movie, Laila failed big time at the box office and the actor got thrashed for accepting such an outdated, cringe and cheap comedy in today's day and age.    It looks like he is trying to find his box office success during the same weekend next year as he got criticised and trolled all over this year. Initially, makers planned to release the film during April 2026, but the works have been completed early for them to go with a pre-ponement of release.   Produced by S Naga Vamsi and Sai Soujanya, Funky promises to be a big change for the production house Sithara Entertainments, who faced major losses this year. The movie is expected to become a big comeback for Vishwak, Anudeep and Naga Vamsi. Let's hope that is the case for the next Valentine's Day Weekend.  Disclaimer: The news article is written based on information shared by various sources. The organisation is not responsible for the factual nature of them. While we do try to do thorough research at times people could misguide. So, we would encourage viewers' discretion before reacting to them. 

The 2025 global box office has proven to be a disastrous year for tentpole films, but towards the end of the year success of Disney's animated sequel, Zootopia 2, rejuvenated box office. The film has not only cemented its franchise status but has also delivered a significant boost to the theatrical exhibition market globally. Walt Disney Animation Studios' Zootopia 2 roared past expectations, crossing the $1 billion milestone at the worldwide box office in a record-shattering 17 days, making it the fastest PG-rated film and fastest animated film ever to achieve the feat.  As of its latest count, the buddy-cop comedy has amassed an estimated global total of $1.137 billion. Its success is notably driven by a colossal international haul, becoming a monumental hit in China, where its gross of over $500 million is one of the highest for any Hollywood film. Zootopia 2 is one of three films to have surpassed the $1 billion threshold globally in 2025, demonstrating a robust and renewed appetite for major event cinema. The two other films joining the exclusive 2025 Billion-Dollar Club are Ne Zha 2, an animated sequel primarily dominating the Chinese market with an approximate worldwide gross of $1.9 Billion, and Disney’s own live-action remake of Lilo & Stitch, which secured its spot earlier in the year with a haul over $1.04 Billion. The performance of Zootopia 2 and Lilo & Stitch gives The Walt Disney Company two $1 billion hits for the year, underscoring the studio's continuing strength in high-grossing, family-friendly releases. With Avatar 3 releasing this weekend, the company is expecting to end the year on absolute summit with over 2 Billion dollars collections worldwide but the movie buzz seems too low for a sequel of such great franchise.  Disclaimer: The news article is written based on information shared by various sources. The organisation is not responsible for the factual nature of them. While we do try to do thorough research at times people could misguide. So, we would encourage viewers' discretion before reacting to them.