As Sara Ali Khan celebrates her birthday, it is the perfect moment to revisit the sartorial choices that continue to define her fashion identity. She carries a poise, a refined synthesis of classic lineage and a sharp contemporary focus. In her recent style choices, Khan moves beyond traditional fashion tropes, embracing structural silhouettes, precise proportions and an intentional balance between restraint and high-octane glamour. Across five defining looks, her wardrobe emerges as a masterclass in modern sartorial authority, seamlessly transitioning from cool architectural minimalism to fiery, tailored statements.

Diana’s Revenge Dress Constructed with an off-the-shoulder, structured boat neckline, this architectural gown features short capped sleeves resting just below the collarbone, revealing an exposed neck and shoulder line. The fitted bodice extends past the hip into a draped peplum accent before falling into an asymmetrical high-low hemline that flows into a subtle rear train, all rendered in an ink-black satin weave. The strength lies in the interplay between structured weight and liquid movement; by pairing the heavy satin frame with a statement diamond-and-sapphire choker, pointed black pumps, and a sleek low-slung chignon, the ensemble creates a strong vertical line that echoes classic European high-fashion codes.

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Sculpted Monochromatic Layering A three-piece tailored study in warm ivory, cream, and champagne nude accents, featuring a high, mandarin-collar jacket worn open over a textured high-neck top constructed with horizontal sheer and pearl-beaded striping. The sleeveless inner turtleneck offers coverage up to the chin, counterbalanced by a fitted, high-waisted mini skirt and long, slim-cut sleeves on the outerwear to complete the clean geometric lines. Monochrome works best when textures collide, and here, the soft weave of the outer jacket plays against the linear, pearl-encrusted inner mesh, while pointed embellished heels and a high ponytail elongate the frame for an effortless, sharp aesthetic.

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Modern Noir & Drapery A floor-length column gown defined by a draped cowl high neckline and sheer mesh short sleeves, finished in a matte black canvas with pops of silver and a muted blue watch strap. The top bodice combines delicate, semi-transparent paneling with draped jersey fabric that gathers tightly around the waist, falling into a straight, fluid floor-length skirt. The contrast between sheer technical mesh and soft, heavy draping creates an intriguing tactile balance, while keeping the neckline high and the silhouette extended down to the floor allows the texture play on the torso to take center stage alongside an undone updo and subtle drop earrings.

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Striated Crimson Tailoring A strapless, wide-leg jumpsuit engineered with a structured sweetheart neckline and built-in boning through the bodice, set in a deep crimson red with fine vertical white pinstripes. The sleeveless cut leaves the shoulders bare, balancing the dramatic volume of the relaxed, wide-leg trousers that sweep down over strappy sandals. Pinstripes are traditionally anchored in menswear, but applying them to a strapless, sweetheart-neck jumpsuit reclaims the motif with a feminine edge, where vertical lines elongate the body while a bold red backdrop matched with classic red lip and gold statement wristwear injects high-energy confidence into a precision-tailored silhouette.

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The Imperial Power Suit A tailored suit crafted in crisp polar white accented with polished gold hardware, featuring wide, sharp peak lapels and a deep V-neckline. The structural blazer showcases structured shoulders and full-length fitted sleeves anchored by six gold crest buttons, paired alongside mid-rise, wide-leg trousers tailored with a sharp center crease and a substantial hem fold. Tailoring in all-white demands precise execution, and this suit delivers as the fitted cut draws inward at the waist to emphasize structure while the flared trousers balance the broadness of the shoulder pads, elevated by gold buttons and matching metallic heels for effortless red-carpet presence.

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Sara Ali Khan’s wardrobe demonstrates high fashion impact. Whether adapting classic floor-length gowns or sharply cut power suits, her wardrobe proves that true sartorial authority doesn't require over-styling just impeccably tailored lines, confident proportions, and a clear understanding of personal presence.

Also Read: Sara Ali Khan continues her Delhi tradition with visit to Gurdwara Bangla Sahib

On August 10, Bollywood Hungama reported that PVR Inox Pictures, the distributors of Batwara 1947, have demanded all the shows in single-screen cinemas. This added to the exhibitors' woes, as Awarapan 2 also releases this Friday, August 14. On top of it, the Batwara 1947 distributors asked for seven shows a day in two-screen theatres, 10 shows in three-screen multiplexes, 12 shows a day in four-screen cinemas and 15 shows a day in five-screen multiplexes. However, as per the latest reports from exhibitors, the demand has now undergone a change.

An exhibition source told Bollywood Hungama, “Earlier, their requirement was that 60% to 70% of the shows should be allotted to Batwara 1947. However, they have now taken note of the exhibitors’ concerns. As a result, they have agreed to a 50-50 showcasing arrangement for both films.”

As per some exhibitors, the 50-50 arrangement will also apply to single-screen cinemas. However, most single-screen theatres across the country are yet to open bookings. One of the rare exceptions is the iconic Raj Mandir Cinema in Jaipur, which has allotted two shows each to Awarapan 2 and Batwara 1947.

Spider-Man adds to exhibitors’ woes

But even as one issue appears to have been resolved, exhibitors are now faced with another challenge. On Tuesday, the distributors of Spider-Man: Brand New Day sent an email to cinemas, asking them to continue playing the film with a substantial number of shows.

A trade source revealed, “In single-screen cinemas, they have asked for a minimum of two shows a day, while in two-screen theatres, the requirement is at least three shows daily. In three-screen cinemas, they have asked exhibitors to allot one full screen, comprising five shows a day, to Spider-Man: Brand New Day. In four-screen properties, the demand is for seven to eight shows, including at least one evening and one night show. In five-screen cinemas, they have asked for nine shows, while properties with six screens or more have been asked to allot 11 to 12 shows. They have also specified that at least two screens should be allotted to the film in six-screen plexes.”

The source further said, “Sony’s directive has once again left exhibitors anxious as they are unsure how to divide the shows between the three films. Of course, Sony feels justified in making these demands as Spider-Man: Brand New Day continues to remain rock-solid at the box office. It collected around Rs. 9 crores on Tuesday, and it is clear that the film will continue to perform strongly over the Independence Day weekend. But for exhibitors, the challenge will be to divide the available shows in a way that satisfies all three distributors.”

An exhibitor from Nawalgarh, Rajasthan, speaking on the condition of anonymity, sighed, “We always face this problem of doing ‘batwara’ of shows while making sure that none of the distributors is upset with us. We just wonder when this ‘awarapan’ will end.”

Also Read: EXCLUSIVE: Batwara 1947 vs Awarapan 2 show-sharing TUSSLE begins; distributor of Sunny Deol-starrer asks for ALL shows in single-screens; Spider-Man’s rock-steady run complicates the battle

Priyanka Chopra is currently in India with her daughter Malti Marie as she spends time with her family. During her stay in Mumbai, the actor visited the city's famous Siddhivinayak Temple to seek blessings. She was accompanied by her sister Mannara Chopra, while Malti did not join them for the temple visit.

Priyanka was spotted outside the Siddhivinayak Temple dressed in a traditional pink salwar suit with a blue dupatta. Keeping her look simple, the actor made her way through the premises amid tight security. A number of fans had gathered outside to catch a glimpse of the actor. Before leaving, Priyanka waved to the crowd and then got into her car.

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The actor has frequently visited religious places during her trips to India. On one of her recent visits, she was seen at a Durga Puja pandal. During an earlier trip, Priyanka made headlines after performing seva and washing utensils at the Golden Temple. She also visited the Ram Mandir in Ayodhya with husband Nick Jonas and daughter Malti, where the family sought blessings.

Priyanka's latest India visit also comes at a time when there is considerable anticipation around her upcoming projects. She will next be seen in SS Rajamouli's much-awaited film Varanasi, which also stars Mahesh Babu and Prithviraj Sukumaran. The makers recently unveiled Priyanka's look as Mandakini along with a behind-the-scenes glimpse on the occasion of her 44th birthday. Mahesh Babu's character Rudhra was also introduced on his birthday. Varanasi is scheduled to release on April 7, 2027.

Meanwhile, Priyanka has also joined Oscar winner Russell Crowe for the sci-fi action thriller Bluefly. Directed by Nimrod Antal, the film revolves around a covert mission in the Congo following the discovery of a mysterious crashed aircraft. Priyanka announced her association with the project on Instagram on Thursday with a brief message: “On to the next.”

Also Read : Mahesh Babu thanks fans on birthday; says Varanasi is ‘very close to his heart’

The Cine and TV Artistes Association (CINTAA) is facing an internal dispute after eight elected members of its Executive Committee resigned from their respective offices and the Executive Committee with immediate effect. The members cited a loss of confidence in the present manner of functioning and called for fresh elections. They also alleged that the association’s functioning had increasingly become concentrated around CINTAA President Poonam Dhillon, Senior Vice President Padmini Kolhapure and a section of other Executive Committee members.

Responding to Hindustan Times, Poonam Dhillon has defended her and Padmini’s work for the organisation. Speaking to us, Poonam says, “Padmini and I are working hard to bring goodwill to CINTAA by using our resources and contacts; it is not for personal gain. No one else was taking initiatives to do anything for members of the organisation, so I’m shocked by their allegations.”

Poonam also addressed the controversy surrounding CAWT (Cine Artistes’ Welfare Trust), which was formed by senior actors including late Dilip Kumar, Amrish Puri and Amjad Khan. She claimed that the trust had not fulfilled its responsibility of providing medical facilities to members and said that no one from the current committee had raised funds for CAWT in the past few decades.

She pointed to a recent fundraising event, where artistes including Kavita Krishnamurthy, Madhushree and Nitin Mukesh performed without charging CINTAA. Gifts were presented to the artistes following their performances. “We raised 1 crore through these performances, so how is it a problem if we spend 1 lakh on gifts for them?” Poonam questions.

The actor further alleged that some of the members who resigned had been promised positions if a new committee came to power. Referring to Puneet Issar, she says, “Puneet (Issar) has barely attended two meetings in two years, but the day they wanted to dissolve the committee, they were beckoned just to vote us out.” She also alleged that certain members were pressured into resigning. “We still have the majority and the committee still stands," says Poonam.

Addressing General Secretary Upasana Singh’s claim that the EGM called by Poonam and her team was illegal, the actor explained her position on the process. “The resignation of former members was received by the General Secretary and not accepted by EC (Executive Committee). Meanwhile we held an EGM with a member who had withdrawn her resignation and inducted in seven new members on top of the elected list. Only after that resignations were accepted. So the EC stands. This process was vetted by our legal team.”

Poonam also said that she and Padmini have been paying some CINTAA expenses from their own pockets. She added that they have been conducting regular checks on television sets and educating members about labour codes. According to Poonam, several more initiatives are planned for the organisation as the dispute over its functioning continues.

Also Read : Rajeev Khandelwal recalls college romance on Tum Ho Naa – Ghar Ki Superstar; reveals the Poonam Dhillon song he played on loop

The IMAX format has a tremendous following, and certain films have done exceptional business in it. The Odyssey, for instance, has collected more than Rs. 70 crores in IMAX alone, a remarkable feat considering that India has just 34 IMAX theatres. While Mumbai has 9 IMAX screens, Delhi-NCR has 8. Meanwhile, Hyderabad still doesn’t have an IMAX auditorium, while cities like Pune and Chennai have two IMAX screens each. In comparison, the United States has more than 250 IMAX-branded screens! This naturally raises a question: why doesn’t India have more IMAX theatres, especially when the format has proved to be such a crowd-puller?

Sanjeev Kumar Bijli, Executive Director, PVR INOX Ltd, spoke about it in an interview with NDTV. He said, “We have 26 IMAX screens across the country (belonging to the PVR INOX chain), which seemed very few in number when The Odyssey was coming out. But it’s a very expensive technology. At the same time, it’s something which obviously can’t be ignored. It needs to be pushed. We need to have a roll-out of IMAX screens as well. Also, in India, it’ll make more sense to invest in this technology if we end up getting a lot more Hindi content, or rather, local content. It takes around Rs. 10-11 crores per screen. It’s not cheap at all.”

Sanjeev Kumar Bijli explained, “What happens with English IMAX films is that while a film like The Odyssey worked very well, Toy Story 5 didn’t work as much as intended in the IMAX format. So, it’s like 50-50. As a result, we need more Hindi and regional filmmakers, that is, Tamil and Telugu filmmakers, to make IMAX-worthy films. If we have more content, then I think we’ll be more comfortable investing in the IMAX format.”

Also Read: EXCLUSIVE: PVR INOX’s Sanjeev Kumar Bijli opens up on Project Hail Mary’s IMAX tussle with Dhurandhar The Revenge: “These are the challenges that we face in our business”; shares his views on Disney’s Infinity Vision: “We would love to partner…”

Spider-Man: Brand New Day is having an unstoppable run at the box office. Yet the other Hollywood film, The Odyssey, remains rock-solid at the box office. It's currently in its fourth week and in 24 days, it has collected Rs. 166.89 crores. If we count all languages, the total collections amount to Rs. 178.31 crores.

The Odyssey opened at Rs. 16.08 crores and went on to record an opening weekend of Rs. 56.85 crores. After collecting Rs. 85.65 crores in its first week, it added another Rs. 45.67 crores in Week 2. Spider-Man: Brand New Day was released on Thursday, July 30, the 14th day of The Odyssey’s run, and its arrival did impact the Christopher Nolan-directed film. A day earlier, The Odyssey had collected Rs. 4.46 crores, but on July 30, its collections dropped to Rs. 2.79 crores.

But The Odyssey picked up on Friday, July 31, when it collected Rs. 3.41 crores. On August 1 and 2, it earned Rs. 5.66 crores and Rs. 5.72 crores respectively and remained rock-steady in the weekdays. This way, it earned Rs. 24.15 crores in Week 3.

What is interesting to note is that the collections fell by 46.68% in Week 2 compared to Week 1. In the subsequent week, earnings dropped by just 47.12%, despite the Spider-Man mania.

While The Odyssey collected Rs. 2.23 crores on Thursday, August 6, the earnings increased on Friday, August 7, when the period epic collected Rs. 2.54 crores. The collections on August 8 and August 9 were Rs. 4.49 crores and Rs. 4.39 crores respectively. Hence, the film has collected Rs. 11.42 crores in its fourth weekend and will end the week with Rs. 15-16 crores.

The crazy IMAX performance

Meanwhile, the IMAX format has played a major role in the collections of The Odyssey. This is the first film to be completely filmed in IMAX and hence, there’s a tremendous demand to catch the film in the premium format. As a result, the footfalls in the IMAX version are very strong. Bollywood Hungama had earlier reported that in 13 days, the share of IMAX collections are a huge Rs. 48.25 crores. This is when the film had earned Rs. 132.65 crores.

To date, the IMAX format of The Odyssey has collected Rs. 74.21 crores (Rs. 73.77 crores from English and Rs. 44 lakhs from Hindi), accounting for nearly 41.62% of the film’s total collections. Interestingly, the contribution from IMAX has increased significantly as the film’s run has progressed. In Week 3, when The Odyssey collected Rs. 25.30 crores across all languages, IMAX screens contributed Rs. 16.10 crores. In other words, IMAX alone accounted for a massive 63.64% of the film’s Week 3 collections.

However, in the fourth weekend, the IMAX share jumped further to 67.14%. Of the film’s total collections of Rs. 11.44 crores across all languages, IMAX screens alone contributed Rs. 7.68 crores. If all premium formats (IMAX, HDR By Barco, 4DX, MX4D, EPIQ and Dolby) are taken into account, they contributed a staggering 71.15% of The Odyssey’s total fourth-weekend collections.

Even after completing 24 days, the demand for The Odyssey in IMAX remains rock-steady. For instance, as of 8:45 am on August 10, the 9:45 am show at the IMAX screen of PVR Phoenix Lower Parel, Mumbai, had already sold around 80 tickets. The figure is likely to touch 100 tickets by the time the show begins, which is remarkable for a Monday morning, especially for a film in its fourth week. Moreover, tickets for these premium-format shows are priced considerably higher than those for regular 2D shows, which has played a major role in driving the film’s collections. At this rate, The Odyssey has a shot at a lifetime collection of Rs. 180 crores from its English version alone.

The 24-day collections of The Odyssey Week 1 - Rs. 85.65 cr Week 2 - Rs. 45.67 cr Week 3 - Rs. 24.15 cr Week 4 [3 days] - Rs. 11.42 cr

The 24-day collections of The Odyssey in the IMAX format Week 1 - Rs. 27.97 cr Week 2 - Rs. 22.45 cr Week 3 - Rs. 16.10 cr Week 4 [3 days] - Rs. 7.68 cr

Also Read: Exhibitors hail Christopher Nolan’s The Odyssey for becoming highest-grossing IMAX release in India: “Moviegoers embraced it not merely as a film to watch, but as a cinematic experience to revisit”

Film director Shakeel Noorani, 73, has been arrested in Mumbai following a complaint filed by a 33-year-old actor, who has alleged that she was raped after being called to his residence in Malwani. According to the police complaint, Noorani allegedly invited the actor to his house on the pretext of discussing an upcoming film project.

The actor has alleged that after she reached the director's residence, she was allegedly drugged and sexually assaulted. The complaint further states that Noorani allegedly threatened her following the incident. Police subsequently registered a case based on the actor's allegations and arrested the filmmaker.

Following his arrest, Noorani was produced before the Borivali Holiday Court. The court has reportedly remanded him to police custody until August 12, during which the police are expected to investigate the allegations and gather further evidence in the case.

The allegations are currently part of an ongoing investigation, and the charges against Noorani have not been established in court.

Shakeel Noorani has been associated with Hindi cinema as a writer, producer and director. He is known for films including Bade Dilwala, released in 1999, and Joru Ka Ghulam, which came out in 2000.

The latest case has brought the veteran filmmaker into the spotlight as Mumbai Police continue their investigation into the actor's allegations. Further details regarding the case are expected to emerge as the investigation progresses and the police record statements and examine other evidence connected to the complaint.

Noorani's police custody is scheduled to continue until August 12, following which he is expected to be produced before the court again. The investigation will determine the circumstances surrounding the allegations and the events that allegedly took place at his Malwani residence.