Actor and BJP MP Kangana Ranaut may have sparred publicly with singer-actor Diljit Dosanjh over the years, but she says there is no personal animosity between them.

Speaking to NDTV while promoting her upcoming film Bharat Bhhagya Viddhaata, Kangana Ranaut addressed her equation with Diljit Dosanjh when asked whether fate seems determined to place them on opposite sides of public debates.

“We are not against each other,” Kangana Ranaut said. “We just had contradictory opinions about a certain event.”

The actor was referring to their widely publicised exchange during the farmers’ protests in 2020-21, when the two celebrities found themselves on opposing sides of a debate that played out on social media. The disagreement began after Kangana shared posts about an elderly woman participating in the protests, drawing criticism from several public figures, including Diljit. What followed was a series of social media exchanges that quickly became one of the most talked-about celebrity feuds in the country.

Years later, however, Kangana appears far less interested in revisiting that chapter.

“I’ve got nothing against that guy,” she told NDTV, before adding a detail that may surprise many who closely followed the controversy: “We’ve never even met in life.”

When asked if she would be open to meeting Diljit in the future, Kangana responded with a straightforward, “Why not?”

The conversation then turned to Diljit’s upcoming film Main Vaapas Aaunga. Asked whether she would message the actor if she happened to enjoy his performance, Kangana laughed off the possibility.

“That’s too much, na?” she replied.

Interestingly, both Bharat Bhhagya Viddhaata and Main Vaapas Aaunga released on the same day, June 12, 2026.

The remarks came during a wide-ranging conversation centred on Bharat Bhhagya Viddhaata, a film inspired by the extraordinary bravery displayed by doctors, nurses and hospital staff at Mumbai’s Cama Hospital during the 26/11 terror attacks. While stories of police personnel and commandos have often dominated public memory of the attacks, Kangana said what drew her to the project was its focus on ordinary people whose contributions largely went unnoticed.

“Cama Hospital saved around 400 lives, but they went unnoticed,” she said.

Beyond the film, Kangana also reflected on the state of the Hindi film industry, warning that cinema halls are facing an existential challenge in the digital era.

“Theatres are on ventilator,” she said, arguing that audiences increasingly prefer consuming content on their phones and streaming platforms. Kangana went on to predict that the film industry could face serious consequences if theatrical viewing continues to decline and enough successful films are not being made.

The actor-politician also spoke about feminism, saying she believes the term has acquired a “negative notion” in some circles because people often confuse it with “male-bashing.” On whether politics has changed her approach to acting, Kangana maintained that she was politically and socially aware long before entering public life.

As for the long-running perception that she and Diljit are sworn rivals, Kangana’s latest comments suggest otherwise. While their differences over the farmers’ protests remain part of public record, she insists the disagreement was about a particular issue, not a personal feud.

And despite years of headlines linking their names together, Kangana says the two have never actually crossed paths.

ALSO READ | Kangana Ranaut Says She Has Learnt From Contemporary Deepika Padukone: ‘Feeling Of Jealousy Is Toxic’

Mumbai:

Actress Karisma Kapoor remembered her former husband, businessman, Sunjay Kapur, on his first death anniversary on Friday with a crisp yet meaningful post on social media.

The Brown actress took to her Instagram stories and wrote a simple message. Karisma posted the date, “12/6/2025”, along with the words, “Sunjay in our hearts forever (sic)”. Her post further included folded hands, a white heart, and a dove emoji.

The post comes amidst the ongoing legal battle between Karisma’s children, his widow Priya Sachdev Kapur, his mother Rani Kapur and other members of the Kapur family over the 30,000 crore estate left behind by the businessman.

Meanwhile, Priya Sachdev also shared an emotional post for her late husband on social media that read, “A year has passed since you left, yet your presence continues to guide us every single day. You never believed in standing still. You embraced life with energy, curiosity and conviction, inspiring those around you to dream bigger, work harder and give more of themselves.”

“You remain deeply loved and forever remembered in the values you lived by, the lives you touched and the love you gave so generously. Your love remains our strength. Your memory remains our blessing,” she added.

Sanjay Kapur died in England. He allegedly swallowed a bee while playing polo and suffered a cardiac arrest.

Karisma had attended Sunjay Kapoor’s last rites in Delhi with her children, Samaira and Kiaan. Sister and brother-in-law, Kareena Kapoor Khan and Saif Ali Khan, had also accompanied her.

Karisma got married to Sunjay Kapur on September 29, 2003, in a Sikh ceremony. However, the couple filed for divorce through mutual consent in 2014, and their divorce was finalised in 2016.

In 2016, Karisma had filed a domestic violence case against Sunjay Kapoor and his mother.

The couple has a daughter, Samaira, and a son, Kiaan.

(Except for the headline, this story has not been edited by NDTV staff and is published from a syndicated feed.)

At the age of 94, most filmmakers have retired, passed the baton to younger counterparts and remained mentors in the background. However, Telugu director Singeetham Srinivasa Rao is not your run-of-the-mill filmmaker who wants to sit and reminisce about a legendary career – he returned to wield the megaphone after 13 years to make a musical fantasy that bucks current trends in cinema.

Sing Geetham, a play on the director’s name, stars newcomers Ayaan, Ahilya Bamroo and Shalini Kondepudi as the leads and is a musical experiment in Indian cinema. Music in this film is not meant to be enjoyed as a background score; it becomes the raison d’être for the film itself.

The story revolves around a small mining village called Kuberapuram, which survives thanks to the Kuberan Gold Mine owned by Renu (Shalini Kondepudi) and her father. One day, a young man named Pratap (Ayaan) arrives in the village, having been hired by Renu to impersonate someone else named Pratap, incidentally, and co-sign a contract selling the mine for Rs 100 crore to a Nigerian businessman.

In this endeavour a series of events unfold that begin with tree-hugger Gauri (Ahilya Bamroo), who believes that the single, lonely tree left in the barren land that is her village is her mother. When the tree is cut down, a heartbroken Gauri cries out to their village deity Kuberan about the injustice meted out by Renu and the villagers in their greed for gold. Meanwhile, a penniless Pratap, who has an intriguing identity of his own, is caught between his ambition to make money and his desire to do what is right for the village. What follows is a simple story that explores themes such as greed, identity and hope, told in a highly imaginative fashion that blends folklore and social commentary.

At the outset, Singeetham Srinivasa Rao’s musical fantasy is not just novel for Telugu cinema but for Indian cinema itself at this juncture. While Indian films predominantly feature song-and-dance routines, in Sing Geetham the dialogues themselves dissolve into song, which makes it feel refreshing and captivating. The fact that the 94-year-old director conceived this concept and blended it with a simple story shows his creativity and spunk even at this age – he is still willing to push the boundaries of cinema and give the audience something unexpected.

Does the entire film work? Not completely, but that’s quite okay. The pacing suffers in some parts, especially in the first half, when the musical element goes on for too long. It can test the audience’s patience as, instead of building atmosphere, it meanders between characters unnecessarily. However, the second half picks up pace and finds its feet. The director uses emotion to tell his story at every step, and post-interval the emotional backstory of the village and its people, and what they must do to remove the ills plaguing Kuberapuram, provide beautiful moments on screen.

In Sing Geetham, the hero is its music, and thus music director Devi Sri Prasad earns most of the laurels for this film. His ability to write music for dialogues and ensure the lines between characters proceed seamlessly – to the beats and rhythm – is no small task, and he has pulled it off effortlessly. The cast comprises all newcomers, and they do well in roles that demand they sing their dialogues and emote. Technically, the film is competent – the visuals and production design convincingly showcase this small mining village, though the VFX falters in places.

Sing Geetham is neither a tentpole film nor a star-driven mass entertainer; it is a small, quaint musical fantasy by Singeetham Srinivasa Rao, who is still chasing his dreams and unconventional ideas at 94. Watch it to celebrate his continued passion for cinema and Devi Sri Prasad’s musical genius.