Thursday, November 5, 2026

No Kartik Aaryan release in 2026, but National Award-winning actor to have THREE releases in FIRST 6 months of 2027 – Naagzilla, Anurag Basu’s love saga, Ladaku

Kartik Aaryan is currently enjoying a remarkable streak, consistently delivering captivating performances across a wide array of genres and establishing himself as a highly reliable figure at the box office.His stature as a gifted performer was further solidified when he secured a National Award for his role in *Chandu Champion* (2024).Historically, the actor has maintained an impressive release schedule, ensuring at least one theatrical debut in nearly every year; however, this pattern was uniquely disrupted in 2026, as no films starring him reached the cinemas that year.Despite this brief hiatus, his audience has abundant reasons for anticipation, for Aaryan is preparing for a prolific 2027, with three distinct releases slated to premiere within the first six months of the year.



While actor Kartik Aaryan is absent from the 2026 release slate, a National Award-winning performer is poised to launch an ambitious slate comprising three distinct projects within the initial six months of 2027.

This formidable lineup features the thriller *Naagzilla*, Anurag Basu's romantic epic, and *Ladaku*.
Kartik Aaryan is set to inaugurate the year 2027 with an unconventional entry via *Naagzilla*, a fantasy comedy in which he portrays a shapeshifting snake spirit.
Joining him in a pivotal capacity is Ravi Kishan, under the direction of Mrighdeep Singh Lamba, the filmmaker behind *Fukrey*.Scheduled for theatrical release on February 12, 2027, the production is a joint venture between Dharma Productions, helmed by Karan Johar, and Mahaveer Jain Films.

Approximately two and a half months hence, Kartik Aaryan is poised to assume his most ardent romantic persona to date in an untitled feature helmed by Anurag Basu.
Opposite him stands South Indian star Sreeleela, creating a pairing that has already garnered significant anticipation.T-Series has officially confirmed the film's theatrical release for April 30, 2027.The production has captured widespread attention, driven not only by Kartik's transformed appearance but also by its alignment with a genre currently resonating strongly at the box office, with the soundtrack anticipated to serve as a pivotal element of the film's success.

Earlier today, it was revealed that Kartik Aaryan's upcoming collaboration with Chandu Champion, helmed by director Kabir Khan, is scheduled for release on June 18, 2027.
The production team has further announced that this emotionally resonant and inspiring cinematic venture will carry the title *Ladaku*.

Produced in collaboration between Birla Studios, Kabir Khan Entertainment, and Dopamine Studios, the film Ladaku not only signifies Kartik Aaryan's directorial debut but also marks his inaugural venture as a producer.
According to the official announcement, the narrative chronicles an extraordinary true-life saga defined by unyielding ambition, resilience, and hope.

According to various reports, the film *Ladaku* draws its inspiration from the life of Tajamul Islam, India's youngest two-time world kickboxing champion, while Kartik Aaryan is said to portray his coach.


Notably, 2026 represents merely the third year within Kartik Aaryan's fifteen-year professional trajectory during which he has failed to release a single theatrical film, a precedent previously set in 2012 and 2016.
Despite this intermission, the actor is poised to amply compensate for his hiatus by debuting three projects in the first half of 2027.Given that each of these productions spans distinct genres, Kartik possesses a formidable opportunity to demonstrate his artistic versatility and secure a triumphant hat-trick at the box office.

Koffee With Karan 9: Kareena Kapoor Khan recalls running on the road in nightwear to get Saif Ali Khan to the hospital after he was attacked; reveals Taimur asked, “Abba are you going to die?”

Marking a festive return ahead of Diwali, Saif Ali Khan and Kareena Kapoor Khan graced the iconic set of *Koffee With Karan* for its ninth season.During their episode with host Karan Johar, the dialogue traversed their professional trajectories and their standing within the film industry, yet the conversation inevitably pivoted to a profoundly harrowing chapter in their family's history.In a candid disclosure, the couple recounted the January 2025 assault on their Bandra residence, providing an intimate and chilling glimpse into the traumatic moments that immediately succeeded the attack.

In the ninth season of *Koffee With Karan*, Kareena Kapoor Khan recounted a harrowing incident where she sprinted down the street in her nightwear to rush Saif Ali Khan to the hospital following an assault.
She disclosed that amidst the chaos, their son Taimur inquired with a haunting simplicity, "Abba, are you going to die?"

In a candid reflection on the ninth season of *Koffee with Karan*, Kareena Kapoor Khan recounted the harrowing ordeal of sprinting through the night in her sleepwear to reach the hospital after Saif Ali Khan was assaulted.
She also disclosed a chilling moment from that traumatic night when their son, Taimur, questioned his father's safety by asking, "Abba, are you going to die?"
Kareena recounted the harrowing moments immediately following the home invasion, describing her frantic efforts to secure medical aid for Saif, who had been grievously wounded by multiple stabs during the altercation with the intruder.
She revealed that, clad in her nightwear, she fled to the roadside and hailed a rickshaw in her desperation to reach a hospital.

Recounting the moment, Saif said, Kareena was hailing a rickshaw in the night.
Kareena responded, In my night tee shirt.Luckily no one got that on video.Saif added, In a short tee shirt.Would have been quite a video.Recalling the panic she experienced, Kareena said, I was screaming on the road.

When inquired by Saif regarding the nature of her screams, she elucidated that her distress manifested as a rhythmic "ruko ruko," evoking the dramatic intensity of a cinematic scene.
Dressed only in shorts and night pyjamas, she had been compelled to flee without the opportunity to don proper attire; indeed, she had sprinted along the roadway in nothing but a short t-shirt that barely extended past her mid-thigh.She emphasized that this account represents her first disclosure of the event, describing how she fled in a state of frenzied desperation, attempting to hail a rickshaw while he, gravely injured and clutching his own bleeding body, remained in her midst.

The actress further recounted the harrowing scene in which she observed Saif within the elevator immediately following the assault, a moment rendered even more agonizing by the presence of their eldest son, Taimur, who bore witness to his father's critical state.
Kareena disclosed, "Upon gazing at Saif in the elevator, my immediate thought was to urge him, 'Saif, do not do this.' Yet, Tim merely fixed his gaze upon his father, and his first words were a trembling inquiry: 'Abba, are you going to die?' I then looked to Saif, who offered me a silent, piercing look that conveyed nothing but the urgent command: 'Take me to the hospital.'"

Following his emergency medical intervention, Saif articulated the profound emotional toll the incident exacted upon his family.
The assault precipitated an unforeseen and harrowing crisis within their domestic sphere, compelling the couple to simultaneously address the immediate aftermath and secure necessary medical care for Saif.

In an intimate recounting during their dialogue on *Koffee with Karan* Season 9, Saif and Kareena provided a profoundly personal narrative of that fateful night, with Kareena's memories underscoring the palpable urgency and dread that pervaded the family's frantic endeavors to secure the actor's transport to the hospital.

Ramayana – Part I Movie

Ramayana – Part I Cast & Crew

Ramayana – Part I Movie Poster

Banner

Prime Focus Ltd.

Monster Mind Creations

Language

Hindi

Release Date

05 November 2026

Genre

Mythological

Drama

Director

Nitesh Tiwari

Producer

Namit Malhotra

Star Cast

  • Ranbir Kapoor as Rama
  • Kapoor also portrays Parashurama
  • Yash as Ravana
  • Raghav Malhotra[17] as young Ravana
  • Sai Pallavi as Sita
  • Kiara Sadh / Rhyah Narasimhan as young Sita
  • Sunny Deol as Hanuman
  • Ravi Dubey as Lakshmana
  • Arun Govil as Dasharatha
  • Lara Dutta as Kaikeyi
  • Indira Krishnan as Kaushalya
  • Sonal Jha as Sumitra
  • Rajiv Kumar as Janaka
  • Adinath Kothare as Bharata
  • Nitish Sharma as Shatrughna
  • Kajal Aggarwal as Mandodari
  • Rakul Preet Singh as Shurpanakha
  • Dishita Sehgal as young Shurpanakha
  • Anupam Kher as Jatayu (voice-over)
  • Vivek Oberoi as Vidyutjihva
  • Harish Uthaman as Vibhishana
  • Kunal Kapoor as Indra
  • Suhail Nayyar as Sugriva
  • Sheeba Chaddha as Manthara
  • Shishir Sharma as Vasishtha
  • Ajinkya Deo as Vishvamitra
  • Mukesh Tiwari as Agastya
  • Sonia Balani as Urmila
  • Riya Kapoor as Mandavi
  • Surabhi Das as Shrutakirti
  • Shobana as Kaikashi
  • Raghav Juyal as Meghanada
  • Faisal Malik as Kumbhakarna
  • Parminder Chhada as Subahu
  • Saurabh Sachdeva as Maricha
  • Kanchan Chetal as Tataka
  • Chetan Hansraj as Sumali

Writer

Shridhar Raghavan

Costume Designer

Harpreet Narula

Rimple Narula

Saniya Sardhariya

Co-Producer

Niraj Sanghai

Music Director

A. R. Rahman

Hans Zimmer

Lyricist

Kumar Vishwas

Editor

Huzefa Lokhandwala

Cinematographer

Mahesh Limaye

Pankaj Kumar

Screenplay

Shridhar Raghavan

Nitesh Tiwari

Dialogue

Nitesh Tiwari

Shreyas Jain

Casting Director

Mukesh Chabbra

Action Director

Guy Norris

Terry Notary

Art Director

Sarah Bicknell

Christine Ivall

Playback Singers

Shreya Ghoshal

Vishal Dadlani

Vaishali Samant

Arijit Singh

A.R. Ameen

Rakshita Suresh

Antra Nandy

Publicity PRO

Spice

Shooting Location(City & Country)

India

Music Company

T-Series

Production Designer

Ravi Bansal

Ramsey Avery


Censor Details:

Censor Dates

2026/10/30

Censor Certificate No

DIL/1/62/2026-MUM

Runtime

3h 15min

Certification

U

Wednesday, November 4, 2026

Udta Teer Box Office

Udta Teer Box Office Collections

INDIA BOX OFFICE COLLECTION

Schedule Amount

Opening Day 3.89 cr.

End of Opening Weekend 18.83 cr.

End of Week 1 30.08 cr.

Total Collection 44.26 cr.

DAY WISE BOX OFFICE COLLECTION LIVE

Day Date Amount %± Shows Occupancy

Day 1 23-Oct-2026 (Fri) ₹3.89 cr. N/A 47 4.34%

Day 2 24-Oct-2026 (Sat) ₹7.04 cr. +80.98% 4,413 23.25%

Day 3 25-Oct-2026 (Sun) ₹7.90 cr. +12.22% 5,560 23.17%

Day 4 26-Oct-2026 (Mon) ₹3.08 cr. -61.01% 5,599 11.72%

Day 5 27-Oct-2026 (Tue) ₹2.97 cr. -3.57% 5,655 18.15%

Day 6 28-Oct-2026 (Wed) ₹2.67 cr. -10.10% 5,564 10.92%

Day 7 29-Oct-2026 (Thu) ₹2.53 cr. -5.24% 5,525 10.32%

Day 8 30-Oct-2026 (Fri) ₹2.77 cr. +9.49% 4,794 11.34%

Day 9 31-Oct-2026 (Sat) ₹3.98 cr. +43.68% 4,771 15.58%

Day 10 01-Nov-2026 (Sun) ₹4.24 cr. +6.53% 4,875 16.42%

Day 11 02-Nov-2026 (Mon) ₹1.38 cr. -67.45% 4,762 9.83%

Day 12 03-Nov-2026 (Tue) ₹1.54 cr. +11.59% 4,763 11.91%

Day 13 04-Nov-2026 (Wed) ₹0.27 cr. 

Manoj Bajpayee, Boman Irani and Divya Dutta’s Last Man in Tower to premiere on Hindi Zee 5 on November 6

Starring Manoj Bajpayee, Boman Irani, and Divya Dutta, the Hindi drama *Last Man in Tower*, an adaptation of Aravind Adiga's eponymous novel, is scheduled to premiere on Zee 5 on November 6.Under the direction of Ben Rekhi and produced by Spirit Media, the venture of Rana Daggubati, the film brings the literary work to the screen.

On November 6, Zee 5 Hindi will present the premiere of *Last Man in Tower*, a production featuring Manoj Bajpayee, Boman Irani, and Divya Dutta.

Manoj Bajpayee, Boman Irani, and Divya Dutta will star in *Last Man in Tower*, a film set to premiere on Hindi Zee 5 on November 6.
Tara SutariaKareena Kapoor KhanHrithik RoshanVarun DhawanRakul Preet SinghRakul Preet SinghRakul Preet SinghRakul Preet Singh
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Set within the confines of a Mumbai housing society, the narrative unfolds as redevelopment initiatives ignite a simmering conflict among its inhabitants.
Bajpayee portrays Yogesh Mishra, a retired physics educator who steadfastly rejects the mandate to vacate his residence, even as the majority of the society has already accepted a financially advantageous proposal for their units.

By opposing the redevelopment initiative, Yogesh finds himself estranged from neighbors and former confidants alike.
The narrative delves into the personal ramifications of his stance while examining the diverse motivations that compel residents to advocate for the project.

Portraying Sangita Puri, a homemaker whose fervent aspiration to secure a superior future for her son with special needs places her at odds with Yogesh, Divya Dutta anchors the narrative.
Meanwhile, Boman Irani embodies Dharmen Shah, a developer who is vigorously striving to advance the redevelopment initiative.



Manoj Bajpayee on playing Yogesh Mishra
Reflecting on the role, Manoj Bajpayee noted that the inherent ambiguity surrounding Yogesh was a decisive factor in his decision to undertake the film.


The allure of *Last Man in Tower* stemmed from the intricate portrayal of Yogesh Mishra, a figure who adheres resolutely to his convictions, even as the narrative compels the audience to interrogate the validity of his stance.
Speaking on the role, he noted that this moral ambiguity presented a compelling artistic challenge, enabling him to dissect the multifaceted nature of a character defined by obstinacy, fragility, and an profound, almost visceral attachment to his home and the cherished memories it embodies.

Actor Bajpayee further contextualized the film's narrative within Mumbai's evolving urban fabric, noting that redevelopment has become an inescapable facet of daily existence as historic structures yield to modern iterations.
"In a metropolis such as Mumbai, where the demolition of familiar landmarks is a commonplace occurrence, the story delves into the human dimension of this transformation," Bajpayee remarked, highlighting its impact on families, the enduring legacies of their memories, and the dual sentiments of apprehension and anticipation that accompany the prospect of beginning anew.

Divya Dutta asserts that the film steers clear of a simplistic dichotomy between right and wrong.
Divya Dutta articulated her attraction to the film, citing its nuanced examination of character motivations as the primary draw.
"I was captivated by *Last Man in Tower* precisely because it delves into human behavior and the choices individuals make, refusing to simplify them through a binary framework of right and wrong," she remarked.She emphasized that every person operates within their unique set of circumstances, driven by distinct aspirations and rationales, which imbues the narrative's conflict with profound relatability.

Dutta remarked on the audience's reception of her character, noting, "Although viewers might not have concurred with her aggressive demeanor, they comprehended the motivations behind her actions and the forces that molded her decisions.
For an actor, realizing that an audience can forge a connection with a character, even in the absence of full agreement with her conduct, is profoundly gratifying."

Ben Rekhi on adapting Aravind Adiga's novel
Director Ben Rekhi characterized the production of *Last Man in Tower* as an immensely gratifying endeavor, emphasizing the seamless synergy between the cast and the creative ensemble.
"Bringing *Last Man in Tower* to fruition has been profoundly rewarding, supported by an exceptional team at every level, ranging from Rana Daggubati's production to Sooni Taraporevala's screenplay, both grounded in Aravind Adiga's remarkable novel," Rekhi remarked.

The actor further elaborated on his collaboration with Manoj Bajpayee and Boman Irani, two cinematic titans sharing the screen for the first time in this production, stating that the most gratifying aspect of the experience has been witnessing their formidable synergy.
He emphasized that *Last Man in Tower* presents a pressing narrative centered on the preservation of community and family amidst societal upheaval, a theme that has acquired even greater significance as time progresses.

Producer Rana Daggubati further characterized the film as a profoundly human narrative anchored in the weight of choices and the complexity of attachments, asserting that "Last Man in Tower" is, at its core, a deeply human story.

He remarked that the production possesses a profound allure in its examination of human decision-making and the tenacity with which individuals cling to their convictions.
Furthermore, he noted that the ensemble cast, anchored by Manoj, Divya, and Boman, infuses their respective roles with remarkable nuance and complexity.

The film *Last Man in Tower* is scheduled to premiere on Zee 5's Hindi channel on November 6, 2026.

Ramayana Day 1 box office PREDICTION: Trade expects an opening of Rs. 60-70 cr in Hindi and Rs. 100 cr in all languages: “Yash’s mere presence and the fact that he’s playing such a strong character will ensure Rs. 40 cr from South”

 With fewer than seven days remaining until the anticipated release of *Ramayana*, the trade and industry sectors brace themselves to determine whether the production will meet its monumental expectations.Although the film was promoted as a Diwali release, it is scheduled to hit theaters on November 5, arriving four days prior to the festival.Despite this timing, the extraordinary response to advance bookings suggests a colossal opening, with trade analysts projecting gross receipts between Rs.60 and 70 crores.


Trade veteran Taran Adarsh observed that advance bookings have performed exceptionally well, noting a likelihood of a further surge in ticket sales as the release date approaches, which could result in a substantial total.

He cautioned against diminishing the significance of spot bookings, emphasizing that these transactions may constitute a significant portion of the final box office revenue.


Trade analyst Atul Mohan concurred with the prevailing projection, asserting that the film has the potential to generate revenue between 60 and 70 crores.

This estimate is bolstered by the strategic timing of the release; as a Diwali launch, it capitalizes on a period characterized by heightened cinema attendance.Historically, the most anticipated releases are strategically scheduled for the Festival of Light, a practice that inherently amplifies pre-release buzz.Consequently, debuting during this auspicious occasion confers a distinct mark of prestige upon producers.Furthermore, the customary bonus distribution to the salaried workforce during this season significantly expands disposable income, fostering a consumer environment where expenditures on retail therapy, dining, and cinematic experiences are readily embraced without hesitation.


Distributor and exhibitor Raj Bansal projected that the film would accumulate revenues exceeding Rs.

60 crores, yet he acknowledged that the pre-Diwali window typically inflicts significant damage upon box office prospects.Consequently, the production team's decision to release the movie on November 5 rather than during the holiday period reflects a calculated risk underscored by their unwavering confidence in the project."From the outset, I foresaw that this film would achieve extraordinary success," Bansal remarked, noting that had the release coincided with the day after Diwali—a major festive occasion—he would have anticipated a Day 1 opening of Rs.100 crores.Despite this optimistic trajectory, he clarified that the milestone of Rs.100 crores would not be realized on the actual release date, though it remained plausible to reach that figure by November 9, the day following the festival.


Vishek Chauhan, proprietor of Roopbani Cinema in Purnia, Bihar, has set an ambitious benchmark for the film's nationwide opening, noting that the early projections are exceptionally promising.

He anticipates a minimum day-one gross of over ₹100 crore across India, driven significantly by Yash's formidable appeal in the southern regions.The actor's presence alone, coupled with his compelling character portrayal, is projected to secure a ₹40 crore collection in the South on release day.While the owner expresses that a debut below ₹100 crore would be a source of disappointment, his realistic expectation for the film's first day revenue lies firmly within the range of ₹100 crore to ₹125 crore.It has been formally designated as the largest opening event originating from North India.


He further substantiated his argument by citing the case of *Adipurush* (2023): despite the trailer inviting widespread mockery, the film opened to approximately Rs.

35 crores in the Hindi market and secured a comparable figure in Telugu, driving an All-India day-one collection nearing Rs.100 crores.Although the narrative draws from the same source material as *Ramayana*, the latter maintains a superior standing.Furthermore, the surrounding hype remains extraordinary.


He further remarked, "All indicators point to a resounding success for *Ramayana*—encompassing its casting, monumental scale, opulent grandeur, and the pervasive buzz generated by its marketing campaigns.

Having premiered in the United States to widespread critical acclaim, the film has already captured the imagination of American audiences.There exists a distinct 'foreign obsession' within our culture; when international critics bestow their praise, it inevitably influences our own perception.The sole element that detracts from this otherwise impeccable production is its musical score."


Vishek further observed that ticket prices are notably elevated, given the film's ubiquitous presence across cinema halls and the complete absence of competing Hindi releases.

He noted that the movie's substantial hype is likely to secure screenings in regional theaters down South, despite the existence of several major releases in that market.


Concluding his remarks, Taran Adarsh emphasized the critical nature of the upcoming production, noting that substantial financial investment, an expansive ensemble cast, and elevated stakes converge within this monumental Diwali release.

Yet, transcending these commercial imperatives, the project is imbued with profound sentiments and emotional resonance.Despite these considerations, Adarsh expressed unwavering confidence in its potential.He drew a sharp contrast with *Adipurush*, which he observed took considerable cinematic liberties, and voiced his sincere hope that the creators of *Ramayana* would refrain from similar deviations.While acknowledging that the visual effects will undoubtedly be spectacular, he stressed that capturing the essence and emotional truth of the narrative is paramount.


While the narrative arc is familiar to us all, my true anticipation lies in the artistry of the storytelling itself and the cinematic manner in which it is rendered.

Ramayana: Bombay High Court grants anti-piracy protection to Ranbir Kapoor starrer ahead of November 5 release

As Nitesh Tiwari's *Ramayana: Part 1* prepares for its global theatrical premiere on November 5, the Bombay High Court has issued a decisive injunction affording the film robust legal safeguards against piracy and unauthorized digital dissemination.This ruling, rendered in a commercial action instituted by Godpower Media Private Limited, is expressly designed to curtail the illicit recording, hosting, and circulation of the motion picture and its copyrighted assets.

Godpower Media, the entity holding both domestic and territorial intellectual property and exploitation rights to the film, petitioned the court for legal safeguarding of various project components, encompassing the screenplay, character illustrations, raw footage, musical arrangements, lyrics, and audio recordings.
The firm reportedly flagged apprehensions regarding prospective copyright infringements, noting that unauthorized trailer segments had illicitly circulated online, a breach that occurred notwithstanding the enforcement of non-disclosure agreements intended to preserve the exclusivity of preview screenings.

Acknowledging these concerns, Justice Madhav Jamdar noted that the plaintiff harbored a real and well-founded apprehension that the film might become the target of illicit recording, unauthorized streaming, and piracy.
The court further weighed the considerable financial outlay inherent to the project.As per the submitted particulars, *Ramayana: Part 1* carries an estimated budget of Rs.2,000 crore, with the broader two-part saga purported to entail a cumulative investment of Rs.4,000 crore.

Consequently, the court issued a dynamic ad-interim injunction that prohibited unidentified entities, designated as John Doe defendants, alongside pirate websites and digital intermediaries, from recording, hosting, or disseminating the film to the public without authorization.


The injunction's dynamic framework empowers the film producers to promptly alert internet service providers and digital platforms, including Google LLC, regarding infringing URLs and mirror sites that may arise.
This order facilitates the rapid removal of such links and the blocking of domains identified as enabling unauthorized access to the film.Legal counsel representing Google and other major platforms reportedly raised no objection to the directive and affirmed their readiness to comply once the requisite notifications are issued.The matter is scheduled for a hearing on December 16.

Crafted by Namit Malhotra's Prime Focus Studios in collaboration with Monster Mind Creations, Ramayana: Part 1 stars Ranbir Kapoor as Lord Rama, Sai Pallavi portraying Goddess Sita, Yash embodying Ravana, Sunny Deol as Lord Hanuman, and Ravie Dubey in the role of Lakshman.


Scheduled for a global cinema release on November 5, 2026, the inaugural installment of director Nitesh Tiwari's film will be presented across a diverse array of Indian and international languages.