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Vaani Kapoor on criticism:  If you've nothing constructive to say, don't say at all

Vaani Kapoor on criticism: If you've nothing constructive to say, don't say at all

India Today23-07-2025
With 'Mandala Murders', Vaani Kapoor ventures into darker, more introspective territory, far from the breezy, glamorous roles that first brought her to the screen. The investigative thriller, created by 'Mardaani 2's Gopi Puthran, blends crime with mythology and introspection with action.In this candid conversation with India Today, Vaani opens up about challenging herself, confronting criticism, learning to let go, and why she still hasn't grown a thick skin.advertisementExcerpts from the interview:
Q: To have a project like Mandala Murders as your digital debut, was it a conscious decision to take on something you hadn't been offered in films?I was intrigued by it. I was excited. I was happy that somebody saw that potential in me — to picture me in a role like this and envision me in a universe like Mandala. The story is strong. It's fictional, but it's not just about crime. It's blended with mythology. It leaves you thinking about your belief system, the choices you make, the consequences that follow. I feel everyone has a moment when they reflect, 'This is who I am, this is what I believe in.' I do that all the time.Q: When you wrapped the shoot, what did you learn about yourself — something you didn't know you were capable of?Anything except flying like Superman — that's for CGI! (laughs)! But yes, I realised I love challenging myself. I want to test my limits, find my weaknesses and turn them into strengths. Acting is emotionally and physically exhausting. The backstory work, the performance, the action, it's all-consuming. There was a day I shot for 17 hours straight. I was so tired I couldn't even remember my last scene, and I still had to catch a flight! It's unhealthy, and I wouldn't recommend it but I did it. Because I love it.Q: That kind of pressure and intensity, it can wear you down. What happens on days when it gets too much?I cry. I let it out of my system. I'm a deeply emotional person, but I've learnt to not let it overwhelm me to the point where I can't function. People often tell me, 'You should be thick-skinned by now.' But I'm not. And I don't think I want to be. I take things to heart. I overthink — people who know me will agree! But I also try to understand where I might have gone wrong. I always try to be better than I was yesterday, with whatever bandwidth I have.advertisementQ: And when criticism comes your way, especially in this age where everyone has an opinion, how do you deal with that?If it's constructive, I value it a lot. I ask myself, 'Was I not good enough? Did something not connect?' But you won't get a pat on the back from everyone. With social media, everyone's a reviewer. And that's fair, audiences are paying for a ticket or a subscription. They have a right to be honest. But if someone has nothing constructive to say, I don't think they should say anything at all.I scroll past things I don't agree with. I don't write, 'I hate this' or 'You should disappear.' That kind of negativity, I just don't understand it. How much energy are people willing to spend just to tear someone down?Q: That kind of criticism/trolling, it's exhausting and demoralising. Do you ever find yourself questioning your self-worth because of it?Yes, of course. And I feel bad, not just for myself, but for others too. Everyone's going through something. Anxiety, depression, self-doubt. I don't know anyone who hasn't experienced it and, yet, we do this to each other. We pull each other down.advertisementQ: You said earlier that you were grateful someone saw this side of you with Mandala. Do you ever feel like those kinds of opportunities haven't come often enough?There are days when I wish I was part of something. When I think, 'Why didn't that filmmaker see me in that light?' But I've started leaving that to God. If I deserve it, it'll come to me. If someone else was better for the part, so be it. I've learnt to make the most of what's on my plate. I can't afford to say, 'I don't have that, so I don't want this either.' Maybe it'll take me longer to get where I want to be, but at least I'm moving. I'm not stuck. I'm not going backwards.'Mandala Murders' will premiere on Netflix on July 25, 2025.- EndsMust Watch
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Surveen Chawla emerges as the surprise hero of Mandala Murders
Surveen Chawla emerges as the surprise hero of Mandala Murders

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Surveen Chawla emerges as the surprise hero of Mandala Murders

In the gripping world of Netflix's latest offering, 'Mandala Murders', a thriller packed with layered characters, dark secrets, and unexpected turns, one name stands out — not as the lead, but as the scene-stealer: Surveen Chawla as Ananya Bharadwaj. While the series was intended to revolve around its protagonist's quest for justice and truth, it is Chawla's character that stands out, sometimes leaving a lasting impression in various introduction scene shows the actor stepping into a frame wearing a cotton saree and a political legacy to carry forward, trying very hard to break the stereotype of seeing her husband take over the party work despite all her hard exudes a quiet mystery and compelling intensity that's impossible to overlook. Though not in the spotlight initially, her character gradually emerges as the magnetic core of the narrative. From delivering powerful speeches at party meetings to fearlessly standing up for the people of Charandaspur, the actor offers a performance that feels authentic and layered. View this post on Instagram A post shared by Netflix India (@netflix_in) While the story mainly focusses on Vaani Kapoor (Rea Thomas) and Vaibhav Raj Gupta (Vikram Gupta), Surveen Chawla gradually finds her place in the plot and ends up stealing the spotlight. In one standout scene, Chawla's intense face-off with Kapoor, when Rea visits her for questioning, instantly grabs attention — especially with the calm yet sharp way she when both Kapoor and Chawla are attacked by goons, the way they fight back together is gripping and sure to leave viewers on the edge of their face-off scene between Chawla and Kapoor during a police and media briefing further explains the tension between their characters. The way they look at each other in the scene highlights Chawla's prowess, and you can't help but bow your head in than her political journey, Chawla also surprises fans with her character's love angle involving Vikram Gupta. Though he started off as her friend, Vikram later became the boyfriend of Ananya's sister, Kavita (played by Monica Chaudhary). Yet, the depth of Ananya's feelings for him never quite faded, it stayed alive in her eyes. So much so that the two even shared an intimate moment later in the series. However, Vikram's love for his girlfriend held him back, creating a quiet tension that added more depth to their Surveen Chawla's filmography and her stints in projects like 'Rana Naidu' (2023) and 'Criminal Justice 4' (2025), Chawla has managed to create a lasting impact with her roles while surprising us every time. View this post on Instagram A post shared by Netflix India (@netflix_in)In an interview with IANS in June, the actor even explained that she doesn't have a process to approach a character — she makes sure to be 100 per cent mentally present in the don't have a process. And I don't take myself too seriously. I stopped taking myself too seriously, as Chawla the person or as an actor, both. This happened over the course of time,' she said in the back to the series, Chawla's power lies in the silences in certain scenes and the calmness with which she exudes sass. For example, the way she tackles her husband and takes over as the party we explain how Surveen Chawla left us smitten with her role, the climax just dropped the major Alert!In the moments leading up to the climax, Ananya Bhardwaj, a key political figure, finally unveils her true identity to Vikram Singh. She reveals that she is an Ayasti, a member of the secretive Ayast Mandal. She informs Vikram of his connection to the final section of the mandal, linked to the 'blood of the miracle son'.Ananya initiates a blood transfusion between Vikram and Yast to revive Yast. The one we considered the shrewd political leader turned out to be the leader of the cult, taking over the responsibilities of her grandmother, Rukmini Bharadwaj (Shriya Pilgaonkar).With 'Mandala Murders', Surveen Chawla not only proves her mettle once again but also makes a strong case for reimagining the lead in such narratives. While the protagonist's arc may drive the story, it's Chawla's character that gives it soul, and ultimately, steals the show.- Ends

Exclusive: John Abraham learnt Farsi and Hebrew for Tehran, shares emotional link
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Exclusive: John Abraham learnt Farsi and Hebrew for Tehran, shares emotional link

John Abraham is known for his intense performances and commitment to his roles. But his upcoming film 'Tehran' holds a special place in his heart for reasons that go far beyond the film. In an exclusive conversation with India Today, the actor opened up about the emotional and cultural depth he brought to this international espionage thriller, starting with a personal connection rooted in his own heritage and his connection with Iran and the Farsi language, John said, 'This is emotionally the first thing that I've done for Tehran. My mother is Iranian, and the script was very close to my heart. My mother, of course, speaks Farsi. That's the national language of Iran. I could barely understand a few words here and there, because when you're growing up, your mother speaks to you a little in Farsi, a bit of Dari just mixes up words and stuff like that.'Driven by his desire to portray his character with cultural authenticity, John decided to learn Farsi from scratch. He explained further, 'I wanted to learn Farsi. So I learned Farsi for six months for 'Tehran'. I wanted to get the dialect right. I didn't want to go wrong on anything.' But the challenge didn't stop there. The film demanded more. Abraham added, 'It's got a lot of Farsi in it. It's got a lot of Hebrew in it. So I learned Hebrew as well. But you don't learn it just to prove a point. It has to flow into the script, and it has to come very easily on your tongue.'Luckily, he said, his roots gave him a natural advantage, saying, 'Because my mother's an Irani, it was easier for me on my tongue. So I'd probably get that benefit that I kind of rolled over onto the film. But it was a beautiful process.'Watch the trailer here: John describes 'Tehran' as a one-hour-49-minute cinematic experience that's unlike anything India has produced before. 'I would want to believe it's the first international film out of India,' he actor further recalled how life on set mirrored the hopeful possibility of unity in the time of war. 'When you talk about world problems, we were all eating at the same table,' he says, adding, "There was an Iranian, there was an Israeli, there was a Dutch person, there was a Ukrainian, and there was me. We were all eating at the same table, just like 'Kabul Express'.''Tehran' will begin to stream on ZEE5 from August 14.- EndsTrending Reel

Patola, but make it steel: Rimzim Dadu just did that and how
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Patola, but make it steel: Rimzim Dadu just did that and how

Although Rimzim Dadu has been a force in Indian fashion for over 17 years, it was only in 2023 that she brought her signature molten magic to India Couture Week. At India Couture Week 2025, her show is one of the most talked-about at the annual fashion credit goes to her mastery in transforming unconventional materials like steel, silicon, paper, metal wires, and razor-thin cords into wearable couture. Her creations shimmer like metal but move like fabric, making them instantly is achieved through a labour-intensive process of disintegrating a material, stripping it into wires (almost like yarn), working on it to give movement and softness, and finally weaving it back together to create art couture. At the recently concluded Hyundai India Couture Week 2025, Dadu took things a step further. She unveiled a collection that reimagined Gujarat's traditional Patola weave through her signature metallic textile techniques. Patola saree, reimagined using steel textile, by designer Rimzim Dadu. Models walked the ramp in saris and bandhgalas featuring bold, geometric Patola motifs. Rimzim Dadu used her signature cording technique to craft edgy sarees with structured pallus that echoed the intricacy of the traditional weave. Male models rocked kurta sets layered with jackets - her contemporary interpretation of Patola. From Rimzim Dadu's show at India Couture Week 2025. 'We draw inspiration from amazing textiles like the Patola and Jamdani, but we don't copy them. We reimagine them in our textiles and try to give them a new perspective, which you will see plenty of in this collection,' Dadu told India Today in an interview Oxynn, her new collection, she drew inspiration from Gujarat's Banjara tribes: their mirrored textiles, bold weaves, and oxidised jewellery. Some pieces, like showstopper Khushi Kapoor's silver blouse and skirt, were inspired by the intricate links of traditional payals to echo the raw elegance of Banjara jewellery in a bold, modern form. Khushi Kapoor turned showstopper for Rimzim Dadu. Rimzim Dadu's signature steel saree, which first gained attention when Sonam Kapoor wore it at the Cannes Film Festival in 2016, continues to evolve with each collection. This time, she introduced drapes and pallus featuring intricate cutwork paisley patterns. Drapes and pallus at the Rimzim Dadu's show. Another reason why Rimzim Dadu's ICW 2025 show stood out was her not entirely bogging down to the wedding wear dominance. For the sarees and lehengas – that, must we add, are a huge hit among modern brides for cocktails and wedding reception events, the designer showcased non-wedding couture pieces like sculptural harem pants, corsets, mini dresses and blazer sets. Rimzim Dadu presented a bevy of silhouettes. You can't miss this look, featuring sheer black stocking elevated with Dadu's metallic paisley motif! Punk meets Patola, we say! A standout look from the show. The designer's focus on footwear and bags was a scene-stealer, and also an extension of her art-like clothes. The accessories! advertisementThough Rimzim Dadu launched her label in October 2007, initially under the name My Village (later shortened to Rimzim Dadu), she has consistently made uniqueness and textile innovation the core of her brand from the start. Year after year, she continues to evolve her design language without ever losing its essence.- Ends

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