Rashmika Mandanna To Play Negative Role In Allu Arjun, Atlee's AA22XA6: Report
Rashmika Mandanna is currently busy with her film shoots. Amid this, it is being reported that the actress is all set to take on the role of an antagonist for the very first time in the upcoming high-octane action entertainer AA22XA6. Directed by Atlee and starring superstar Allu Arjun in the lead, the film has been generating massive buzz, and this latest development has only added to the excitement.
Times Now has quoted Bollywood Hungama's source saying, 'Rashmika had the option to play the antagonist in A6 or take up a similar role in another major Pan India film. After carefully considering both parts, she chose A6 because the character offered her the opportunity to explore new, uncharted territory as an actor." Reportedly, Rashmika has already completed her look test for the film and is gearing up to begin shooting from October onwards. She recently travelled to Los Angeles alongside director Atlee and Allu Arjun, where she was introduced to the pre-visualisation (pre-viz) sequences for her character.
The upcoming film is being positioned as a global spectacle, with a massive budget and scale that aims to push the boundaries of Indian filmmaking. A source close to the production told Pinkvilla, 'Rashmika Mandanna has come on board Atlee's ambitious film. The actress will be seen in one of the most daring roles of her career. The dynamics of Rashmika and Allu will be very different from what they shared in Pushpa franchise."
Joining Allu Arjun in key roles are Deepika Padukone, Janhvi Kapoor, and Mrunal Thakur.
Backed by Sun Pictures, the project is expected to complete filming by the second half of 2026, with post-production running parallel to shooting. 'The idea is to have post-production work going on in tandem with the shoot, for the actors to know the output. The team is committed to make a global project, and the release date will be announced with a heavy on visual promo soon," the source said.
Slated for a global theatrical release in late 2026 or early 2027, AA22xA6 will be launched in multiple languages.
Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
&w=3840&q=100)
First Post
13 minutes ago
- First Post
Border 2: Sunny Deol, Varun Dhawan, Diljit Dosanjh & Ahan Shetty starrer celebrates Independence Day with first poster
With a stirring tribute to the nation, the film is all set to release on 22nd January 2026 - gearing up for an extended Republic Day Weekend takeover like never before! On the day India celebrates its 79th Independence Day, the makers of Border 2 have chosen this historic day to pay a sincere tribute to India's bravehearts. In the first poster launched today, it is unveiled that the film, inspired by true stories, is now set to hit theatres on 22nd January 2026, perfectly timed to let audiences immerse themselves in a patriotic experience over the long Republic Day weekend. The poster brings back Sunny Deol in his most iconic, battle-hardened avatar; evoking the very essence of what made Border a historic milestone. Dressed in military gear and gripping a bazooka with fierce intensity, Sunny stands tall as the embodiment of patriotism and raw emotion. With that unmistakable fire in his eyes and the weight of duty on his shoulders, Sunny Deol returns to the frontlines, ready to channel the spirit of an Indian soldier once more. STORY CONTINUES BELOW THIS AD Directed by Anurag Singh, Border 2 brings together a powerful ensemble led by Sunny Deol, Varun Dhawan, Diljit Dosanjh, Ahan Shetty, Medha Rana, Mona Singh and Sonam Bajwa with production by Bhushan Kumar and JP Dutta. This announcement on Independence Day connects the film's patriotic essence with the spirit of the nation, stirring memories of the original while promising a cinematic spectacle for a new generation. Speaking about the moment, producer Bhushan Kumar said 'Border is more than a film — it's an emotion for every Indian. With Border 2, we aim to carry forward that legacy and bring it to a new generation. The new release date gives audiences more time to come together and experience the film in theatres during an extended Republic Day weekend.' Producer Nidhi Dutta added, 'The first Border was a heartfelt salute to our armed forces. This time, we return with the same passion, a fresh story, and a promise to evoke the same pride and tears in every theatre. With the new release date, we are happy to bring the film to cinemas sooner, allowing audiences to enjoy a longer Republic Day weekend.' STORY CONTINUES BELOW THIS AD Director Anurag Singh shared, 'Announcing the date on Independence Day is symbolic. This day reminds us of the sacrifices made by our soldiers for India's freedom and so does our film. It's an honour and a privilege to honour their undying spirit through this story.' Backed by a powerful production team including Bhushan Kumar, Krishan Kumar, J.P. Dutta, and Nidhi Dutta, and directed by Anurag Singh, Border 2 is presented by Gulshan Kumar & T-Series, in association with J.P. Dutta's J.P. Films. The film continues the legacy of honoring the heroism and indomitable spirit of Indian soldiers, taking audiences on a spectacular journey of patriotism, courage, and sacrifice. Gear up for this monumental saga of patriotism and courage, as Border 2 storms into cinemas on January 22nd 2026.
Indian Express
13 minutes ago
- Indian Express
25 years of fearless cinema: From Nayak to Newton, films that ditched chest-thumping for truth and change
We have all seen Hrithik Roshan's bulging biceps in the War 2 trailer. The film, which released on August 14, timed its arrival with Independence Day to showcase the 'valor' of an Indian soldier who stands against enemy forces — here played by Jr NTR. But this isn't a new template. In recent years, nationalist films have frequently walked the thin line between patriotism and jingoism, often spreading propaganda designed to sway public sentiment. These films may parade bravery on screen, but in truth, they aren't brave at all. Real courage in cinema comes from questioning the prevailing rhetoric, not from endorsing it to secure box office numbers. As John Abraham aptly put it in a recent interview, 'What is worrying to me is that right-wing films find a huge audience and that's when you ask yourself as a filmmaker what line will you toe – the commercial one or the one where you stay true to what you want to say?' In the past few years, our narratives have become self-congratulatory, fixated on celebrating achievements without room for reflection. True bravery, especially in today's climate, also lies in acknowledging flaws, addressing uncomfortable truths, and allowing such stories to be told without fear. This Independence Day, we turn our attention to films that dared to hold a mirror to society — not to demean, but to challenge, provoke, and push for change. I first watched Nayak as a child, and it has lived rent-free in my mind ever since. Why? Because it explored an idea that felt both thrilling and empowering—imagine getting the reins, even for just one day, to govern the very city where you witness civic failures and social problems every day, problems you usually feel helpless to change, not to mention the blatant corruption that has become a part of everyday life. At the time, Nayak was a fascinating premise, brought to life by the magnetic presence of Anil Kapoor and Amrish Puri. Backed by AR Rahman's powerful soundtrack, the film created an atmosphere of pride and power — emotions that the average middle-class Indian rarely gets to experience outside the world of cinema. When we talk about portraying the bravery of Indian soldiers on screen, we often overlook the human being behind the uniform — their journey, struggles, and transformation. Too often, actors play soldiers as if they're in a high-octane video game, designed purely for audience thrills. Farhan Akhtar's Lakshya broke away from that mould. It offered an extraordinary coming-of-age story that didn't rely on gravity-defying stunts but on authentic bravery — charting Hrithik Roshan's transformation from a privileged, aimless young man into a soldier whose life and choices, directly impact the nation. His mission to scale the heights and eliminate the enemy wasn't just physical — it was symbolic of his personal growth. There's no chest-thumping patriotism here. Instead, the narrative is rooted in reality, empathy, and respect for the man behind the uniform. Thanks to Rohit Shetty's cop universe, police dramas in Bollywood found a new life — full of style, swagger, and high-octane action. But while those films excel in entertainment, they rarely leave a lasting social impact. Sehar, starring Arshad Warsi, is a very different kind of cop story — quiet, realistic, and deeply resonant even years after its release. Arshad plays a committed, disciplined officer who shoulders the weight of a corrupt system, pushing against it in silence while fulfilling his duty. There's no grandstanding or loud declarations of honesty and bravery—he simply does his job, and never looks back. The brilliance of Neeraj Pandey's A Wednesday lies in its refusal to draw clean lines between right and wrong. By giving us the backstory of its so-called villain-turned-hero (played masterfully by Naseeruddin Shah), the film blurs moral boundaries and forces us to confront uncomfortable questions. Frustrated by a weak and indifferent system, this ordinary man takes matters into his own hands, risking his life to 'clean' society. In many ways, the premise echoes Nayak—a common man stepping in where the system has failed. But here, the stakes are higher and the tone grittier. The narrative addresses religious violence, corruption, and the way systemic failures inevitably crush the common man, leaving him helpless and angry. It's a sharp reflection of public angst. There are certain films you know wouldn't see the light of day if they were released today, and Anurag Kashyap's Gulaal is one of them. The film is less a political drama and more a raw, unflinching dive into the underbelly of student politics, caste privilege, and the hunger for power. Set against the backdrop of a fictional Rajputana movement, it lays bare how ideology can be weaponised and how the quest for power is often disguised as a fight for justice. Hard-hitting and unapologetic, Gulaal is as much an eye-opener as it is a mirror to the darker truths of society. Before Panchayat's Pradhan ji (Raghubir Yadav) gave us the feel-good side of village life, he showed us its harsh, unforgiving reality in Kiran Rao's directorial debut Peepli Live. The film tackles the deeply sensitive issue of farmers' suicides, yet wraps it in biting satire that makes you laugh even as it unsettles you. It's one of those rare gems that presents a heartbreaking subject without burdening the audience, while still ensuring they never forget the plight of farmers. In this theatre of life, farmer Natha (Omkar Das Manikpuri) decides to end his life so his family can claim government compensation — a personal tragedy that snowballs into a grotesque political spectacle. It heartwarming and heartbreaking in equal measure and shouldn't be missed. At a time when the country's Election Commission often finds itself under scrutiny, Rajkummar Rao's Newton feels more relevant than ever. The film takes us deep into the machinery of Indian elections, revealing the countless people, efforts, and dangers involved in keeping democracy alive. These are not soldiers or trained combatants — just ordinary citizens shouldering an extraordinary responsibility. At its heart, the film is also a reflection on honesty. As Sanjay Mishra's character tells Newton, 'Your arrogance about your honesty… your honesty is not doing the world a favour; it is expected of you.' Rajkummar Rao delivers yet another hard-hitting performance in Anubhav Sinha's Bheed, a stark black-and-white drama that fearlessly revisits one of the darkest chapters of recent history — the mass migration during the 2020 COVID-19 lockdown, the largest in India since Partition. Drawing from true events, the film lays bare the cracks in governance, exposing how caste politics, religious prejudice, and systemic apathy collided in a moment of national crisis. In an atmosphere thick with fear and uncertainty, we see people walking hundreds of kilometres, some dying in packed trains, others stranded without food or shelter, something that isn't fictional but was the reality faced by many in the country. Many other films in Hindi cinema have dared to challenge the set, comfortable narratives and question authority. Like the 2010 film Aakrosh addressed caste discrimination, honour killings, and deep-seated corruption. Rajkummar Rao's Shahid (2012) told the true story of a Muslim man's redemption after being drawn into a terrorist organisation, following his journey as he fights legal battles for others wrongfully accused. John Abraham's Madras Cafe (2013) explored the Tamil genocide in Sri Lanka and the political failure of the Indian Peace Keeping Force. Ayushmann Khurrana's Article 15 (2019) also gives a haunting view of the caste discrimination and the brunt of the prejudice faced especially by the women of the marginalised communities.
Indian Express
13 minutes ago
- Indian Express
From low-key to larger-than-life, the many faces of Indian spies onscreen
Cinema across the world has been fascinated by spies, undercover agents, covert operations, intelligence officers working undercover, layers of charade, mistrust and potentially catastrophic situations that are averted in the nick of time. From glamorous and gritty to docile-looking but deadly, we have had numerous characters who cover the spectrum between realistic or based on true incidents and completely over-the-top spectacles like Mission Impossible or the Bond films. In India, August this year has been the month of spies. Over the Independence Day weekend and even earlier, stories of espionage, secret agents, and tales of patriotism, courage, and sacrifice have graced our screens, both big and small. Salakaar, a series about an 'extraordinary Indian spy,' started streaming on JioHotstar on August 8. Saare Jahan Se Accha, a web series starring Pratik Gandhi and Sunny Hinduja, released on Netflix on August 13. Gandhi plays Vishnu Shankar, an Indian intelligence officer assigned with finding Pakistan's nuclear facility, while Hinduja plays his unsurprisingly evil counterpart, who is determined to scuttle India's plan. On August 14, War 2, the next lavishly mounted saga from the YRF Spy Universe, released in theatres. Hrithik Roshan reprises the role of agent Kabir and faces off against Jr NTR, who makes his Bollywood debut. Kiara Advani is also around, wearing a bikini in a non-controversial colour. Tehran, starring John Abraham and Manushi Chillar also released on August 14 on ZEE5. The trailer introduces Abraham as Rajeev Kumar from the Delhi Police, though he appears to become involved in a major international showdown involving Israel, Iran, and India. Indian cinema and OTT content have given us multiple characters who work anonymously to save our country from peril. Some are focused on gathering intelligence in undercover roles, others have the license to kill, and some, like the YRF spies, can dance, romance and fire a bazooka, all with equal ease. So, as we enjoy the return of super spy Kabir and the introduction of Vishnu Shankar and Rajeev Kumar, I couldn't help but dig deep into the different types of 'jasoos' characters we have seen in Hindi films and content, and reminisce about who the most memorable ones have been. Not all situations call for a highly trained operative. There are cases where a novice or a common man or woman is chosen by an intelligence officer or a member of the armed forces to spy for the nation. They are considered suitable because of their gender, social strata or an out-of-the-box approach that differs from the methods of a trained spy. In Raazi, Alia Bhatt played Sehmat, a young Indian college student who marries the son of a Pakistani Army officer. Sehmat is petite, soft-spoken and shy, and her unsuspecting in-laws have no idea that she is an Indian spy who has been deliberately planted through marriage in her husband's home. She manages to gather vital information about an attack being planned on India, but her bravery comes at a huge personal cost. In the web series Mukhbir (streaming on ZEE5), which means spy, Zain Khan Durrani played Kamran, a handsome conman whose fearless attitude and smooth-talking skills impress S.K.S. Moorthy (Prakash Raj), an intelligence officer. Kamran goes undercover in Pakistan and is successful in finding information that is vital to the nation's security. In the film Khufiya, Tabu played an intelligence officer, Krishna Mehra, who plants Charu (Wamiqa Gabbi) as a spy in her own home to keep an eye on her husband, an escaped CIA mole. Priety Zinta's character Reshma from Hero: Love Story of a Spy is planted as a maid in a Pakistani home to gather intelligence for army officer Sunny Deol, who had more costumes than even the leading ladies of the film. Bell Bottom is another example where a talented civilian, Anshul Malhotra (Akshay Kumar), is emotionally blackmailed into becoming an intelligence officer with the code name Bell Bottom. While Sehmat, Kamran, Charu, Anshul and Reshma were plucked out of their regular lives and sent into dangerous territories, there are those like Srikant Tiwari in The Family Man. Srikant is a guy next door who is also a highly trained intelligence officer and field agent. Srikant or his colleague JK Talpade (Sharib Hashmi) could be the men standing next to us at a vadapav stall. But at work, they counter terrorism or dodge bullets on the field. One can't mention The Family Man without talking about the spy who makes Srikant look like a novice, Chellam. With only a few scenes but brilliantly written dialogues and great direction, Chellam sir inspired hundreds of memes and jokes with his paranoia and omniscient narrator-like knowledge. Himmat Singh (Kay Kay Menon) from Special Ops is another character where a regular-looking man, with a regular family, is in a job that has a direct impact on national security. Films like Baby, Mission Majnu, and even D Day are all examples where men and women who wouldn't stand out in a crowd, or have regular day jobs as covers, but are keeping us safe from threats every day. Quite unlike Srikant and Himmat are the larger-than-life spies of the YRF spy universe. Though the first film, Ek Tha Tiger, tried making Salman Khan seem like a guy next door in the first half of the film, the second half and the two subsequent films have turned Tiger into a larger-than-life character who drops from the sky onto a moving train and runs against the velocity of a train to escape certain death. Ditto for the newest YRF spy, Pathaan, played by Shah Rukh Khan. Unlike regular spies who perhaps have basic weapons and some spy tools, Pathaan operates planes, races bikes on the snow and even flies a jet pack to save the nation from rogue agent Jim (John Abraham). The spies of the YRF spy universe also travel to fancy European locations, dance with women dressed in designer clothing/swimwear, and indulge in plenty of dialoguebaazi and rhetoric to elicit the whistles and hoots. There is nothing relatable or low profile about Tiger, Pathaan, or Kabir. But then again, our audiences are pretty quick to suspend disbelief when it comes to Hindi film heroes. Also Read | In Ek Tha Tiger's opening, Kabir Khan delivers the most subversive Salman Khan entry and sets the spy universe template Perhaps what makes this genre so successful is audience curiosity about what motivates someone to live a life where they are constantly looking over their shoulder, or respect for the patriotic fervour of common men and women who put the nation above themselves. Additionally, the thrill of outwitting the enemy, delicious close brushes with getting caught, and the permission to cross borders or blur moral lines are all factors that keep us invested in characters whose successes and failures often make news headlines. The reasons are plenty, and it will be interesting to see whether these spies, old and new, will give us something to think and talk about or merely pass by without creating any ripples.
