KVN Productions Announces Major Strategic Film Launch with Jana Nayagan
According to KVN Productions' founder and producer Venkat K. Narayana,Jana Nayagan represents more than just a film—it reflects a legacy brand's culmination and a deep connection with its long-standing audience base. "This project holds strategic importance for us and for all stakeholders involved.The First Roar—our teaser launch—demonstrates the emotional and cultural significance of this journey," Narayana stated.
Each element of the film has been executed with precision, highlighting KVN Productions' commitment to high-value storytelling, consistent production quality, and alignment with audience expectations. The First Roar
The marketing rollout for Jana Nayagan began with the teaser titled The First Roar, which achieved rapid digital traction. Within 24 hours, the teaser garnered over32.4 million views, surpassing key benchmarks in the regional film segment. As of the latest report, the total viewership has exceeded33.2 million, signaling robust market anticipation and audience engagement ahead of its theatrical release.
The film features a robust ensemble cast and crew known for their market draw and artistic credibility. With direction by H. Vinoth and music composed by Anirudh Ravichander, the production brings together proven creative leadership and commercial viability. This strategic collaboration supports the film's positioning as a high-impact release for Q1 2026.
Jana Nayagan is scheduled for a global theatrical release onJanuary 9, 2026, with plans for wide distribution across key international markets. KVN Productions is aligning with regional and global partners to ensure optimized reach and box office performance
Jana Nayagan stands as a pivotal business and creative venture for KVN Productions, reflecting a strategic culmination of legacy value, market momentum, and future-facing distribution. With early digital performance indicators pointing toward high consumer interest, the project is poised to deliver both cultural impact and commercial success upon its global launch in January 2026.
Note to readers: This article is part of Mint's paid consumer connect Initiative. Mint assumes no editorial involvement or responsibility for errors, omissions, or content accuracy.
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Hindustan Times
35 minutes ago
- Hindustan Times
Krishen Khanna, painter of bandwallas, turns 100: Modernist icon and India's greatest living artist celebrates a century
When he came out of the ritzy bank office on a balmy November afternoon in 1961 after serving out a six-month notice period, his friends were waiting outside. M F Husain, Bal Chhabra and V S Gaitonde told Krishen Khanna they wanted to celebrate his "liberation". They did so in style at the Bombelli's restaurant in Mumbai's Churchgate and Chhabra presented him with a gold tie pin in the shape of a palette. Their other friends like S H Raza in Paris gathered whoever they could find to mark the moment the banker Khanna became a full-time artist. Celebrated artist Krishen Khanna turned 100 on July 5 creating a landmark in the history of Indian art.(Courtesy of Artiana) More than six decades later, his friends Husain, Chhabra, Gaitonde and Raza are no more, but the world of Indian art is together this time to celebrate yet another landmark in the life of Khanna---his 100th birthday. Master painter, elegant orator, lover of poetry, man of witticisms and a stickler for detail, Khanna is the most active of modernist painters India has ever seen. On July 5, he turned 100, etching a landmark in the history of Indian art. Khanna, who lives in Gurgaon, Haryana with his wife Renuka Chatterjee, 98, and son Karan Khanna, a well-known photographer, welcomed visitors who arrived at his home to offer him wishes. This weekend, several art galleries across the country have joined Khanna's fellow artists and art enthusiasts in celebrating the birth centenary of the greatest living Indian artist. Calling of canvas Born in Faisalabad, Pakistan in 1925, Khanna still wakes up everyday to the calling of the canvas, carrying on a creative spirit and energy that has built a grand repertoire of formidable works in a span of seven decades. Khanna's works are conversations between himself and the characters on his canvases, mostly people with aching bodies and minds. No other Indian artist has brought alive the beating of the hearts of the invisible workers, the real builders of the country, like Khanna has been doing. He has documented the workers of Delhi in such paintings as Black Truck (1974), a construction lorry filled with labourers. There are labourers sleeping under a truck in Nocturne (1979). In an untitled work from the '90s, a truck filled with workers is seen transporting metal pipes. At 100, Khanna continues a mission he began with fellow artists Raza, Husain, Gaitonde, Tyeb Mehta, F N Souza and Akbar Padamsee, all members of the Progressive Artists' Group, founded in 1947 to give a new direction to art in a newly independent nation. Khanna's deep bond with his friends and fellow artists is legendary. Husain would visit him at his Nizamuddin studio in Delhi where Khanna would paint while his famous friend kneeled down for the prayers two feet away. "It was beautiful," Khanna would recall later. Krishen Khanna's canvases and sculptures reveal the struggle and suffering of the workers and the poor.(Courtesy of Artiana) In Raza's Paris studio, Khanna would complete his friend's unfinished painting. When business tycoon Ness Wadia brought two paintings from him, he quickly introduced the millionaire to Chhabra, Padamsee and Gaitonde. Wadia happily obliged and bought from them too. The whole group commented on each other's works and there was plenty of gossips to go by. They were a closely-knit group. Each had a distinct style of practice. Yet they influenced each other with ideas. Khanna is the last surviving member of the group after Ram Kumar passed away in 2018 and Padamsee five years ago. Prolific and profound After leaving his job at the National Grindlays Bank - a long 14 years -- in Kanpur and Mumbai, Khanna has led a prolific professional career weaving his brush on small and large canvases for several decades. There were the Mahabharat series in the '80s and the Exodus series later that produced some of his most-remembered works. Even as he achieved dizzying heights in the art world, he has been rooted to the ground and dedicated forever to his family and friends. Born in Faisalabad, now in Pakistan, Khanna grew up in Lahore. He went to a public school, the Imperial Service College in Windsor, London, where he refused to go home for holidays, instead staying back to visit the National Gallery. He returned to Pakistan to enrol at the Government College, Lahore. After graduating in English Literature, he had a day job at a printing press and attended evening classes at the city's Mayo Art School. "I had to leave the press one day and never went back," he used to say years after the Partition uprooted his family and sent them hurtling to Shimla and later to Delhi. The bloody Partition left a deep scar in the mind of the young man, who would go on to reflect human struggle and suffering in his works for years to come. One of his paintings in the '70s is titled Maclagan Road, New Delhi, fusing the street near the iconic Anarkali Bazaar in Lahore with his adopted city of Delhi. Flight from Pakpattan, another painting of a chariot with passengers was his response to his family fleeing Pakistan with meagre belongings. Another, At the Railway Station, is about the long journey from Lahore that culminated at the railway station in Shimla. Street Quartet (Bandwallas), a 1988 oil on canvas by Krishen Khanna.(Courtesy of DAG) He sees Pakistan in the streets of Delhi. And he never grew old. Probably the Partition stopped time for him. The wars India fought with Pakistan and China left him distressed and he was always ready to join his friends in selling their works to contribute to the Indian Red Cross. Angry at India and Pakistan calling themselves enemies of each other, he believed that educated and reasonable people were few on both sides. Chaiwallas and dhabawallas Once he was settled in Delhi, Khanna began to paint the city' bandwallas, chaiwallas, dhabawallas and truck drivers and never stopped. There are scenes of baraat in the city's streets and evenings at dhabas in works like Ramu ka Dhaba (1979) and Bandwallas in a Tempo (1991). In an untitled work of 2011, angels are seen watching a baraat from above. Khanna has always made sure all his characters in his works retain their individuality. The author Khushwant Singh appears in one of his paintings on Delhi in the '60s. A bronze sculpture from the artist's Bandwallas series(Courtesy of Vadehra Art Gallery) The spirit of community continues to contribute to his works. In Memoriam, painted four years ago, he places himself and his artist friends inside a dhaba. Working in his studio in Delhi and later in Gurgaon, he would write letters to his friends and welcome them warmly whenever someone paid him a visit. Between discussions over the latest show at galleries in Mumbai, London, New York and Paris, his letters reveal his inimitable humour. When Raza once wrote to him that he was working long hours, Khanna retorted: "This sounds worse than banking." He paints every day and brushes away suggestions that he might be tired. Sometimes, he even steps out to see the massive mural he painted at the Maurya Sheraton hotel in Delhi. For Khanna, his over seven-and-half decades as an artist has been a breeze. "I never thought I would do so much work," he says. 'There is not a moment of dullness.' ALSO READ: Artwork not looking good on your walls? Expert reveals what's wrong, shares 5 tips to create visual harmony at home
India.com
41 minutes ago
- India.com
Vinod Khanna's actress broke all boundaries of boldness in one song, audiences were shocked, but it turned blockbuster hit, film was... her name is...
There's always been a certain poetic intensity to Raj Kapoor's cinema — but in 1978, he directed a film that stirred not just emotions but national headlines. That film was Satyam Shivam Sundaram, and while it became a box office blockbuster, it also earned notoriety for one unforgettable sequence. A legacy of cinema, a storm of controversy Casting his son Shashi Kapoor opposite the stunning Zeenat Aman, Raj Kapoor told a story that was visually rich — and unapologetically sensual. Zeenat played the character of Roopa, whose half-scarred face and full heart became the central emotional thread of the narrative. But the aesthetic boldness Kapoor brought to the screen had never been attempted at this level in Indian cinema. Costume clashes and cultural shock Zeenat's wardrobe in the film became the talk of the nation. Audiences weren't used to such skin-baring costumes, especially from mainstream actresses of the time. 'People lowered their gaze in theatres,' said critics who recalled the premiere. And yet, Zeenat carried the character with fierce confidence. The song that 'crossed all limits' The most debated moment came in the song 'Rang Mahal ke Das Darwaze…', filmed as a suhaag raat (wedding night) sequence. 'Raj Kapoor broke all boldness barriers in that scene,' said industry insiders. The visual styling — dimly lit but suggestive — created an uproar. 'She was almost shown nude,' many recalled. The scene, filled with intimate moments and suggestive visuals, remains etched in Bollywood folklore. Despite the backlash, the song — and the film — became instant favourites, both musically and theatrically. The pairing of Shashi Kapoor and Zeenat Aman was hailed as iconic. 'Zeenat simply lit up the screen,' wrote a 70s-era reviewer, 'and Shashi looked regal as the groom.' A blockbuster that still whispers Despite public outrage and moral debates, Satyam Shivam Sundaram (1978) was a commercial hit. The film's soundtrack, story, and visuals still inspire conversations — proving once again that Raj Kapoor knew exactly how to blend art, beauty, and shock.
Mint
an hour ago
- Mint
'Himachal Government, administration closely monitoring situation': MP Kangana Ranaut on relief efforts in disaster-affected areas
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