Latest news with #GalattaPlus
News18
2 days ago
- Entertainment
- News18
Devi Sri Prasad Accuses Turkish Singer Of Copying Oo Antava, Says He Might Take Legal Action
Devi Sri Prasad has slammed Turkish singer Atiye for allegedly copying Oo Antava from Pushpa in her song Anlayana. He says legal action is under consideration. Years after Oo Antava became a cultural phenomenon with the release of Pushpa: The Rise, the song has now stirred up an unexpected international controversy. Composer Devi Sri Prasad, popularly known as DSP, has accused Turkish pop singer Atiye of copying the chart-topping track in her single Anlayana, released seven months ago. The Allu Arjun–Samantha Ruth Prabhu starrer continues to make waves—but this time, for alleged plagiarism. Speaking at a recent event, DSP expressed both disappointment and reluctant pride. 'Many people enjoyed Oo Antava in various ways, but now I've come to know that it has been copied into Turkish. There are many similarities in singer Atiye's version. One has to call it a plain copy," he stated in Telugu. He went on to say, 'I'm thinking about filing a case against them. But I'm also proud—this just shows the international appeal of our music." Turkish singers have a history of rehashing songs from India. This one, released in 2024, rehashed Oo Antava Oo Oo Antava from Pushpa (2021) by our own @ThisIsDSP. By the way, this is not sampling. Turkish song details: Singer: Atiye Song: Anlayana. — Sylvian (@Sylvianism) June 29, 2025 The song, known for its seductive beats and Samantha's sizzling screen presence, had taken social media by storm upon release in 2021. Interestingly, even Samantha herself was initially hesitant about the bold number. Reflecting on the experience in an earlier interview with Galatta Plus, she revealed that the role pushed her far outside her comfort zone. 'Who thinks of me for a special song, and that too, one in which I had to look really hot? I was always playing the cute, bubbly, girl-next-door." She added that it wasn't just about dance steps. 'It was about the attitude—the fierce, confident woman who's always comfortable in her sexuality—all of which I am not," she admitted candidly. Recalling her first day on set, she said, 'I was shaking in front of 500 junior artists before the first shot. I was so nervous." With Oo Antava continuing to leave an impact years later—both creatively and legally—it seems the song's journey is far from over. Whether DSP proceeds with legal action remains to be seen, but one thing is certain: the reach of Telugu music now extends well beyond borders. First Published:
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First Post
3 days ago
- Entertainment
- First Post
After Netflix's 'Nadaaniyan', Karan Johar announces another film with Ibrahim Ali Khan called 'Sarzameen', also starring Kajol and Prithviraj Sukumaran, teaser out
The teaser is out and the film will release on Jio Hotstar on July 25 read more Netflix's 'Nadaaniyan' may not have fared as well as the makers expected. Karan Johar has now announced another film with Ibrahim Ali Khan called Sarzameen, which also stars Prithviraj Sukumaran and Kajol. The teaser is out and the film will release on Jio Hotstar on July 25. STORY CONTINUES BELOW THIS AD Karan Johar on Netflix's 'Nadaaniyan' with Ibrahim Ali Khan & Khushi Kapoor being bashed online: 'I was feeling terrible for…' Netflix's 'Nadaaniyan' with Ibrahim Ali Khan & Khushi Kapoor is one of the most trolled films of 2025 so far. And producer Karan Johar in an interview with Galatta Plus, had something to say on the hate that came his way. Johar was quoted saying, 'More than anything else, I was feeling terrible for…and I know that I'm apparently not supposed to say this also. Because I am not supposed to show sympathy to Ibrahim or Khushi or Shauna. Because they were all first timers.' The filmmaker added, 'Apparently, they are not meant to have emotions, because they come from privilege. So hate on them. They're not meant to feel bad at all because they come from entitlement. They come from privilege.' Karan Johar said, 'I remember we reached out to certain YouTubers like 'Calm down. Can we just forget Nadaaniyan?' They were like 'But every time we write about it, we get so many views.' The moment we stop writing about it, we are losing our followers. We want more followers. So even hating on Nadaaniyan became fashionable. The more you hate on it, the more videos you put out, the more engagement you will get. People are loving nepo kid bashing and I am like 'move on.'' STORY CONTINUES BELOW THIS AD
India Today
25-06-2025
- Entertainment
- India Today
Chikitu: Rajinikanth's brief appearance in Coolie music video steals the show
The official music video of superstar Rajinikanth's much-anticipated film Coolie was released on Wednesday. Titled 'Chikitu', the song is an upbeat dance number that features politician T Rajendar, music composer Anirudh Ravichander, choreographer Sandy and lyricist the music video, the four men are seen setting the stage on fire with their dance moves around a cutout of the superstar. They are accompanied by several background dancers, who are great additions to the overall vibe of the one of the scenes, we also see a guest appearance by Rajinikanth as Coolie. Needless to say, the 'Coolie' actor managed to steal the show with his swag despite a brief appearance. Check out 'Chikitu' song here: 'Chikitu' has been sung by T Rajendar, Arivu and Anirudh Ravichander, who has also composed the of the most-anticipated films of the year, 'Coolie' is setting the expectations up high for fans with song releases like 'Chikitu', which has the potential to become a with Rajinikanth, Coolie also stars Nagarjuna, Aamir Khan, Upendra and Shruti recently spoke about his role in Coolie in an interview with Galatta Plus and said, "I have a very important character in the film. I must thank Loki for the way he has presented me. 'Coolie' is a full-on whistle film."Directed by Lokesh Kanagraj and produced by Sun Pictures, the film will release worldwide on the Independence Day weekend on August 14. It will release in multiple Indian languages, including Tamil, Telugu and Hindi.- Ends IN THIS STORY#Rajinikanth
Time of India
24-06-2025
- Entertainment
- Time of India
The cyclical nature of cinema: How cinema keeps on changing trends and needs reinvention
Picture Credit: Facebook Cinema also keeps on changing as it's where trends come and go, and then come again in different variations. While audience preferences change and methods of storytelling develop, the industry must enthusiastically (or hesitantly) accept the invitation to renew itself if it wants to survive and matter. In an interview, with Galatta Plus, the Tollywood superstar discussed the changing taste of audiences. The superstar spoke about the highs and lows of the Telugu film industry, the shifting preferences of audiences, and the urgent need for reinvention to stay relevant in a rapidly changing cinematic world. While promoting his highly anticipated film 'Kuberaa', which is directed by Sekhar Kammula and stars Dhanush, Rashmika Mandanna, and Jim Sarbh, Nagarjuna, 64, spoke against the prevailing idea that South Indian cinema , namely Tollywood, is currently in better shape than Bollywood. Speaking on this point, he said, "These narratives keep changing", adding that the cycles of filmmaking are inherent. "It's like an actor or director having four or five years of bad times. Everything cumulative probably happened there, and films didn't work. And then they say the whole film industry is gone", he said. Hitting rock bottom and bouncing back Drawing from his decades-long career, Nagarjuna noted that he has witnessed Tollywood hit rock bottom at least three times, only to bounce back stronger each time. "In my time, in the Telugu film industry, it has happened four times. And I believe the fourth time will come now, very soon. I'm very sure, it's my hunch," he added with a mix of caution and optimism. "It's all cyclical" The actor's comments come at a time when Tollywood is enjoying an unprecedented golden phase with films like 'RRR', 'Baahubali', and 'Pushpa' receiving global acclaim and expanding the boundaries of Telugu film. At the same time, Bollywood has faced considerable criticism, with several box office failures sparking a debate about a decline within the Hindi film industry. However, Nagarjuna does not attach that thinking that if one industry is successful the other will not thrive. "Right now, Bollywood might be going through a low phase, and Tollywood is at its peak. But this won't last forever. It's all cyclical," he exclaimed. Change audience tastes is a creative wake-up call This revealed Nagarjuna's awareness and understanding of the transitional state of career paths in the film industry to maintain success; which is a gentle reminder that no industry can remain on top indefinitely. Eventually, it can run out of ideas and audiences' comfort can lead them to boredom, leading them to discover new entertainment formats. Nagarjuna mentioned that audience tastes are changing, and the audience is gravitating toward a broader range of genres like thrillers, action movies, and emotionally compelling stories. Films like 'Tourist Family' in Tamil, 'Court' in Telugu, and 'Anaganaga' on OTT platforms have captured the minds of audiences. "People's tastes are changing, and we need to keep that in mind. They have to change fast", he said, as he reminded us that ignoring audiences could lead to horrible results. "If we don't look at the future, things could be pretty bad. I feel that's what happened in Hindi. Now they'll change. It can't be fantastic all the time." The 'Mass' actor also responded to producer Naga Vamsi's recent proclamation about a potential "bloodbath" in Tollywood due to evolving audience dynamics and a likely streak of box office failures. While he offered the word "bloodbath" with healthy disagreement, Nagarjuna acknowledged the tough times ahead. "It's not going to be a bloodbath, but you'll see films that resonate with the new audience tastes working well," he said. Kareena Kapoor Khan reacts to 'Boycott Bollywood' trend: 'How will you have the joy and happiness in your life' As a producer and the force behind Annapurna Studios, Nagarjuna has a long history of supporting new talent and bold storytelling, which has led to many new directors entering into Telugu cinema under Nagarjuna's umbrella, including Sekhar Kammula who is directing 'Kuberaa'. Kuberaa is an action packed emotional entertainer supporting Nagarjuna in a different role alongside Dhanush and Rashmika Mandanna. In fact, Nagarjuna's next film Coolie, stars Rajinikanth. The project is also directed by the same director who is looking to secure a contractual agreement with Nagarjuna to do a negative-shaded role at this stage in his career. The emergence of OTT platforms providing viewers access to global content has exacerbated the demand for Telugu cinema to adapt. Nagarjuna cited the emergence of smaller, content-driven films available on streaming platforms as evidence of this change.
India Today
19-06-2025
- Entertainment
- India Today
Meet Sekhar Kammula, Telugu director who became a star without chasing stars
When a film works, the credit goes to everyone, but when it fails, the blame falls squarely on the director. That's how pivotal a filmmaker is to the fate of a movie. Now imagine a director operating in an industry driven by larger-than-life cinema, where success is measured by the number of star collaborations and box office, and experiments are few and far between. In the midst of all this, one man chooses to walk his own path quietly, Sekhar Kammula, the director of the Sai Pallavi-starrer 'Fidaa', who is now returning with 'Kuberaa', featuring Dhanush and Nagarjuna. As he completes 25 years in Telugu cinema, it's worth asking: What makes Sekhar Kammula special? And how did he become a star director without chasing stars?DO YOU HAVE A STORY TO TELL?In a recent interview with Galatta Plus, Aamir Khan said something that perfectly echoes Sekhar Kammula's approach. 'One of the qualities I look for in a director is, do you have a story to tell? Is there a story inside you that's bubbling to come out? Because when someone has a story they're dying to tell, the intensity and energy with which they tell it is completely different from someone who's telling a story just because they were asked to.' When you look at Kammula's body of work, you see exactly that. His stories feel personal, heartfelt, and Take 'Anand' (2004), where Roopa walks away from her own wedding because her individuality isn't respected. Or 'Godavari' (2006), where Sita, a strong-headed designer, chooses to travel alone to process her failures. These stories aren't constructed for effect; they are born out of a genuine urge to say something honest. Even 'Leader' (2010), his political drama, is driven less by plot twists and more by deep moral questioning - what happens when an idealist chooses to step into a corrupt system?Even 'Happy Days' (2007), a campus drama, stood out not for inventing a new genre but for how refreshingly honest and relatable it was. It was the first time college life, with all its chaos, friendships, heartbreaks and life lessons that was shown with such warmth and realism. In fact, the film's popularity influenced many students to pursue engineering, and that tells you something about the cultural imprint of his work. Kammula's storytelling is never performative. It stems from a place of deep conviction that a good story told with honesty can create magic, even without cinematic is the kingIn Sekhar Kammula's universe, the story is always the hero. His casting choices consistently favour suitability over stardom. From 'Dollar Dreams' to 'Fidaa', his leads have rarely been stars when cast. Even 'Love Story', which featured Naga Chaitanya and Sai Pallavi, made a conscious effort not to tailor the film around their popularity. Instead, the focus was on two individuals navigating love and trauma in a socially stratified closely at his filmography, and the pattern becomes clear. 'Dollar Dreams' won the National Award for Best Debut Film and featured no recognisable faces. 'Anand' made Raja and Kamalinee Mukherjee overnight sensations, but only after the film succeeded. The actors are chosen for the world they belong to, not to draw when he introduced someone like Rana Daggubati in 'Leader', it wasn't to launch a star with a mass vehicle. The film is a layered political drama where the protagonist spends more time confronting systemic corruption than delivering punchy dialogue. Similarly, 'Fidaa's' Varun is no swashbuckling hero. He spends most of the film losing love until he learns to understand it. This approach is significant because the pressure to bend the script to suit heroes, adding elevation scenes, redundant fights, and mass moments is intense in Telugu cinema. But Kammula has resisted that temptation at every is why 'Kuberaa' is such a point of curiosity. It's the first time he's directed bonafide stars like Dhanush and Nagarjuna. But early glimpses suggest that the story remains intact. It looks like the stars are in service of the narrative, not the other way around. If anything, this might be the clearest example of Kammula's confidence in his material, that he can have a star-studded cast and still keep the story as the in ideas and presentationKammula's stories often feel like gentle revolutions. They aren't loud, but they disrupt norms all the same. He entered the industry in the early 2000s, a time when Telugu cinema was largely dominated by action entertainers and formula films. Yet, he chose to talk about self-respecting women, emotionally vulnerable men, and the quiet dignity of everyday female characters are consistently nuanced and central to the narrative. 'Anand's' Roopa is strong and self-reliant, unafraid to walk out of a life she doesn't agree with. 'Godavari's' Sita is independent and career-minded, not just a romantic interest. 'Fidaa's' Bhanumathi challenges the stereotype of the demure village girl by being outspoken and proud of her roots. These women are never accessories; they shape the Kammula has even reflected on this himself. In an interview with The Hollywood Reporter India, he said: 'Very subtly I made these films, which might be female-centric films or that kind of that, but I slowly realised that I am telling the story of the oppressed or marginalised.' This explains the emotional authenticity that runs through his his male leads are no less important. In fact, one of Sekhar Kammula's most understated strengths is how he writes male characters who aren't shackled by toxic masculinity. Anand, Ram, Varun - they are sensitive, respectful, emotionally intelligent men who give space to the women in their lives. Varun giving up his American dream in 'Fidaa' isn't a plot twist, it's the culmination of emotional growth. Ram in 'Godavari' letting Chinna win the treasure hunt is another example of quiet there's his world-building. 'Godavari' unfolds on a boat ride to Bhadrachalam - an unusual, almost whimsical choice that enriches the narrative. 'Happy Days' captures the college experience with such detail that it feels like you're living it again. Every character, from Pullamma to Chinna in 'Godavari', or even side characters like Shankar in 'Happy Days', adds flavour to the aren't just aesthetic choices. They create texture, a sense of lived-in reality that makes Kammula's cinema feel immersive and immediate.A stubborn filmmakerAt the 'Kuberaa' pre-release event, director SS Rajamouli described Kammula as "stubborn". He meant it as a compliment and rightly so. In an industry that often demands compromise, Sekhar Kammula has stayed fiercely true to his has made only 10 films in 25 years. Not because of lack of opportunity, but because he believes in waiting for the right story. In his own words, he needs a story to compel him. He doesn't chase release dates, stars, or trends. He waits until he has something worth this measured pace, he's not some niche art-house filmmaker. 'Anand', 'Godavari', 'Happy Days', 'Fidaa' - these were all commercial hits. 'Happy Days' became a cultural moment, 'Fidaa' brought Telangana dialect into mainstream romance, and 'Leader' sparked real-world debates about youth in politics. And he hasn't allowed industry politics or peer pressure to change him. Kammula still lives in a modest colony. He credits his lifestyle for keeping him grounded. He says it allows him to stay close to the emotions and realities of his audience. In a world obsessed with optics and fame, this is a quiet but radical stance. His stubbornness isn't defiance. It's clarity. It's knowing exactly why he makes films and what he wants them to say. In a cinematic landscape driven by formula and fandom, Sekhar Kammula offers something rare: consistency without compromise. He has built a career not on loud successes but on quiet truths. With 'Kuberaa', he may finally be playing with stars, but the core remains unchanged. The story comes first. And perhaps that is his greatest strength, to remind us that even in the noisiest of industries, the softest voice can still be heard, if it speaks with honesty.
