Entertainment

Shyam Benegal’s Cannes debut: How Nishant & a bold saree stunt put Indian cinema on the global map

Published

2 years ago

December 24, 2024

Shyam Benegal, the legendary filmmaker who revolutionized Indian cinema, has died at the age of 90. Known for his trailblazing contributions to parallel cinema, Benegal’s death marks the end of an era that redefined Indian filmmaking. His legacy, built on realism, social commentary, and a break from conventional narratives, continues to inspire filmmakers today. As the nation mourns the loss of a visionary, his remarkable body of work remains an integral part of India’s cinematic history.

In 1976, Indian cinema witnessed a turning point when Shyam Benegal, a trailblazing director, made his debut at the prestigious Cannes Film Festival. At a time when Cannes was still firmly grounded in the world of cinema, not yet a fashion-driven spectacle, Benegal’s film Nishant was featured in competition. It was a groundbreaking moment for both the director and Indian cinema as a whole, marking India’s arrival on the global film stage.

Benegal, at the age of 42, had already made a lasting impact with his previous film Ankur, which subtly introduced the nation to a new wave of filmmaking. Nishant, like Ankur, showcased a unique narrative style that was rooted in realism, tackling socio-political issues with a raw sensitivity that resonated with audiences. But it was the film’s Cannes screening that truly marked a turning point for Indian cinema.

The 1976 Cannes Festival was different from the glitzy, fashion-focused events we see today. It was a celebration of cinema in its purest form. However, Benegal’s presence was far from typical. Along with Nishant, the director brought along his two lead actresses, Smita Patil and Shabana Azmi, to the French Riviera. Although the film was accompanied by posters from the National Film Development Corporation (NDFC), a mix-up meant that the posters never made it to the festival, but the trio of Indians did.

Shabana Azmi later shared how they made an unforgettable impression at Cannes. “In a place where we had no money and everybody was throwing lavish parties, Shyam came up with this unique idea. He said, ‘I want both of you [Azmi and Patil] to wear your finest South Indian saris and walk the promenade from eight in the morning,'” Azmi recalled. While everyone else was dressed in beachwear, the two actresses, in their traditional silk saris, paraded the streets of Cannes. They became living advertisements for their film, greeting passersby and inviting them to the screening. This unconventional tactic helped them attract an audience in the absence of a big promotional budget.

The story of Nishant at Cannes is as much about the film as it is about the personalities behind it. Benegal, known for his modest approach, had a keen understanding of how to present Indian cinema on the world stage. In an era when films were promoted with lavish budgets and star power, Benegal’s approach was simple yet effective. The director was also a seasoned adman who had spent years in the advertising world before venturing into filmmaking. His commercial acumen translated well into his filmmaking, as evidenced by his strategy to promote Nishant at Cannes.

Benegal’s cinematic journey started with Ankur in 1973, a film that introduced a new era in Indian cinema. Following Nishant, he directed other masterpieces such as Manthan (1976) and Bhumika (1977). Together, these films laid the foundation for what became known as “New Cinema” in India, a movement that sought to tell more socially conscious, realistic stories, often drawing attention to issues of class, caste, and gender. Through his films, Benegal introduced a new generation of actors, including Shabana Azmi, Smita Patil, Naseeruddin Shah, Kulbhushan Kharbanda, Om Puri, and Neena Gupta, many of whom became icons of Indian cinema.

Benegal’s approach to filmmaking was notably collaborative. He ran a tight-knit ship where everyone, from the actors to the crew, contributed in whatever capacity they could. The actors, many of whom were at the beginning of their careers, often worked for little to no money, driven by their desire to be part of a revolution in Indian cinema.

In Nishant, Benegal pitted Shabana Azmi and Smita Patil against each other, creating a compelling dynamic that made the film stand out. While Azmi’s character received more screen time, Patil, who was making her feature film debut, played an equally significant role. The film, which was set against the backdrop of rural India, focused on social issues and gender dynamics, and it became known for its powerful female leads.

Nishant was nominated for the Palme d’Or at Cannes and won the National Film Award for Best Feature Film in Hindi. Benegal’s participation in the Cannes Film Festival in 1976 proved to be a turning point for Indian cinema, and his legacy continues to inspire filmmakers today.

With films that were ahead of their time and an unwavering commitment to realism, Shyam Benegal ushered in a new era for Indian cinema. He not only changed the way stories were told but also made sure that India’s voice was heard loud and clear on the world stage. Nishant at Cannes marked the dawn of a new era — an era where Indian films, for the first time, garnered the international attention they truly deserved.

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Ramayana Day 1 Box Office: Ranbir Kapoor film eyes Rs. 100 crore-plus opening

Ramayana is expected to make a strong start at the Indian box office, with trade experts projecting a Day 1 opening of around Rs. 100 crore to Rs. 125 crore. The film’s China prospects remain uncertain.

Published

2 hours ago

November 5, 2026

APNLive Desk

Nitesh Tiwari’s Ramayana is heading for a potentially massive opening at the Indian box office, with trade experts predicting that the film could collect more than Rs. 100 crore on its first day.

The film, starring Ranbir Kapoor, Yash and Sai Pallavi, is scheduled for theatrical release on November 5. Produced by Namit Malhotra, the mythological epic has generated significant expectations because of its cast, scale, music and visual effects.

Trade analyst Ramesh Bala has given the most optimistic domestic opening estimate, expecting around Rs. 125 crore gross in India on Day 1. He believes the Hindi version and the film’s premium-format availability could help drive its opening, particularly across the Hindi-speaking markets.

Exhibitor and trade analyst Akshaye Rathi has offered a slightly more conservative estimate, putting the film’s nationwide opening at around Rs. 100 crore or more across languages. He noted that the pre-Diwali release period could influence the opening numbers because audiences are occupied with Diwali preparations and shopping.

Veteran trade analyst Komal Nahta also expects the film to reach the Rs. 100-crore range across languages. His estimate is around Rs. 60 crore for the Hindi version, with the total across all languages potentially reaching Rs. 100 crore or more.

Ramayana vs Dhurandhar 2

One of the key box-office questions is whether Ramayana can surpass the opening-day performance of Dhurandhar 2.

Trade experts are cautious about making that comparison. Bala expects a strong opening but pointed out that Dhurandhar 2 benefited from being a sequel and having substantial pre-release hype.

Nahta believes Ramayana is unlikely to surpass Dhurandhar 2 on Day 1, partly because of the timing of its release. Rathi also expects a strong start but highlighted the pre-Diwali period as a factor that could affect the film’s initial numbers.

These are trade projections, rather than confirmed box-office figures. The actual Day 1 collection will depend on occupancy, spot bookings and audience response after the film’s release.

Why Ramayana has strong box-office potential

The film has several factors working in its favour. Its cast includes Ranbir Kapoor as Ram, Sai Pallavi as Sita and Yash as Ravana, while Nitesh Tiwari is directing the project.

The film also features music by AR Rahman and visual effects from DNEG, giving it a large-scale cinematic presentation. Trade experts believe the combination of mythology, star power and spectacle could attract audiences across different sections of the country.

The familiarity of the Ramayana story is another major factor. Experts believe its cultural and emotional connection with Indian audiences gives the film an advantage that many other releases do not have.

What could happen in China?

China is one of the biggest uncertainties surrounding Ramayana’s overseas prospects.

Nitesh Tiwari’s previous film Dangal had a major run in China, but trade experts have differing views on whether that success can be repeated with Ramayana.

Ramesh Bala has taken a cautious position. He pointed out that Dangal’s success was influenced by several factors and that Ramayana’s mythological subject may not have the same familiarity among Chinese audiences.

Akshaye Rathi, however, sees considerable international potential. He believes that audiences outside India could approach the Ramayana as a fresh story and that effective international marketing could help the film connect with viewers in markets such as China.

Komal Nahta is also optimistic about China and believes the emotional journey of Sita could appeal to Chinese audiences.

The film’s potential in China therefore remains an expectation rather than a confirmed outcome. Its eventual performance will depend on the scale of its release, marketing and audience reception.

Can Ramayana recover its reported budget?

The film has been widely associated with a reported budget of around Rs. 4,000 crore, although trade experts caution that this figure could relate to the two-part project rather than the first instalment alone.

Ramesh Bala suggested that the reported Rs. 4,000 crore figure could cover both parts and said the exact allocation for the first film remains unclear. Komal Nahta estimated the cost of the first part at around Rs. 1,200 crore.

The experts also pointed to non-theatrical revenue, including OTT and satellite rights, as important factors in determining whether the project can recover its investment.

Can Ramayana become India’s biggest film?

The possibility of Ramayana challenging major box-office records is also being discussed ahead of its release.

Bala said the film has the ingredients to compete at the highest level, while Rathi believes it has the potential to become the highest-grossing Indian film worldwide. Nahta, however, has avoided making a definitive prediction before audiences see the film.

The experts also differed on the film’s eventual worldwide theatrical earnings. Bala suggested that it could potentially reach Rs. 1,000-1,500 crore, while Nahta gave an even broader possible range. Rathi did not put a specific figure on it but said the film could potentially reach the top tier of Indian cinema’s global box-office performers.

Ticket prices could affect the opening

Another factor attracting attention is the premium pricing for formats such as IMAX.

Ramesh Bala expects the makers to benefit from higher ticket prices during the initial period but believes prices could come down after the opening week.

Komal Nahta defended the strategy, arguing that the pricing could help a film that has involved such a large reported investment. Audiences who do not want to pay premium prices could instead opt for regular screenings.

Ramayana’s box-office verdict will depend on audience response

While the pre-release projections point towards a major opening, the longer-term performance of Ramayana will ultimately depend on audience reception and word of mouth.

The trade experts broadly agree that the film has the scale, cast and story required for a major theatrical run. However, its actual performance in India, China and other international markets can only be established after its release.

For now, the projections indicate that Ramayana could cross the Rs. 100-crore mark in India on its opening day, while its potential to become one of the biggest Indian films globally remains dependent on how audiences respond to the film.

Entertainment

CID creator BP Singh dies of heart attack, film industry pays tribute

B.P. Singh, the creator and producer-director of CID, has died after suffering a heart attack. His contribution to Indian television has prompted tributes from colleagues and members of the entertainment industry.

Published

1 week ago

October 27, 2026

APNLive Desk

Veteran television producer-director B.P. Singh, best known for creating the popular crime investigation series CID, has died after suffering a heart attack. His death on Tuesday, October 27, prompted tributes from colleagues and members of the entertainment industry, who remembered his contribution to Indian television.

Filmmaker Ashoke Pandit shared the news of Singh’s death in a social media post, remembering him as an accomplished filmmaker whose work had captivated audiences through shows such as CID and Aahat.

Pandit also recalled his association with Singh during the latter’s tenure as president of the Indian Film and Television Directors’ Association. Expressing grief over the loss, he described Singh as a close friend and a person whose work would continue to inspire future generations.

The last rites are scheduled to take place on Wednesday, October 28, according to Pandit’s post.

BP Singh’s contribution to Indian television

Born Brijendra Pal Singh, B.P. Singh established himself as a prominent figure in Indian television through his work as a producer and director. He created CID, one of the country’s longest-running crime investigation shows, which premiered in 1998 and followed a team of Mumbai crime branch officers investigating cases.

The series became widely recognised among television audiences and ran for around two decades. Singh also occasionally appeared on the show as DCP Shamsher Singh Chitrole.

One of the show’s notable milestones came in October 2004, when a special episode was filmed in a single continuous take lasting 111 minutes. The achievement received recognition in the Limca Book of Records and the Guinness World Records.

Singh’s work was not limited to crime dramas. He was also associated with Aahat, a popular horror television series that aired from 1995 to 2015. His other projects included Khaaki, Abhay and SuperCops Vs Super Villains.

Ashoke Pandit remembers the veteran filmmaker

In his tribute, Pandit recalled Singh’s professional achievements and their personal association. He praised the filmmaker’s work on CID and Aahat and expressed condolences to his family and loved ones.

Singh’s death marks the loss of a veteran television professional whose productions helped shape crime and horror programming in India.

His work on CID and Aahat remains a significant part of his legacy in Indian television.

Entertainment

Veteran actor Mushtaq Khan, known for Welcome and Hera Pheri, dies at 56

Veteran actor Mushtaq Khan, known for his memorable supporting role in Welcome, has died at 56.

Published

1 month ago

September 24, 2026

APNLive Desk

Veteran actor Mushtaq Khan, who appeared in several Hindi films and was particularly remembered for his role in the 2007 comedy Welcome, has died at the age of 56.

Khan was known for playing supporting characters across Hindi cinema and had worked in films spanning several decades. His role as Balu in Welcome remains among his best-known performances.

Mushtaq Khan’s film career

Mushtaq Khan appeared in a wide range of films during his career. His filmography included Aashiqui, Hum Hain Rahi Pyar Ke, Gopi Kishan, Krantiveer, Raja, Mujhse Shaadi Karogi, Jodi No. 1 and Hera Pheri.

He also featured in more recent films including Stree 2, Gadar 2, Baby John, Dhoom Dhaam and Jaat. His filmography lists acting work continuing into 2026.

In Welcome, Khan played Balu, a supporting character in the comedy starring Akshay Kumar, Nana Patekar, Anil Kapoor and other prominent actors.

Khan’s career also included television work, with his credits spanning a wide range of acting roles over the years.

Mushtaq Khan dies at 56

The actor’s death was reported on September 24, 2026. Reports said Khan had been undergoing treatment after being diagnosed with liver cancer and had been hospitalised for around 15 days. Further details surrounding his death were awaited in the initial reports.

Mushtaq Khan was 56. IMDb lists his date of birth as December 31, 1969.