Hindi
Heropanti: Of a one man army
MUMBAI: There are a few oddities about Heropanti, probably created on purpose. The film is identified with the 1983 film Hero which launched, Jackie Shroff, the father of the hero of Heropanti, Tiger Shroff. All that is common between Hero and Heropanti is that the latter uses the signature flute tune of Hero, that too in a badly slaughtered and remixed version. The genes of both films have nothing in common. This film seems to have been made on a shoestring budget with the intent of cashing in on Jackie Shroff’s goodwill of over 30 years and freshness of Tiger Shroff.
In fact, Heropanti resembles any south Indian film where a strong family with a lot of muscle power finds suitors for its daughters in a similar family status. Even the treatment meted out is like any recent south film though here the strong muscle-wielding family is Jat, who don’t mind killing their own daughter if she marries outside of the family arrangement.
The story goes like this: the daughter of the most dreaded Jat Chaudhary, played by Prakash Raj, has eloped with her lover on her wedding day (in films they have to vanish from the mandap for greater effect). The Chaudhary is devastated as his izzat is at stake. He decides to follow the tradition, find his daughter and her lover and kill them. To find them, he rounds up the guy’s friends because they should know where the couple has gone. While the two friends are easily picked up and half beaten to death and imprisoned, the third one, Tiger, is not as easy to handle. He bashes up all of Prakash’s goons until he is taken by surprise.
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Director: Sabbir Khan. Cast: Tiger Shroff, Kriti Sanon, Prakash Raj, Vikram Singh. |
Producer: Sajid Nadiadwala.
Tiger too is locked up in a barn with his other friends and they try to escape on the first opportunity. However, Tiger wastes the chance when he spots the girl he had fallen in love at first sight back in Delhi. He decides to stay back, track the girl and win her over. As happens in film stories, the girl he loves is the Chaudhary’s other daughter. Chaudhary, who is overly possessive about his daughters and can’t bear to think that his daughters can love somebody else more than they love him.
As Tiger displays his prowess with action and dancing while chasing his love, the second half of the film succeeds in generating more interest than the earlier part which dragged a lot. In fact, with no known face except Prakash Raj, the film is all about Tiger’s abilities.
The fact is, Heropanti, like its title, is forced (the real Mumbai slang is Herogiri). While the background of the film is about north Jats, it is made to look like a typical southern film. The direction is shoddy with chalta hai attitude. The dialogue is good in parts. Action is very well shot. The film has two good numbers with well choreographed dance moves. Performance wise, Tiger excels in action and dance but needs to improve in dialogue delivery. Kriti Sanon is a mismatch with Tiger; she looks much more mature and manly. Prakash Raj is his usual self. Rest of the goons are okay.
Heropanti has opened to over 50 per cent houses which are very good for a new face film and considering its budget. The film should jump to plus side on its first weekend of business thanks to curiosity to watch Tiger.
Hindi
Kridhan Infra enters film production with AI-led feature film
Infra firm debuts AI-powered film marking RSS centenary
MUMBAI: Kridhan Infra Limited is swapping hard hats for headsets. The infrastructure company has announced its entry into film production and media technology through its subsidiary, Kridhan Mediatech Private Limited, with the nationwide theatrical release of Shatak: Sangh Ke 100 Varsh, an AI-led feature film.
With Shatak, the company is not just stepping into cinema but staking a claim in what it describes as one of the world’s early full-length AI-driven feature films. Artificial Intelligence has been embedded across the creative and production process, from script visualisation and environment creation to modelling and production design.
The film commemorates 100 years of the Rashtriya Swayamsevak Sangh, tracing defining moments, personalities and historical phases that shaped its journey. By combining archival storytelling with algorithm-powered creativity, the project attempts to blend heritage with high technology.
For Kridhan Mediatech, this is only the opening scene. The subsidiary’s broader ambition spans AI, CGI, virtual production systems and scalable content models for both theatres and digital platforms. The move signals a strategic diversification for Kridhan Infra, traditionally rooted in engineering and construction.
The timing aligns with India’s growing push to become a global AI powerhouse. At the 2026 AI Impact Summit, prime minister Narendra Modi urged innovators to design in India and deliver to the world. Kridhan Mediatech’s initiative positions itself squarely within that narrative, aiming to export technology-enabled storytelling beyond domestic audiences.
India’s media and entertainment industry, valued at over Rs 2.5 lakh crore, alongside a rapidly expanding AI economy projected to cross Rs 1.4 lakh crore in the coming years, offers fertile ground at the intersection of cinema and code.
“With Shatak, we proudly present one of the world’s first AI-led full-length feature films while marking our strategic entry into film production and media technology through our subsidiary,” the company said in a statement. “Our vision is to combine India’s rich narrative heritage with forward-looking innovation. This is just the beginning of building globally competitive, technology-enabled cinematic experiences.”
From infrastructure to imagination, Kridhan’s latest venture suggests that in today’s India, even storytelling can be engineered.
