Hindi
An average rom-com with limited appeal
Mumbai : Looking at Mere Brother Ki Dulhan, it becomes obvious that the writer-director Ali Abbas Zafar is a film buff and has acquired most of his story telling from the films he watched.
The theme was earlier made as Devar in mid 1960s with Dharmendra and Deven Verma, where one looks for a match for the other.
Imran Khan has an elder brother, Ali Zafar, aptly called Bhaisaab, living in London. He sets the tone for the story by ending his five-year-old romance, thereafter wanting to settle down and, hence, asking Imran to look for a bride for him; he sort of identifies with his younger brother‘s choice! After a mandatory montage of some hardly tolerable faces as prospective brides, finally it is the bride‘s family who reaches him.
The eligible girl is Katrina Kaif, born and brought up in London, who swings between two personas; a guitar strumming, torn jeans bold girl on the move, she is ready to be domesticated for, as she says, if a girl was still single after 25, tongues would wag. Imran has encountered the bold and wild Katrina earlier and as the families are preparing for the wedding, Imran and Katrina come closer and soon realise they love each other.
So far so good, it is all fun and joy. The pair weighs many ideas to avoid the inevitable wedding between Ali Zafar and Katrina Kaif. While she wants to elope, Imran wants to find an honourable way out. From here on, Mere Brother ki Dulhan becomes one tryingly winding film with many attempted comic scenes and cliché sequences like a bhaang song, dug up from old hits. The wedding changes venues as the bride changes too.
Ali Zafar‘s Patel girlfriend from UK is brought down, his romance for her rekindled and they marry, paving the way for Imran-Katrina romance to flourish and since all preparations are made, they should marry too. One thought this was the happy ending but, no, the director thinks he still has one smart gimmick up his sleeve. Both fathers fight, exchange insults and call off Imran-Katrina‘s marriage, adding a senseless extra sequence and stretching the film further.
With a script that can go in any direction, Mere Brother Ki Dulhan is generally a rehash of most things seen on screen before.
Direction lacks inspiration, the treatment is cliché filled; how does one depict Katrina to be a fun-loving, outgoing bindaas girl? Well, she strums on a guitar, gathers crowds around her and generally keeps waving from a car or scooter like a mobile traffic cop!
Musically the film has two decent numbers in ‘O Malang……‘ and ‘Madhubala…‘ Dialogue is routine. Performance wise, Imran Khan passes muster more because of his role than the acting. Katrina Kaif overdoes her chulbuli fun loving girl and is loud at times. Ali Zafar is good in a brief role. Tara D‘ Souza is not up to the mark, Kanwaljit and Parikshat Shahni are okay.
Mere Brother Ki Dulahn is an average rom-com with a very limited appeal.
Hindi
Abundantia and invideo join hands for Rs 100 crore AI films
Studio Aion and global video tech leader join forces for 5 AI-driven films over 3 years.
When Hollywood meets artificial intelligence, the credits might soon read “Directed by Algorithm” but Abundantia Entertainment wants to keep the human spark in the frame. The Mumbai-based studio’s AI-powered division Aion has teamed up with generative-video pioneer invideo in a Rs 100 crore strategic partnership, billed as India’s largest structured commitment to AI-driven filmmaking to date.
Announced at the India AI Film Festival (IAFF) beside the historic Qutb Minar in New Delhi on the sidelines of the India AI Impact Summit 2026, the alliance pools Abundantia’s creative and production muscle with invideo’s cutting-edge AI video tech. The duo will channel the Rs 100 crore development and production corpus into a slate of five AI-driven films over the next three years, blending human imagination with machine-powered tools to craft stories that aim to be both emotionally rich and technologically bold.
Abundantia Entertainment founder & CEO Vikram Malhotra framed the move as cinema’s next big leap, “AI in film-making is now real! Every major leap in cinema from sound to colour to digital has expanded storytelling possibility. AI represents the next inflection point. With Abundantia Aion, we are building a future where AI strengthens and amplifies the filmmaker’s voice, not substitutes it.”
Invideo founder & CEO Sanket Shah echoed the sentiment: “At invideo our mission has always been to democratize high-quality video creation through AI. Partnering with a top-notch studio like Abundantia Entertainment enables us to extend this capability into the world of high-quality filmmaking by building tools and workflows that allow creators to move from idea to cinematic expression faster and more freely than ever before.”
The collaboration already has momentum. Abundantia Aion is developing India’s first AI-generated Hindi feature film, Chiranjeevi Hanuman, slated for release in 2026, alongside its next AI-powered project, Jai Santoshi Mata, as part of a broader slate. The partnership will explore OpenAI-style workflows, advanced generative pipelines (bolstered by invideo’s recent Google Cloud tie-up), and new ways to accelerate everything from concept to final cut.
Backed by Tiger Global and Peak XV, invideo brings deep generative-video expertise to the table, while Abundantia’s track record in storytelling ensures the tech serves the narrative rather than stealing the show. In a year when AI is rewriting rules across industries, this Rs 100 crore bet signals India’s ambition to shape not just follow the future of cinema. Lights, camera, algorithm… action.
