Celebrated filmmaker SS Rajamouli has thanked the people of Ukraine for playing an important part in the creation of the iconic song “Naatu Naatu” from his epic action period drama RRR (2022), starring Ram Charan and Jr NTR in lead roles.
Composed by MM Keeravani, "Naatu Naatu" is nominated for the Best Original Song award at the upcoming Oscars. It has already scooped up a Golden Globe win, becoming the first Indian song to do so.
Rajamouli revealed that the team was originally supposed to shoot the song in India but due to the monsoon season, they had to zero in on a new location - the Presidential Palace of Kyiv.
“The first thing that comes to my mind when we talk about ‘Naatu Naatu’ is the location itself. It is shot in Kyiv, actually the Presidential Palace. This was actually supposed to happen in India but because it was monsoon time then, we were scouting for locations and we found this location. I thought I would have to look for some other location as it was the Presidential Palace, but they said ‘It is Ukraine, you can get the job done.’ I'm so thankful to the Ukranian team. The colours of the palace, the size of the palace, the size of the ground for the dancers to be there was the exact right size," the filmmaker said in an interview with Vanity Fair magazine.
RRR follows a pre-Independence fictional story woven around two real-life Indian revolutionaries - Alluri Sitarama Raju (Ram Charan) and Komaram Bheem (Jr NTR) - in the 1920s. The film also features Alia Bhatt, Ajay Devgn, and Shriya Saran in key roles.
At the upcoming Oscars ceremony in Los Angeles on March 12, "Naatu Naatu" singer Rahul Sipligunj and Kaala Bhairava are set to perform the song.
Rana Daggubati shifts from blockbuster Baahubali stardom to backing acclaimed indie films.
His Spirit Media to release Sabar Bonda, winner of Sundance 2025 Grand Jury Prize.
Earlier release All We Imagine As Light ran in cinemas for seven weeks.
Daggubati reveals why India needs consistent infrastructure for alternative cinema.
Rana Daggubati, best known globally for his role in the Baahubali franchise, is now building a reputation in a very different space: indie film distribution. The actor has taken a bold leap from spectacle-driven cinema to backing critically acclaimed titles like Payal Kapadia’s All We Imagine As Light and the Sundance 2025 winner Sabar Bonda. With his Spirit Media banner, Daggubati says he wants to create a consistent pipeline for alternative cinema in India, where such films rarely get the screen space they deserve.
Rana Daggubati is backing award-winning indie films through his Spirit Media banner Getty Images
Why is Rana Daggubati focusing on indie film distribution?
According to Daggubati, India lacks a sustainable model for alternative cinema. While commercial blockbusters thrive because their success can be replicated across markets, indie titles often disappear after a festival run. “We have places and distribution for mainstream, so how then do we institutionalise alternative cinema?” he said in a recent interview.
He pointed out that Telugu cinema’s pan-India breakthrough, starting with Baahubali and followed by KGF, Pushpa and Kantara was possible because of data-driven success. Indie cinema, he believes, needs the same consistency to grow into a bigger movement rather than remain limited to one-off wins.
Rana Daggubati says India needs data-driven models to grow indie films beyond festivals Getty Images
What did he learn from All We Imagine As Light ?
Daggubati revealed that distributing Kapadia’s Cannes Grand Prix winner was a trial-and-error process. Spirit Media released the film on around 120 screens but discovered that location mattered more than numbers. In cities like Mumbai, some neighbourhoods performed well while others lagged, giving him critical insights about targeting the right audiences.
The film went on to run in Indian cinemas for seven weeks, much longer than most mainstream films. “Word of mouth became the biggest publicity tool,” he explained, adding that requests for screenings poured in from cities like Pune and Bhubaneswar. This slow-burn success in fact showed him that a patient release strategy could build a loyal indie audience.
Rohan Parashuram Kanawade’s Sabar Bonda is a landmark in Marathi cinema, the first film in the language to premiere at Sundance. It went on to win the World Cinema Grand Jury Prize Dramatic and will now be released in India on 19 September by Spirit Media.
The project has heavyweight backing, with Nagraj Manjule, Nikkhil Advani, Vikramaditya Motwane, and actor Sai Tamhankar attached as executive producers. Daggubati says the choice to back Sabar Bonda came down to the director’s deeply personal storytelling. “It is a film only he could make because it comes from a space of honesty. That truth was our top priority,” he said.
Daggubati spoke about the shortage of cinema screens in India compared to the United States and China, arguing that many auditoriums run at only 20–25% occupancy. He also criticised the inconsistent festival ecosystem, noting how events like MAMI once provided crucial platforms but then disappeared due to funding cuts.
He warned against over-reliance on grants, pointing out that when funding is pulled, entire ecosystems collapse. Instead, he believes audience-driven support, consistent distribution models, and data-led releases are the way forward. “Our strength and weakness lies in the fact that we don’t share our common ideas as one industry,” he said.
Rana Daggubati sees a gap in India’s infrastructure for alternative cinemaGetty Images
What’s next for Rana Daggubati in indie film distribution?
With just a small team of eight at Spirit Media, Daggubati says he plans to build a “jury-type” system to evaluate films from across India. His aim is to create a slate of indie titles that can reach audiences nationwide, while also influencing streaming platforms to respond once theatrical success is established.
By backing films like Sabar Bonda and All We Imagine As Light, Rana Daggubati is clearly carving out a space where indie cinema can thrive alongside mainstream blockbusters. Just as Baahubali transformed the perception of Telugu cinema, he now hopes to spark a similar movement for Indian indie films.
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A group of migrants board an inflatable dinghy before leaving the coast of northern France in an attempt to cross the Channel to reach UK on August 25, 2025.
THREE people, including two children, died while attempting to cross the English Channel overnight off the coast of Calais, French authorities said.
French media reported that the children were on a boat carrying 38 people. The Prefect of Pas-de-Calais, Laurent Touvet, said another three people were missing from a separate boat trying to cross at Neufchâtel-Hardelot, BBC reported.
Mr Touvet indicated that those who died may have been crushed to the bottom of the boat. He blamed smuggling gangs for the deaths and said action would be taken against them.
France’s assistance and rescue tug, Abeille Normandie, rescued passengers from the vessel at around 05:00 local time (04:00 BST) on Wednesday, off the coast of Sangatte near Calais.
A third boat carrying 115 people was rescued by the French navy’s patrol boat. Mr Touvet said no injuries were reported, but described it as “probably the highest number we’ve ever seen”.
More than 20 people have died in the Channel this year. On Tuesday, a woman died while attempting the crossing off the coast of Dover.
Over 30,000 people have reached the UK in small boats so far in 2025. Last year, 50 people died making the attempt, according to French coastguard records.
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Abbey Road Music Photography Awards 2025 reveals nominees with stunning shots of Charli XCX and Doja Cat
More than 20,000 photographs from 30 countries considered for this year’s shortlist
Nominees feature stars including Chappell Roan, Lana Del Rey, Charli XCX, Doja Cat and Burna Boy
Fans can vote for Music Moment of the Year until 23 September on the MPA website
Exhibition of all 40 nominated works runs at London’s Outernet from 19–23 September
The Abbey Road Music Photography Awards 2025 has unveiled its nominees, showcasing striking images of international stars including Chappell Roan, Charli XCX and Doja Cat. After reviewing over 20,000 submissions across 30 countries, the competition aims to bring to light the growing prestige of music photography, with new categories introduced this year and a London exhibition bringing the work to the public.
Abbey Road Music Photography Awards 2025 reveals nominees with stunning shots of Charli XCX and Doja Cat Greg Noire/Instagram/abbeyroadmpa
What are the Abbey Road Music Photography Awards?
The Abbey Road Music Photography Awards, launched in 2022, are the world’s only global competition dedicated to music photography. Hosted by the iconic Abbey Road Studios in London, the awards recognise the creativity and cultural impact of photographers capturing artists on stage, behind the scenes, and within club culture.
For 2025, two new categories, Portrait and Festivals, have been added, alongside a special guest category focused on Club Culture. The judging panel includes renowned names such as Rankin, Nile Rodgers and actor Joe Keery.
The nominated works will be displayed at Outernet London’s Now Pop One venue from 19 to 23 September, giving fans the chance to view all 40 shortlisted images. The free exhibition offers an immersive experience in the capital’s entertainment district, located near Charing Cross Road.
Visitors can also vote for their favourite picture in the Music Moment of the Year category through interactive screens at the venue or online via the awards’ official website. Public voting closes on 23 September.
The winners of the Abbey Road Music Photography Awards 2025 will be revealed at a ceremony on 2 October at Abbey Road Studios in London. Dutch filmmaker and photographer Anton Corbijn, known for his decades-long collaborations with U2 and Depeche Mode, will be honoured with the prestigious Icon Award at this year’s event.
Mark Robertson, Abbey Road’s Director of Marketing and Creative, praised the “incredibly gifted community of photographers” whose work, he said, proves that music photography is not just documentation but an art form that helps shape popular culture.
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Donald Trump and Narendra Modi shake hands as they attend a joint press conference at the White House on February 13, 2025.
Trump says he will speak to Modi in the coming weeks amid trade talks
Modi calls US and India "close friends and natural partners"
Trade officials from both countries may restart meetings in September
US-India trade reached $129 billion in 2024 with a $45.8 billion US deficit
US PRESIDENT Donald Trump said on Tuesday his administration is continuing negotiations to address trade barriers with India and that he would speak to prime minister Narendra Modi, indicating a possible reset after recent friction.
Trump said he looked forward to speaking to Modi in the "upcoming weeks" and expressed confidence that the two sides could reach an agreement.
"I feel certain that there will be no difficulty in coming to a successful conclusion for both of our Great Countries," he said in a post on social media.
Modi responds with optimism
On Wednesday, Modi said Washington and New Delhi "are close friends and natural partners." He added that teams from both sides were working to conclude the trade discussions soon.
"I am also looking forward to speaking with President Trump. We will work together to secure a brighter, more prosperous future for both our people," Modi said in a social media post.
India's shares rose over 0.5 per cent after the remarks from both leaders.
Trade deal uncertainty
Trump had said for months that a trade deal was close, but later doubled tariffs on Indian imports to 50%, raising doubts about the future of the U.S.-India relationship.
In recent weeks, Trump and top US officials criticised India for buying oil from Russia, saying New Delhi was funding the war in Ukraine, a charge India denies.
At the same time, Modi has engaged with China and Russia. He visited China last month for a summit hosted by Chinese President Xi Jinping and was also seen with Russian president Vladimir Putin.
Analysts cautious
"While the social media statements by Trump and Modi signal a potential rapprochement between the U.S. and India, it is still premature to assume that a resolution will arrive swiftly," Madhavi Arora, economist at Emkay Global, said.
"With Trump, we will need to wait for more concrete signals that a deal is in the offing."
Meetings to restart in September
Trade officials from India and the US may meet in September to restart in-person discussions, CNBC-TV18 reported, citing sources. A US trade negotiators’ visit to New Delhi scheduled for August 25-29 was cancelled after talks stalled.
India's trade ministry declined to comment on reports of new meetings.
According to US Census Bureau data, two-way goods trade between the US and India reached $129 billion in 2024, with a $45.8 billion US trade deficit.
Tariffs and EU pressure
Trump recently said India had offered to reduce tariffs on US goods to zero but described the offer as late, saying the country should have acted earlier.
Reuters reported that Trump urged the European Union to impose 100% tariffs on China and India as part of pressure tactics against Russian president Vladimir Putin.
Indian officials in New Delhi said they do not expect the EU to take measures against India and that assurances had been given that EU trade talks would not be disrupted.
Nikon ZR is the company’s first dedicated cinema mirrorless camera.
Built with RED technology and offering internal .R3D RAW recording.
Compact, minimal design with a 4-inch, 1,000-nit LCD display.
Priced at £2,196 / €2,349, targeting entry-level filmmakers and RED users seeking a B-cam.
Nikon enters the cinema arena with RED partnership
Nikon has officially launched the ZR, its first cinema-focused mirrorless camera and the debut model in the new Z Cinema line. It marks a significant step for the company following its acquisition of RED, bringing REDCODE RAW technology into a compact, sub-£3,000 body.
Seventeen years after Nikon’s D90 became the first DSLR to shoot video, the ZR is a chance for the brand to reassert itself in a field now dominated by Sony and Canon.
Compact body with some compromises
The Nikon ZR adopts a cinema-style design distinct from the existing Z mirrorless range. The body is minimal, stripped of features such as an EVF, mode dial, and top display. Its shallow grip and reliance on rigging accessories reflect its intended use as a cinema tool.
Notable design points:
Connectivity: Micro HDMI port instead of full HDMI.
Storage: Dual card slots – CFexpress Type B and microSD – located inside the battery compartment.
Mounting: Only a bottom 1/4"-20 thread, requiring cages for expanded use.
4-inch, 1,000-nit LCD display
One of the standout features is the large, bright, vari-angle 4-inch touchscreen, which can replace the need for an external monitor in many scenarios. For solo shooters and creators, it simplifies setups and offsets the fragility of the micro HDMI port.
Refined menus and new UI tools
Nikon’s familiar menu system is retained, but the ZR adds:
A new quick-access shortcut for zebras, waveforms, peaking, and brightness controls.
Vertical shooting UI rotation.
In-camera LUT support, with a built-in Rec.709 profile and the ability to load custom .cube LUTs.
Missing features include anamorphic de-squeeze and false colour, though these could arrive in future firmware updates.
Sensor, stabilisation and Dual ISO
At its core, the ZR uses a 24.5MP partially-stacked full-frame CMOS sensor – the same as the Z6III. It records:
6K RAW up to 60fps (full-frame).
4K at 120fps (cropped).
The camera also features:
IBIS (in-body stabilisation) for handheld flexibility, even with adapted lenses.
Dual ISO at ISO 800 and ISO 6400 when recording in RED Log3G10.
Internal .R3D RAW recording
For the first time in a mirrorless body, Nikon offers REDCODE RAW recording, in a new variant called .R3D NE (Nikon Edition). This enables REDWideGamutRGB colour space and Log3G10 gamma metadata.
At launch, editing support is limited – .R3D NE files require REDCINE-X PRO, though wider NLE compatibility is expected. For broader workflows, the ZR also supports Apple ProRes 422 HQ, ProRes RAW, H.265, and H.264.
32-bit audio recording
The ZR includes 32-bit float internal audio, compatible with its built-in mic, 3.5mm input, or via the new hot-shoe with digital audio interface – a rare feature at this price point.
Lens mount versatility
The ZR uses the Nikon Z mount, which is highly adaptable thanks to its wide diameter and short flange distance. It supports:
Native Nikon Z lenses with advanced autofocus and customisable controls.
Adapted cinema, vintage or third-party lenses, including PL and Sony E.
Who is it for?
The ZR is aimed at two main groups:
Aspiring cinematographers: Affordable, compact and versatile for events, social media, and indie filmmaking. Offers room to grow with RED workflows.
Existing RED users: As a B-camera, it complements RED’s V-RAPTOR X or KOMODO-X by sharing .R3D workflows, Z mount lenses, and CFexpress media.
Price and availability
The Nikon ZR will begin shipping next month at £2,196 / €2,349 (excluding VAT).