BREAKING: Preity Mukhundhan to make her Bollywood debut in Naagzilla; only 7 days of shooting left for Kartik Aaryan's fantasy comedy

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Bollywood Hungama has been at the forefront in delivering exclusive news about one of the most-awaited films of 2026, Naagzilla, starring Kartik Aaryan. We are now back with another interesting piece of information – the talented actress Preity Mukhundhan, who has made a mark down South, will be launched in Bollywood with this promising flick. A source told Bollywood Hungama, "Preity Mukhundhan fits the role perfectly and the makers are quite happy to have her on board. She’ll be seen in a hilarious role and her character contributes tremendously to the narrative. She’s also excited about the role as she’ll get a chance to exhibit a different side of her to the audience.” Preity made her debut in the 2024 Telugu horror comedy Om Bheem Bush, followed by her Tamil debut in Star. Naagzilla is produced by Karan Johar’s Dharma Productions and Mahaveer Jain’s Mahaveer Jain Films. The fantasy comedy features Kartik as a shape-shifting naag and, reportedly, Ravi Kishan essays the role ...
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Club Zero review – not much to chew on in this baffling non-satire

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Jessica Hausner’s film, which avoids spelling out its obvious subject, focuses on a group of schoolgirls encouraged to live without food

Jessica Hausner is the Austrian director whose elegant, refrigerated style has made her a Cannes favourite and her 2009 film Lourdes, about the ordinary world of miracles, is a 21st-century classic. But her recent move to English-language movies has resulted in some nebulous work in the shape of her 2019 picture Little Joe, and so it has proved again with this exasperating and baffling movie.

Club Zero is a strenuous, pointless non-satire which fails to say anything of value about its ostensible subjects: body image, eating disorders and western overconsumption. The “trigger warning” at the beginning of the film about these issues is fatuous, whether intended ironically or not. The deadpan mannerisms are glib, the line readings are torpid in the wrong way and the laborious drama leads us round and round and round like an Escher staircase. But it is certainly well shot by Martin Gschlacht and punctiliously designed by Beck Rainford.

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