SCOOP: After Salman Khan’s Maatrubhumi, Ayushmann Khurrana-Sharvari’s Yeh Prem Mol Liya likely to be renamed Yeh Prem Moh Maya Hai

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A few days ago, the industry and fans got a surprise when it was announced that Salman Khan’s much-awaited next film, Battle Of Galwan, has been renamed Maatrubhumi. And now, as per the buzz in the trade, another awaited film might also go for a title change – Yeh Prem Mol Liya, directed by Sooraj Barjatya. A source told Bollywood Hungama, “There have been discussions over changing the title of the film to Yeh Prem Moh Maya Hai. If all goes well, the new title will be locked and will be announced officially in a few days.” Yeh Prem Mol Liya stars Ayushmann Khurrana and Sharvari in the lead role, along with Shaad Randhawa, Anupam Kher, Seema Pahwa, and Supriya Pathak in pivotal roles. It is presented and produced by Rajshri Productions in association with Mahaveer Jain Films and Anita Gurnani. It marks the second association for Mahaveer Jain and Sooraj Barjatya after the acclaimed flick Uunchai (2022). In December 2025, Shaad Randhawa, who left a mark with his performances in the 20...
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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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