Barun Sobti: latest pictures from Akshay's Baby shower party

Akshay , Barun's friend and co actor from IPKKND recently threw in a baby shower, which turned out to be a grand affair as it was graced by his industry friends which included major A-listers like Sanaya  Mohit  and Daljeet Kaur. Pashmeen, Barun's wife and  Riddhi Dogra was also present. Here some pictures from the party

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Tu Hai Mera Sunday :Treats @ Film Bazaar 2015

Treats @ Film Bazaar 2015

 

 

by Box Office India (November 14, 2015)

Many New Elements At NFDC Film Bazaar 2015

Film Bazaar, organised by the National Film Development Corporation (NFDC), is all set to be held from November 20-24, 2015 in Goa. A full-fledged film market and the only one of its kind in South Asia, Film Bazaar is a converging point for buyers and sellers of film rights from all over the world.First held in 2007 with a focus on discovering, supporting and showcasing South Asian content and talent in filmmaking, production and distribution, Film Bazaar has evolved into South Asia’s truly global film market. Having witnessed increased South Asian and international participation with every edition, this year it is bound to be bigger, especially with new additions in various sections and reformations.

FILM BAZAAR 2015 – HIGHLIGHT

Making India A Shooting-Friendly Destination

As part of its objective of promoting India as a destination to shoot films, and thereby boost both the film and tourism sectors, NFDC is conducting a workshop and organising Film Offices at Film Bazaar this year. In addition, it will also host a symposium on Film Tourism.

Film Offices

This is the second year that Film Offices will be a part of Film Bazaar. Film Office is allotted to an official country or state film commissions or tourism boards, to ensure information from the right source. It offers as a platform to showcase locations and incentives offered by various film commissions and film tourism boards.

NFDC is setting up one-on-one meetings for film offices with filmmakers to ensure greater exposure and greater access to locations and it gives filmmakers a wide choice of destination for shooting their films. Some participating states this year are Madhya Pradesh, Gujarat, Chhattisgarh, Tamil Nadu, Daman and Diu, West Bengal, Dadasaheb Phalke Chitranagri, Mumbai

Film Symposium

This symposium will give a road map to the film facilitation office, which will be housed in NFDC, regarding the direction to be taken to make permissions for filming in India easier and therefore position India as an attractive destination to the international film community.

Travel Sessions At The NFDC Knowledge Series

Noted filmmakers will be sharing their experience shooting in particular states of India and other countries as part of the NFDC Knowledge Series at Film Bazaar. Among them are Anurag Basu on Chhattisgarh, Shoojit Sircar on Gujarat, Rohan Sippy on Maharashtra and Prakash Jha on Madhya Pradesh.

IMPORTANT DELEGATES – INDIAN & INTERNATIONAL

Some celebrities attending NFDC Film Bazaar 2015 are:

• AR Rahman
• Anurag Kashyap
• Rajkumar Hirani
• Prakash Jha
• Vishal Bhardwaj
• Kabir Khan
• Shoojit Sircar
• Vikas Bahl
• Sudhir Mishra
• Remo D’Souza
• Ramesh Sippy
• Rohan Sippy
• Anubhav Sinha

Some top international and Indian buyers attending Film Bazaar 2015 are:

International Buyers

• Remi Burah – Arte France
• Angel An - Samuel Goldwyn
• Nancy Gerstman - Zeitgeist Films
• Nasreen Kabir - Hyphen Films

Festival Directors

• Christian Jeune - Cannes Film Festival
• Marco Mueller - Beijing Film Festival
• Paolo Bertolin
• Charles Tesson

Distributors/Sales agents

• Michael Werner - Fortissimo
• Scott Veltri - Magnolia Pictures
• Anjay Nagpal - SVP, Focus Features

Producers

• Marc Bachet - ASAP Films
• Marc IMER - DOLCE VITA FILMS
• Benny Drechsel - Rohfilm

Indian Studios

• Zee Studios
• Eros International Media
• Dar Media
• Amazon
• Shree Venkatesh Films
• Holy Basil
• Essel Entertainment
• Venkatesh Films
• Idyabooster
• GCS Group of Companies
• Crawling Angel Films
• Kahwa Entertainment
• Drishyam Films
• Little Red Car Films
• Ishka Films
• Indian Film Studios
• Eros International
• PVR Pictures

International government bodies attending Film Bazaar

• Mauritius Broadcasting Corporation
• Film Commission Poland
• Ontario Media Development Corporation, Canada (OMDC)
• The Financing Forum for Kids Content, Denmark
• Medienboard, Germany

SEGMENTS OF FILM BAZAAR 2015

1. Co-production Market

• Nineteen projects have been selected to participate in the Co-Production Market 2015, including one invited project from IFP (Independent Filmmaker Project). Films that have made the cut are Bombay Rose (Hindi), directed by Gitanjali Rao; Pirates (Hindi), directed by Raj Rishi More; Newton (Hindi), directed by Amit V Masurkar and produced by Manish Mundhra, Films; Drishyam; Manto (Urdu/Hindi), directed by Nandita Das and produced by Chhoti Production Company; Agra (Hindi), directed by Kanu Behl and produced by UFO Films;A Goat’s Life (Malayalam, Hindi, Arabic), directed by  Fahad Mustafa and produced by Globalistan Films; Unread Pages (Assamese, English), directed and produced by Jahnu Barua; Aasai Mugam (Tamil), directed by Arun Karthick and produced by  Prabhu Ramasamy, Dream Warrior Pictures; Bhavarth (Konkani, Portuguese), directed by Laxmikant Shetgaonkar and produced by Entertainment network of Goa; Children of the Sun(Sinhala), directed and produced by Prasanna Vithanage; Dhaar (Hindi, English), directed and produced by Salil Jason Fernandez; Meeting the Sumdees (English, Urdu), directed by Michael McNamara and produced by Markham Street Films; Memories and My Mother (Bengali), directed by Aditya Vikram Sengupta and produced by Vikram Mohinta, Jonaki Bhattacharya – For Films; Nigudha Manushyaru (Kannada), directed by M S Prakash Babu and produced by Bayalu Chitra Productions; Sandhya (Marathi, Hindi), directed by Mukti Krishnan and produced by 7Seas Films, Ravi Kambhoj; The Poacher (Hindi, Bengali, English), directed by Suman Ghosh and produced by Colin Burrows, Beautiful Bay Entertainment; The Sweet Requeim (Tibetan), directed by Ritu Sarin and produced by White Crane Films; Unromantic Woman (English, Hindi), directed by Joan Carr-Wiggin, and produced by David Gordian, Paragraph Pictures Inc.

Past success stories: Some notable films that were represented at the Co-Production Market over the years are Chaitanya Tamhane’s Court, Anand Gandhi’s Ship of Theseus, Ashim Ahluwalia’s Miss Lovely, Umesh Vinayak Kulkarni’s Deool and Highway, and Mostofa Farooki’s Television

2. Work In Progress Labs

Film Bazaar announces the 11 projects under its Work in Progress (WIP) Lab, six in the WIP Fiction category and five in the WIP Documentary category.

The six projects in WIP Fiction are:

1. Gurgaon by Shankar Raman (Hindi)
2. ‘I’ Pad by Amit Rai (Hindi)
3. Juje by Miransha Naik (Konkani)
4. Lipstick Under My Burkha by Alankrita Shrivastava (Hindi)
5. Nongmei (Gun) by Haobam Paban Kumar (Manipuri)
6. Tu Hai Mera Sunday (You Are My Sunday) by Milind Dhaimade (Hindi/English/Konkani)

The five projects in WIP Documentary are:

1. Burqa Boxers by Alka Raghuram (Bangla/Hindi)
2. Machines by Rahul Jain (English/Hindi)
3. Raghu Rai: An Unframed Portrait by Avani Rai (Hindi)
4. Snake Dancers of the Thar – Romani Kalbeliya Gypsy Trail by Dinkar Rao (English/Hindi)
5. The Marriage Brokers by Smriti Mundhra & Sarita Khurana (Hindi/English/Marathi/Kannada/Marwari)

Past success stories: Since the inception of the Work in Progress Lab, most of the films that have been through this lab have premiered at leading international films festivals while some have enjoyed a successful theatrical run. These include Kanu Behl’s Titli (Cannes Film Festival 2014), Shonali Bose’s Margarita, With A Straw (Toronto International Film Festival 2014) Avinash Arun’s Killa (Berlinale 2014), Ashim Ahluwalia’s Miss Lovely (Cannes Film Festival 2012), Anand Gandhi’s Ship of Theseus (Toronto International Film Festival, 2012), Sange Dorjee Thangdok’s Crossing Bridges, Gyan Correa’s The Good Road and Ajay Bahl’s BA Pass,among others.

3. Film Bazaar Recommends – FBR

Film Bazaar Recommends 32 film projects including 22 features and 10 documentaries in 2015. The 32 films which were selected from 156 projects (features, shorts, documentaries) this year are: Autohead, Black is Beautiful, Burqa Boxers, Cecilia, Cinemawala, Dadayakkaraya, Fireflies in the Abyss, G – A Wanton Heart, Ghoomketu, Haanduk, “I” Pad, Juje, Lipstick Under My Burkha, Ludo, Lyari Notes, Machines, Mantra, Moh Maya Money, Mor Mann Ke Bharam, Nila, Nongmei, Ozhivudivasathe Kali, Raghu Rai: An Unframed Portrait, Rangaa Patangaa, Right Forward, The Head Hunter, The Marriage Brokers, The Threshold, The Violin Player, Train Chaar Baje ki Hai, Tu Hai Mera Sunday and Chidiya

Source; 

http://www.boxofficeindia.co.in/treats-film-bazaar-2015/

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Articl: Tu hai Mera Sunday Polishing for glory by

NDFC announces Work In Progress Lab to lend expert touch to 11 shortlisted projects, including five documentaries

As part of the upcoming National Film Development Corporation (NDFC) Film Bazaar, 11 projects under fiction and documentary categories have been shortlisted for the Work In Progress (WIP) Lab. A panel of international film experts will mentor filmmakers, who had sent rough versions of their films, to accomplish the final cut.

Shahana Goswami and Barun Sobti in a still from Tu Hai Mera Sunday 

Source :

http://m.mid-day.com/articles/polishing-for-glory/16666166

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Articl: TU HAI MERA SUNDAY IS VERY RELATABLE AS A FILM YET VERY DIFFERENT pandolin.com

After a wonderful short film that took everyone by surprise owing to its Gibberish language, ad filmmaker cum Director Milind Dhaimade is back with his first full length feature. Titled Tu Hai Mera Sunday, Milind’s film is a light-hearted story based in Mumbai. With his film being selected for the Work-in-Progress Lab at the ongoing Film Bazaar, Milind talks to us about the genesis of the idea, being part of Film Bazaar and the way ahead for his film.

Your first film, Prakata Het Yad came out a while back. What has kept you busy since?

Post Prakata Het Yad we’ve been doing advertising work as we went practically broke after it and had to replenish our funds (laughs). But mainly this (Tu Hai Mera Sunday) was one scripts that I was trying to develop from 2008. For the last couple of years there have been 2-3 scripts that I’ve been working on. When this script was finished, all of us felt that this was the right first feature to make. It is very relatable as a film and yet very different. We decided to push it and see where it goes. Subsequently a lot of things happened. I was trying to meet people and eventually, after understanding the market, I felt that it’s best that a film like this is made on our own terms; the way we want to make it. There are too many structures in the whole film business and it’s very difficult to get around each of them. Then you start thinking about comprising on your story and we did not want to do that. We really loved the script and the characters so we thought of doing it ourselves. We’ve been wondering about what to do with it (script) for a while and then eventually in 2014, we decided to make it. We luckily had people around us, our family and friends who were ready to pitch in.

READ: NO BOUNDARIES ATTACHED – PRAKATA HET YAD

So tell us about Tu Hai Mera Sunday? And where did the idea take birth?

Tu Hai Mera Sunday is a film about five friends who generally play football at Juhu Beach, Mumbai. They are not (professional) football players but a regular bunch of guys, who don’t really have anything in common, but have met at different stages of life and become close friends. For them the Sunday Juhu game is the only thing they look forward to. One day a crazy old man joins the group and he does something because of which a ban is imposed on playing at Juhu beach. Now these five guys have to find a place to play in Mumbai and intermittently you see their lives and how each one is dealing with their own space in Mumbai. Basically it’s about your space and finding happiness in that little space –  how all of us living in urban India try to find our little islands of happiness.

The idea actually came from a real group called ‘Juhu Beach United’ that plays there. It has a close friend of mine and I used to love the way he would look forward to every Sunday and include everybody – guys and girls – in it and spread the word for football. And I just thought, what would happen if one day this guy could not play football? It started from there. It’s a very light film about different characters, their lives and what they are dealing with.

The film has several TV actors. Was there a particular thought behind casting these people?

No, not at all. The reason we decided to do this film on our own is because we wanted to have control on casting. It’s a very strong character – driven film. Most of the stories that I’ve written are from my life, my friends and family. Everything that has happened in this film has happened in my life which I’ve mixed and matched and put it across. We said we’ll go for good actors who’ll do justice to the role. That’s about it. I didn’t think of TV actors. Anmol and Abhishek who did the casting for us brought these people in front. Initially even I asked them why would you want to get TV actors? But when I saw their auditions, they were superb. The casting is not based on whether they are TV actors or who’s what; it’s just based on who was correct for the role. We didn’t have a strategy for casting as such.

READ: A COMMON MISCONCEPTION IS THAT CASTING IS AN EASY AND POWERFUL JOB

Still from Tu Hai Mera Sunday

From a film in gibberish to a film with dialogues… how has the transition in treatment been?

In Prakata Het Yad, I’d never planned dialogues. When I got to briefing actors, I realized that the actors needed something to say. So we thought gibberish was nice because the situations were so graphic that they didn’t need definition in words. So gibberish was fun. Tu Hai Mera Sunday is a character – driven film. And the characters are living in Mumbai. If you see there is a guy called Dominic, one is Rashid, there’s Arjun, so there’s also the various fabrics of Mumbai that we have tried to bring in. And I needed to bring in the Mumbai language also. Because one part of Mumbai is the language – how we talk, how our English and Hindi is and how we mix up our languages and make it one thing. So here dialogues and the kind of words and how they were used were very critical for me.

What stage is the film currently at?

We are almost there, 90 per cent. Currently the sound design and some Post work is in process. Hopefully we should be ready by December. Then a review of the edit will happen and so on. Hence the Work-in-progress (WIP) lab at Film Bazaar where we hope to get inputs from people.

Coming to Film Bazaar’s WIP Lab, how does one get to be part of it?

We just sent our film. We didn’t have any strong expectations of any kind. We thought the Film Bazaar is a very nice way to gauge our film and we wanted a controlled environment where it doesn’t spread out too much. We thought Film Bazaar is a very good opportunity because it is a very controlled environment and has distributors, buyers, mainly that environment, which is very healthy. And sending it to the WIP lab was not a random move. There are curators like Deepti DCunha who see the film and they also International mentors who look at it and choose the films, which they feel are worth working on. We were very delighted when we got selected.

READ: FILM BAZAAR HAS CHANGED A LOT & WITH EVERY EDITION IT ONLY LOOKS BETTER

What is it that you’re looking forward to at the Lab at Film Bazaar? Your expectations?

We are hoping to get some more insights into making our film better. It’s an Edit lab and will largely focusing on editing the narrative. These are people who are highly experienced and have phenomenal expertise in films. Most of them have directed, edited and produced several films. The mentors have an amazing bio. It’s a good platform to get constructive opinion rather than random opinions. That’s something I’m really looking forward to. Secondly, we are also hoping to meet distributors and see how the film can move forward financially. We are really interested in the India market and never thought of it as a festival film. For us getting a platform in India and doing well here is most important. It’s a beautiful film about today, how people are and so on. When you are self-funded you need as much help as you can. We are very new to this (film business) and are not part of any clique. It’s our debut feature. We can only make a good film, after that it’s a grey area for all of us. So meeting people who have been doing this for a while might help us in understanding how to approach the next steps like distribution.

Still from the film

Since this is your first feature, what are the challenges you are encountering on this project?

This is our first long format film and it is a strong Mumbai based film. It has around 40 locations all over Mumbai. The biggest challenge was coordination and obviously being self – funded, we had to be tight with our budgets. We could not afford to make mistakes and lose days. We had made a 35-38 day schedule and the biggest challenge was to stick to it. Between that there was an industry strike and we were also getting close to the monsoons. The whole challenge was capturing Mumbai, which no one has done for a long time, getting that essence of the city. Shooting all over the city was the most difficult thing. We had an amazing crew, the actors were fabulous because of which everyone had a great time and we actually managed to stick to the schedule. We shot some amazing stuff. Everyone has done a fantastic job and the creative has not been compromised. We shot at various places including Juhu beach, which was a little challenging. No one has seen Juhu beach the way we’ve shot it.

But weren’t permissions a challenge considering it’s shot in Mumbai?

Since we’ve been doing ads we know how to get permissions. We know the right departments and people. And if there were no permission we didn’t push for it. We looked at places where permission could be obtained. But Mumbai is very difficult. Plus crowd control is another problem even though we didn’t have any big stars.

READ: THE CHALLENGE WAS TO DEPICT THE SAME THING IN THREE DIFFERENT WAYS

You mentioned that this film isn’t made with a festival circuit in mind. But once its done how do you plan to take the film out there?

We are going serendipitously on this one. Film Bazaar is the first beautiful surprise for us. There are going to be festival delegates coming there so we are going to invite them. Our screenings are only by invitation at Film Bazaar; we aren’t keeping it open. We have two industry screenings happening one on November 21 and one on November 23. We’ll see the responses we receive. Also post the WIP lab we will get a better idea about where we stand. This is a start for us. If a larger festival platform has liked us we’ll see how that pans out. Our strategy was very simple, in a situation where you’re new, make a good product and then approach people and show it to them. That’s the best way to go when you’re new.

Credit to 

http://pandolin.com/tu-hai-mera-sunday-is-very-relatable-as-a-film-yet-very-different/

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Dry Dreams on Pocket Films crossing 7 Millions views

"What happens when a beautiful young lady about whom you have always fantasized of comes to your house and demands for something." that was how Pocket Films on Facebook presented Dry Dream to the public.
Featuring barun Sobti and Kritika Kamra, Dry Dreams got awesome respenses from viewers and was telecasted in NDTV PRIME  on october 22 .

 check out the FaceBook page of Pocket Films here
https://www.facebook.com/PocketFilmsIn/?fref=ts

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Barun Sobti In Dubai : Interview with EmaratAlyoum Magazine sept 15 2015

Repugnant rumours:

Barun Sobti asked whom he call "rumours makers" to set aside the personal life of the actor and consider it as prohibited to talk about in media.

" I can't imagine that someone allows himself to create illusions and rumours about a fake relationship with the co actress just because they are doing romance on a,show, and went so far by saying there is a disagreement between him and his wife because of jealousy".

It's weird to know that theses rumours fired by some arabic website or magazine. Fortunately, my wife definitely doesn't follow these news,although the same happened with me in India. This time I was shooting away but I called her just after reading it that someone is talking rumours about divorce."

A bollywood arabic cooperation:

Barun Sobti said that there are a big opportunity for a cooperation between bollywood and arabic cinema and drama, the mak and the actors in India.

He pointed on the fact that bollywood have large experience and if we add a partnership with arabic producers having interests to make shows , we will be producing a highly qualified shows that can compete the international ones."

Barun, said that the television drama have more capacities to get different segments of viewers:  despite that movies can make more money and fame faster,but the tv drama can reach a large diversified audience and one successful show can make a stardom longer than many successful movies." 

Translated by TBA

شائعات ممجوجة طالب الممثل الهندي بارون سوبتي، صاحب دور «ارناف» في المسلسل المدبلج «من النظرة الثانية»، من وصفهم بـ«صانعي الشائعات»، بتنحية الحياة الشخصية للفنان جانباً، واعتبارها منطقة يحظر الخوض فيها إعلامياً. وتابع «لا أتصور أن يجيز أحدهم لنفسه أن ينسج أوهاماً ويختلق شائعات حول علاقة فنان بزميلته لمجرد أنهما يتقاسمان بطولة عمل رومانسي، ويذهبان إلى أبعد من ذلك بأن ثمة خلافات بينه وبين زوجته بسبب الغيرة». وتابع «من المثير أن أعلم أن تلك الشائعة أطلقت بصددي من قبل بعض المواقع أو المجلات العربية، ومن حسن الحظ أن زوجتي قطعاً لا تتابع تلك الأخبار، على الرغم من أن الموقف نفسه تكرر معي في الهند، وكنت حينها بسبب ظروف التصوير بعيداً عن زوجتي، فسارعت لأهاتفها بمجرد قراءتي للخبر، بأن أحدهم نسج شائعة انفصالنا». تعاون عربي بوليوودي قال بارون سوبتي إن هناك آفاقاً كبيرة للتعاون السينمائي والدرامي بين المهتمين بهذه الصناعة في المنطقة العربية من جهة، والمنتجين والمؤسسات السينمائية، وكذلك الفنانون في الهند من جهة أخرى. ولفت سوبتي إلى العراقة والخبرة الكبيرة اللتين تتمتع بهما بوليوود في هذا المجال، مضيفاً «إذا أضفنا إلى ذلك شراكة عربية تمتلك الرغبة في إنتاج أعمال سينمائية وتلفزيونية مهمة، مع امتلاك الإمكانات المادية اللازمة، فإننا سنكون بصدد إنتاج أعمال نوعية قادرة أن تفرض منافستها عالمياً». ورأى بطل المسلسل المدبلج «من النظرة الثانية»، أن الأعمال التلفزيونية هي الأكثر قدرة على التأسيس لانتشار حقيقي بين شرائح مختلفة في المجتمع، مضيفاً «على الرغم من أن الأعمال السينمائية تجني شهرة ومالاً أسرع، إلا أن الأعمال التلفزيونية قادرة على الوصول إلى جمهور أكثر تنوعاً، كما أن عرض مسلسل واحد ناجح قد يؤهل لصناعة نجومية تدوم أطول، من تلك التي قد يخلفها عرض أعمال سينمائية عدة ناجحة».

يرى نجم الدراما التلفزيونية الهندية، بارون سوبتي، الذي تعرض قناة «إم بي سي» بوليودد حالياً الجزء الثاني من مسلسله «من النظرة الثانية»، إن المهرجانات السينمائية هي الوسيلة الأنجع للإطلالة على الأعمال السينمائية المتميزة للأسواق الناشئة في صناعة السينما، معتبراً مهرجان دبي السينمائي بمثابة الفرصة الأكبر لاستقطاب إطلالة عالمية على السينما العربية، باعتباره المهرجان الذي نجح في استقطاب مزيد من الاهتمام العالمي.

وأضاف أن «المنطقة العربية تشهد تصاعداً متنامياً لصناعة السينما، وهو أمر يمكن أن تترجم في ظلاله تعاوناً كبيراً مع بوليوود، التي تعد من حيث حجم المشتغلين فيها الأكبرعالمياً»، مشيراً إلى أن نحو 10 ملايين شخص تقريباً يعتاشون من صناعة الأفلام في بلاده.

وأكد سوبتي لـ«الإمارات اليوم» أن الدراما الهندية تمتلك مقومات الذهاب بعيداً من حيث ألق الحضور لدى المشاهد العربي، فبعد عقود ظلت فيها الأعمال الهندية التي تصل إلى السوق العربية محصورة في أفلام مشاهير بوليوود، تعود تلك الدراما لتكون في متناول المشاهد العربي، لكن في هذه المرة عبر الدراما التلفزيونية، التي شهدت حضوراً قوياً في المرحلة السابقة للمسلسلات التركية والمكسيكية وغيرهما.

سوبتي، الذي نال أخيراً جائزة أفضل ممثل محلي، وشهد الجزء الأول من مسلسله «من النظرة الأولى» متابعة متميزة عربياً، يرى أن السينما الهندية العريقة مهدت لحظوظ جيدة للدراما التلفزيونية الهندية على الشاشات العربية، لكنه اعتبر أن هذا الحضور غير مؤهل حالياً لزحزحة التواجد القوي للمسلسلات التركية، رغم ذلك.

ويرى سوبتي أن هناك تغيراً كبيراً في مقاييس الشهرة والنجومية، في العصر الحديث، بفضل عناصر عديدة، منها سرعة الانتشار، والمتابعة الهائلة لوسائل الإعلام العالمية، ولم يعد الفنان الحقيقي بحاجة إلى عقود طويلة كي يلمع ويذيع صيته، وهو ما ينطبق فعلياً عليه، حسبما يرى، حيث لا يتعدى العمر الفني لسويتي سنوات عدة، قام عبرها بالمشاركة في نحو ستة أو سبعة أعمال تلفزيونية، حققت له الشهرة تدريجياً، دون أن يكون له قبلها أي تواجد في مجال الدراما التلفزيونية، فضلاً عن السينمائية.

ورأى سوبتي أن وسائل التواصل الاجتماعي أسهمت بشكل فعال في تقريب العلاقة بين الفنان وجمهوره، لكنه نفى أن يكون ذلك بديلاً عن تواصل حقيقي بين الطرفين، كلما سنحت الفرصة لذلك، على النحو الذي يتيحه لقاؤه في دبي، مع الجمهور العربي.

وتابع «تعاقب التصوير، واستئناف ارتباط الفنان به، كثيراً ما يعوقه في هذا الصدد، كما أن مثل تلك اللقاءات غالباً ما تتطلب وجود جهات تقوم بتنظيمها ورعايتها، وهو أمر لا يتوافر بشكل دائم، لكن بكل تأكيد أكون في غاية السعادة حينما تتاح لي هذه الفرصة».

وحول خطوته المقبلة أكد بطل «من النظرة الثانية» أنها ستكون سينمائية بامتياز، لافتاً إلى أن الفنان، خصوصاً الممثل، يبقى مطالباً بتنويع أعماله، ليس على صعيد المضمون فقط، وما يتعلق بالمحتوى، بل على صعيد نوع تلك الأعمال أيضاً.

وأكد النجم الهندي على أن هناك إصراراً لدى القائمين على صناعة الدراما التلفزيونية، خصوصاً في الهند، على تحقيق نجاحات مهمة عالمياً بصفة عامة، وعربياً بصفة خاصة، مشيراً إلى أن هناك تقارباً كبيراً في الثقافات والمزاج بين الحضارتين، يسهل التعاطي مع الدراما الهندية، لكنه لم ينف في الوقت نفسه أن فرص الدراما التركية تبدو في هذا السياق أكبر.

وأعرب سوبتي عن تطلعه لمتابعة ردود الأفعال العربية حول أعماله، مضيفاً «يمثل لقاء جمهور عربي بالنسبة لي تجربة ذات ألق وشغف خاص، فأنا على علم بأن المنطقة العربية لديها تاريخ عريق في الدراما، ولديها مقاييس دقيقة في ما يتعلق بشهرة الأعمال الأجنبية، لذلك فإن التقارير التي تؤشر إلى متابعة أول أعمالي التي تعرض على القنوات العربية، ممثلة في شاشة إم بي سي بوليوود، هي من دون شك تزيدني تفاؤلاً بما يمكن أن نقدمه سوياً في هذا المجال مستقبلاً».

نغمة الشائعات التي تنشط في بعض وسائل الإعلام ، وتتكرر حينما تكون البطولة مشتركة بين نجم شاب ونجمة جميلة، كما هو الحال في هذا المسلسل الذي تلعب بطولته إلى جانب سوبتي، الممثلة سانايا إيراني، صدمت سوبتي كثيراً حينما علم أن أحد المواقع تحدث عن خلافات بينه وبين زوجته، بسبب شريكته في البطولة، فضلاً عن المعجبات.

ورفض بارون فكرة أن بوليوود تأتي في مرتبة تصنيفية أدنى من هوليوود، مشيراً إلى ضخامة صناعة السينما الهندية، وإشباعها لسوق كبيرة، وجمهور متنوع، وتمتعها بخصائص فنية خاصة بها.

وحسب مجموعة إم بي سي الإعلامية فإن الموسم الثاني من مسلسل «من النظرة الثانية» يعرض بعد النجاح الجماهيري الواسع الذي حققه الموسم الأول عربياً، وبعد مطالبة شرائح واسعة من الجمهور العربي بعرضه سريعاً، بعدما توقّفت أحداث حلقاته الماضية عند تفاصيل مشوقة، ظلّت مفتوحة على احتمالات متعددة، هي قصة حب وُلدت من النظرة الأولى بين «كوشي» و«أرناف»، وتعمّقت مشاعرهما من النظرة الثانية، فقررا أن يكملا مشوارهما في الحياة معاً، لكن كثيراً ما تسير الأمور على خلاف ما يخطط له الأحبة، فتضعهم أمام عراقيل تفسد ما رسموه معاً للمستقبل.

ويستكمل «من النظرة الثانية»، في جزئه الثاني، قصة «كوشي» (سانايا إيراني)، الفتاة البسيطة والتقليدية التي تنتمي إلى منطقة بعيدة من العاصمة، وتعيش في ظل عادات وتقاليد صارمة، ولقائها بـ«أرناف» (بارون سوبتي)، الشاب الثري المغرور.

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