The much-awaited trailer of Ram Charan’s upcoming film Peddi was unveiled at a grand event in Mumbai on Monday evening. And boy, doesn’t it pack a punch? The trailer has a rustic set up and brings a raw, rooted energy to this rural action–sports drama. It clearly establishes then the protagonist’s love for sport.

Ram Charan, a crossover athlete

The three-minute trailer cut is sharp, packed and shows the world of Peddi. It gives the glimpse of protagonist Peddi (Ram Charan), a crossover athlete (wrestler, cricketer and sprinter) who earns his livelihood through physical might. He is fierce as an athlete; his physical makeover to get a ripped bod is evident. The actor’s transformation into Peddi is both chiselled and emotionally layered. As the plot would have, Peddi’s rise draws envy from a domineering landlord.

Sport and survival inseparable

One of the major highlights of the trailer cut is the sporting sequences. The way it was picturized tells us how crucial they are in terms of narrative. They are shot with raw intensity depicting life-or-death stakes. Epic clashes on railway platforms, high-octane stunts, and adrenaline-fueled fights indicate a world where sport and survival are inseparable. The fusion of cricket, wrestling, and running gives the film an interesting spin and sets up the plot nicely. Gully cricket under floodlights and visceral mud-wrestling bouts amid challenging confrontations makes the trailer an engaging one.

Janhvi Kapoor, a village belle

Janhvi Kapoor, who appeared as a fisherwoman in Devara, also plays a village belle in Peddi. Very little is revealed about her in the trailer; perhaps the makers wanted to save the best for the last. Cinematographer R Rathnavelu beautifully captures the visual essence of the narrative. His camera work and lens angles during action sequences capture the intensity. All in all, Peddi trailer looks intense and promises a lot. it has further raised the expectations on the film.

Also Read: Hombale Films Joins Ram Charan’s Peddi As International Distributor

In one of the most emotional moments for Indian cinema at the Cannes Film Festival, the restored 4K version of Amma Ariyan was screened to a packed auditorium on Sunday, introducing a new generation of international viewers to one of the most influential films in Malayalam cinema.

Directed by the late John Abraham, Amma Ariyan (translated as Report to Mother) has long occupied a singular place in Indian film history. Released in 1986, the film was produced through the Odessa Collective, a people-funded movement that sought to take cinema directly to ordinary audiences. Fiercely political and formally experimental, the film followed a group of young men travelling across Kerala to inform a mother about her son’s death, transforming a simple journey into a meditation on art, activism and collective memory.

Now, forty years later, the film has received the kind of international recognition that eluded it during its original run.

The screening was attended by actor Joy Mathew, who played the lead role, and editor Bina Paul, both of whom shared memories of working with Abraham and reflected on the enduring relevance of the film.

Film Heritage Foundation’s Fifth Cannes Restoration Triumph

The restoration was spearheaded by Film Heritage Foundation, which marked its fifth consecutive year at Cannes with a restored Indian classic.

The foundation shared highlights from the event on Instagram, writing, “The film was screened to a full house and was introduced by Thierry Fremaux, Director of the Cannes Film Festival, FHF Director Shivendra Singh Dungarpur, lead actor Joy Mathew and editor Bina Paul.”

In another post, the organisation celebrated the overwhelming response: “A full house for FHF’s restoration of John Abraham’s cult Malayalam film Amma Ariyan (Report to Mother, 1986) last evening at the Cannes Film Festival 2026!!”

The foundation further noted, “Shivendra Singh Dungarpur spoke about John Abraham’s legacy as an inspirational filmmaker, while Joy Mathew and Bina Paul reminisced about the making of the pathbreaking film and working with the iconoclastic filmmaker.”

The evening culminated in a standing ovation, prompting Film Heritage Foundation to reflect on the significance of the moment: “Four decades after it was made, the film that was never released commercially got a standing ovation at Cannes. Amma Ariyan is the only Indian feature film to be selected this year for a world premiere at the prestigious festival.”

That distinction makes the screening all the more meaningful. In a year when Indian representation at Cannes has largely been limited to market screenings and restored classics, Amma Ariyan stood tall as the sole Indian feature to receive a world premiere in the festival’s official restoration showcase.

For Malayalam cinema, and for admirers of John Abraham’s fiercely independent vision, the Cannes screening was more than a restoration premiere. It was a long-overdue acknowledgement of a filmmaker whose work challenged conventions and redefined what Indian cinema could aspire to be. Four decades on, Amma Ariyan continues to speak with remarkable urgency, proving that truly revolutionary art never loses its voice.

Also Read: John Abraham’s Amma Ariyan To Have Restored 4K World Premiere At Cannes 2026

It’s been 50 years since the genius. Ilaiyaraaja burst on the collective consciousness with Annakili. I first heard Raja sir in two Balu Mahendra films – the absolutely astounding Oh Babua sung by Asha Bhosle for Sadma, and the complex Thumbi Vaa in Malayalam, sung effortlessly by S Janaki in Olangal. 

There was enough emphasis on tone, textures and hidden rhythms in Agni Natchathiram.

Everything was right. From the incredible music to PC Sreeram’s stylised camerawork to Ratnam’s assured writing and direction. During the 80s and the 90s it was like he gave an adrenalin shot to every score that was being made in Kodambakkam and Hyderabad. 

Also Read: Editor’s Take: Jaya Bachchan, A Quiet Riot of Authenticity