Ibrahim Ali Khan has made quite the splash in Bollywood with the release of his debut film, Nadaaniyan, on March 7, 2025. However, the film, which also stars Khushi Kapoor, has faced significant criticism, prompting discussions around its artistic merit and the experiences of its young leads.
In a recent conversation with Grazia India, Khushi Kapoor expressed her desire to explore deeper, darker themes in her future projects. Reflecting on her career so far, where she portrayed light-hearted characters like Betty Cooper in The Archies and the vivacious Baani in Loveyapa, she stated, “I’ve always been curious to see what the process of a thriller-horror movie would look like—maybe not completely horror, but something a bit darker than the films I’ve done so far.” Her desire illustrates a hunger for growth and a willingness to step outside of her comfort zone.
While Khushi looks to broaden her horizons, fellow producer Karan Johar recently addressed the critiques surrounding Nadaaniyan during the trailer launch of his upcoming production, Akaal. In a moment that many found both candid and entertaining, he responded to a particularly harsh comment from a critic who said, “I want to kick this film.” Johar admitted that he has no objection to criticism per se, but expressed concern over the aggressive nature of some reviews. “My relationship with the critics never changes towards them according to their reviews,” he noted, suggesting that the tone of criticism often reflects more about the critic than about the work itself.
Johar quoted a popular old Bollywood song—“Kuch toh log kahenge, logon ka kaam hai kehna / Chhodo bekaar ki baatein, beet na jaaye raina”—to highlight the inevitability of criticism in the entertainment industry. He further clarified that trolls, who often hide behind anonymous accounts, unleash their frustrations online without understanding the impact of their words. “Sometimes it's the trolls who are doing this. Nameless people for all we care, and that's their personal problem that they are projecting on us. I just pity them, nothing else,” he added, addressing the online trolling movement with empathy yet firmness.
Praising his actors for their hard work, Johar remarked on the need to remember that behind every film, there are human beings who invest their time, emotions, and energies into their performances. “When you read certain things, you think they are someone's daughter and son; their parents also read those things.” This reinforces the reality that public criticism affects lives beyond the screen.
Despite the challenges surrounding Nadaaniyan, which has come under fire for superficial dialogues and performances, Khushi remains hopeful about her future in the industry. She articulated her excitement about potentially participating in a horror-thriller project, acknowledging the shift in Bollywood's cinematic landscape toward explorations of psychological themes. With growing interest in such genres, many fans can’t help but wonder how Khushi will evolve as an actress if she delves into this darker realm. After all, her sister, Janhvi Kapoor, has successfully navigated both horror and thriller genres in films like Ghost Stories and Roohi.
With Ibrahim Ali Khan's entrance into Bollywood and Khushi Kapoor's exploratory ambitions, both stars are on the precipice of exciting changes in their careers. While they currently receive mixed reviews, the dynamic nature of film and storytelling in India offers the promise of growth and reinvention. Khushi’s interest in a horror or thriller narrative presents an intriguing opportunity that may captivate audiences searching for fresh, gripping performances.
As Nadaaniyan continues its run on Netflix amid the tidal wave of feedback—both constructive and harsh—the industry watches closely to see how these younger talents will adapt and flourish. Can Kapoor’s willingness to explore new themes resonate with audiences? Only time will tell, but her fans are certainly eager to witness her next steps, and possibly see her shine in a genre that embraces the complexities of human emotion and tension.
In the end, the interplay between public sentiment, artistic expression, and personal growth remains at the heart of cinema—a dance both challenging and exhilarating. The journey for Khushi and Ibrahim is only just beginning, and one can only hope that their subsequent projects embrace the depth and gravity they both seek to explore.
