Debut and stardom (1973) Kapadia, who was an avid movie viewer, aspired to be an actor since childhood.
Qurratulain Hyder of
The Illustrated Weekly of India noted she acted with "natural ease and freshness". Several of Kapadia's lines in the film became popular, particularly, "Mujhse dosti karoge?" ("Will you be my friend?"), and the "miniskirts, midriff-baring polka dot shirts, and fabled red bikini" she wore made her a youth fashion icon in India. Consequently, polka-dotted dresses were often referred to as "Bobby Print".
Bhawana Somaaya of
The Hindu credits Kapadia with starting the merchandising of film memorabilia in India, and Mukesh Khosla of
The Tribune said
Bobby established her as a "cult figure" because she led the fashion trends. In later years, Kapadia credited Raj Kapoor for her development as an actor: "The sum total of me today as an actress, whatever I am, is Raj Kapoor".
Comeback and early fluctuations (1984–1986) Kapadia returned to acting in 1984, two years after her separation from Khanna, saying she had a personal need to prove her own capabilities to herself. Other films released before
Saagar include
Manzil Manzil (1984),
Aitbaar (1985) and
Arjun (1985). Kapadia appeared opposite
Sunny Deol in
Manzil Manzil, a drama that was directed by
Nasir Hussain. While speaking of her positive experience during the making of the film, she felt uncomfortable performing the routine
song-and-dance nature of the part. Kapadia received positive reviews for her part in
Mukul Anand's
Hitchcockian thriller
Aitbaar. She starred as Neha, a wealthy young woman whose greedy husband (
Raj Babbar) plots to murder her. Discussing her performance, she said she was "a bag of nerves" while filming, which benefitted her performance because her own state coincided with her character's inner turmoil. Kapadia's performance as Mona D'Silva, a young
Catholic woman who is torn between her friend (
Kamal Haasan) and the man she loves (Kapoor), reestablished her position in the film industry and won her a second Best Actress award at the
Filmfare Awards. A reviewer in
Asiaweek appreciated the film for its "polished narration and masterly technique" and labelled Kapadia "a delight". According to Rediff.com, Kapadia "performed solidly and memorably, grounding the two male leads and making the film work". A 1993 issue of
India Today wrote: "
Saagar was in many ways a paean to her incredible beauty. She looked ravishing: auburn hair, classical face, deep eyes, an aura of sensuality. It was clear she was back."
Feroz Khan's
Janbaaz (1986), which is about a man fighting drug addiction, became known for a love scene in which Kapadia and male lead
Anil Kapoor share a kiss, a rarity in Hindi cinema at the time. The same year, she acted opposite Kamal Haasan in her first regional film,
Vikram, a Tamil-language sci-fi feature, in the minor role of Inimaasi, a young princess who falls in love with Vikram (Haasan). At that time, she worked in numerous Hindi films made by producers from
South India, including
Pataal Bhairavi, which she detested. She later confessed to accepting these roles for financial gain rather than artistic merit: "I shudder even now when I think of those films. As an artiste I got totally corrupted." She appeared in
Rajkumar Kohli's
Insaniyat Ke Dushman and Mukul Anand's
Insaaf; both action films that were popular with audiences. Later in the year, she played Pooja in
Mahesh Bhatt's marital drama
Kaash. Kapadia and
Jackie Shroff starred as an estranged couple who, during a relentless legal battle over the custody of their only son, learn that the boy has
brain tumour and reunite to spend the last months of his life as a family. Before filming began, she called it the most serious artistic challenge of her career. Kapadia's performance was praised by critics.
Pritish Nandy, the editor of
The Illustrated Weekly of India, asserted: "Dimple achieves the impossible. Bereft of her glitzy make-up, glamour and filmi mannerisms, she comes alive as never before: beautiful, sensitive, intense. You almost feel you've discovered a new actress on the screen." In later years,
The Times of India listed it as one of Kapadia's best performances, noting her "immense strength as a performer", and
Sukanya Verma wrote of the "stoic determination and touching vulnerability" with which Pooja was played, calling the outcome "extremely believable and sympathetic at once". Bhawana Somaaya reported that
Kaash had established Kapadia as a performing artiste. In
Zakhmi Aurat (1988), Kapadia played Kiran Dutt, a police officer who is subjected to
gang rape and, when the judicial system fails to convict the criminals, unites with other rape survivors to
castrate the rapists in revenge. Among the first of a new trend of women-centred revenge films, the film was a financial success but polarised critics and attracted wide coverage for its lengthy, brutal rape scene involving Kapadia.
Khalid Mohamed of
The Times of India noted Kapadia's "power packed performance" but criticised the rape sequence as "utter lasciviousness" and "vulgarity spattering through the screen". Feminist magazine
Manushi panned the film's low cinematic quality, including the absurdity of the action scenes and the "ugly kind of titillation" in the rape scene, but said Kapadia brought "a conviction to her role that is rare among Bombay heroines" with a performance that is "low key, moving and charming without being at all clinging or seductive". The same year, Kapadia worked with Rajkumar Kohli on the action drama
Saazish and the horror film
Bees Saal Baad, a remake of the 1962
film of the same name. She was the action star in
Mera Shikar, a revenge saga directed by
Keshu Ramsay, playing Bijli, a once joyous young woman who trains in
martial arts to punish a notorious gangster for the crimes inflicted upon her sister. The film was described as an "extraordinarily adroit entertainer" by Subhash K. Jha, who preferred it over the "sleazy
sensationalism" of
Zakhmi Aurat and noted the "unusual restraint" with which Bijli's transformation was achieved. becoming the second-highest grossing Hindi film of the year and earning eight nominations at the
35th Filmfare Awards. She played a
courtesan-turned-vengeful
mistress in
Pati Parmeshwar. The film was released after a well-publicised two-year court battle with the
Central Board of Film Certification (CBFC), which initially
banned it from screening for its perceived glorification of
submissiveness of women through the character of the forgiving wife who is in "ignoble servility" to her husband. Other films starring Kapadia that year include
Babbar Subhash's
Pyar Ke Naam Qurbaan and
J. P. Dutta's action picture
Batwara.
Professional expansion and critical acclaim (1990–1994) In the 1990s, Kapadia started appearing in
parallel cinema, a movement of Indian neo-realist
art films, Those films include
Drishti (1990),
Lekin... (1991),
Rudaali (1993) and
Antareen (1993).
Drishti, a marital drama that was directed by
Govind Nihalani and inspired by
Ingmar Bergman's
Scenes from a Marriage (1973), starred Kapadia and
Shekhar Kapur as a married couple from Mumbai's intellectual milieu, and followed their trials and tribulations, extramarital affairs, divorce, and eventual reconciliation. Kapadia received critical acclaim for playing the protagonist, career-woman Sandhya, and later recounted her full emotional involvement in the part. The author
Subramani recognised Kapadia as "an actress with hidden resources" and appreciated her "intelligent portrayal", through which Sandhya emerged as "vulnerable and intense and full of feminine wiles". A review in
The Indian Express noted Kapadia's sensitive performance, presuming her own journey through separation might have enhanced her understanding of the part. The film was acknowledged as the
Best Hindi Film of that year at the
38th National Film Awards, and
Frontline magazine suggested that Kapadia should have earned the Best Actress award at the same function. She was named
Best Actress (Hindi) of the year by the
Bengal Film Journalists' Association, and won a jury award for
Outstanding Performance at the
37th Filmfare Awards.
Gulzar's romantic mystery
Lekin..., which is based on
Rabindranath Tagore's short story "
The Hungry Stones" (1895), features Kapadia as Reva, a
restless spirit who haunts an ancient
Rajasthani palace seeking liberation. The film traces Reva's intermittent apparitions in front of Sameer (
Vinod Khanna), a museum curator who arrives at the palace and—upon watching her visual recreation of events from her tragic story—resolves to set her free. Kapadia was determined to get the part as soon as she learned about the project and kept persistently calling Gulzar and the film's producer
Lata Mangeshkar until she was finally cast. To make her character more truthful, Gulzar forbade Kapadia to blink during filming, trying to capture an "endless, fixed gaze" that would give her "a feeling of being surreal". Kapadia has often cited this role as a personal favourite and the pinnacle of her career, and wished it had been given more screen time in the film.
Lekin... was popular with critics Subhash K. Jha described Reva as "the essence of evanescence" and took note of the "intense tragedy" with which Kapadia played the part. Kapadia played a young widow in the military drama
Prahaar (1991), starring and directed by
Nana Patekar, with whom she would collaborate on several future projects. Kapadia and co-star
Madhuri Dixit agreed to act without wearing makeup upon Patekar's insistence. The film impressed critics, who credited both actresses for their work, although most of the praise went to Patekar. Further critical attention came Kapadia's way when she played a principled office receptionist opposite Sunny Deol in the action film
Narsimha. In
Haque (1991), a political drama directed by Harish Bhosle and scripted by Mahesh Bhatt, she played Varsha B. Singh, an
Orthodox Hindu woman who, after years of subservience, acts in defiance of her oppressive husband. The author Ram Awatar Agnihotri noted Kapadia for a brave and convincing portrayal. Kapadia starred alongside
Amitabh Bachchan in the fantasy
Ajooba, a big-budgeted Indo-Russian co-production that was co-directed by
Shashi Kapoor and
Gennady Vasilyev. Based on
Arabian mythology and set in the fictional Afghan kingdom Baharistan, the film saw her in the role of Rukhsana, a young woman who arrives from India to rescue her father from prison. The critical response to
Ajooba was mediocre, and it failed to attract viewers in Indian cinemas against success in the Soviet Union. The release of
Maarg, her second project under Mahesh Bhatt's direction, was delayed for several years before its
straight-to-video release in late 1992. The critic Iqbal Masood considered it "a powerful satire" with "excellent performances". According to Bhatt, Kapadia's role was so intense it left her close to a breakdown after filming ended. In 1993, Kapadia won the
National Film Award for Best Actress for her performance in
Rudaali, a drama that was directed by
Kalpana Lajmi and adapted from
Mahasweta Devi's short story of the same name. She played the central character Shanichari, a lonely, hardened Rajasthani village woman who, during a lifetime of misfortune, has never cried and is challenged with a new job as a
professional mourner. The citation for the award described her performance as a "compelling interpretation of the tribulations of a lonely woman ravaged by a cruel society". The Indologist
Philip Lutgendorf argued that Kapadia's "dignity and conviction, as well as her effective body language and gestures, lift her character far beyond bathos". Among other accolades, she won the
Filmfare Critics Award for Best Performance and was acknowledged with Best Actress honours at the
Asia-Pacific Film Festival and the
International Film Festival in Damascus. Critics and moviegoers accepted
Rudaali with enthusiasm, and it was India's submission to the
66th Academy Awards for Best Foreign Language Film. In 2010,
Filmfare magazine included Kapadia's work in the film in their list of "80 Iconic Performances". Another Filmfare nomination for Kapadia came that year for her supporting role as Shanti, a street prostitute whose husband and child were burnt alive, in the
Priyadarshan-directed crime drama
Gardish. An adaptation of the 1989 Malayalam film
Kireedam, the film starred Jackie Shroff and
Amrish Puri and was met with approval from critics and the public.
The Indian Express praised the film's "script, vivid characters and powerful dialogues", and noted Kapadia's ability to command audience attention.
Mrinal Sen's 1993 Bengali drama
Antareen, which was adapted from
Saadat Hasan Manto's short story
Badshahat ka Khatama (1950), was Kapadia's first non-Hindi project since
Vikram (1986).
Antareen was well-received and was named the
Best Bengali Film at the
41st National Film Awards but Kapadia was dissatisfied with the outcome and dismissed it as a poor film. In 1994, in
Mehul Kumar's
Krantiveer, Kapadia portrayed the journalist Meghna Dixit, a rape victim who persuades an alcoholic, unemployed village man (Nana Patekar) to be a champion of justice for those around him. The film was a box-office success and became India's third-highest-grossing picture of the year.
The Indian Express complimented Kapadia for having developed into a leading character actor with this film. For her performance, Kapadia received her fourth Filmfare Award, this time in the
Best Supporting Actress category. A controversy arose in December 1993 when Kapadia walked out of
Raj Kanwar's
Kartavya, in which she played
Divya Bharti's mother in-law. Following Bharti's death in April 1993, almost midway through the shooting, she was replaced by
Juhi Chawla. The Film Makers' Combine circulated a ban against Kapadia from signing any new projects; the ban was withdrawn in May 1994 when the Cine Artistes' Association intervened in support of Kapadia.
Hiatus, setback and resurgence (1995–2008) After
Antareen, Kapadia was expected to work in more independent films but she took a three-year hiatus from acting, later saying she was "emotionally exhausted". The film was a critical and commercial failure;
India Today panned its "comic book-level storytelling". The trade journal
Film Information said Kapadia had a role unworthy of her time, and Kapadia shared similar sentiments. She next acted opposite Jackie Shroff in the murder mystery
2001: Do Hazaar Ek (1998) and the romantic drama
Laawaris (1999), which were rejected by audiences.
Laawaris was criticised for its formulaic script and lack of originality and, according to
Hindustan Times, did not allow Kapadia "much to do except scream". In her final feature of the decade,
Hum Tum Pe Marte Hain (1999), Kapadia played Devyani Chopra, the strict matriarch of a wealthy family. Subhash K. Jha called the film an embarrassment while
Suparn Verma gave a scathing review of Kapadia's performance, noting she "wears a permanent scowl" throughout the film. In her first film of the new millennium, Kapadia co-starred in
Farhan Akhtar's directorial debut
Dil Chahta Hai (2001), which depicts the contemporary, routine life of Indian affluent youth, and focuses on a period of transition in the lives of three friends (
Aamir Khan,
Saif Ali Khan and
Akshaye Khanna). Kapadia played the role of Tara Jaiswal, a middle-aged alcoholic woman, an interior designer by profession, and a divorcee who is not allowed to meet her daughter. The film presents her story through the character of Siddharth (Khanna), a much-younger man whom she befriends and who falls deeply in love with her. Akhtar wrote the part specifically for Kapadia, who later called it "a role to die for". In 2002, Kapadia portrayed the title role in the drama
Leela, an American production that was directed by Somnath Sen and co-stars
Deepti Naval, Vinod Khanna and Amol Mhatre. Kapadia's part, which was written specially for her, is that of a forty-year-old, married
Mumbai University professor who, after the death of her mother, loses her sense of happiness and takes a job as a visiting professor of
South Asian studies in California. The story follows Leela's acclimation to her new surroundings and her relationship with a young Indian-American man named Kris (Mhatre), one of her students. Kapadia was nervous during the making of the film but believed the tension helped elevate her acting. among whom
Maitland McDonagh from
TV Guide wrote: "Dimple Kapadia shines in this family melodrama ... [her] intelligent, nuanced performance is the film's highlight". Reviews in India were similarly approving of
Leela and Kapadia's work. Kapadia played the lead role of army wife Sandra Williams, whose palatial household becomes plagued by eerie occurrences, in
Hum Kaun Hai? (2004), a supernatural thriller. The film opened to a mixed critical reception, but critics agreed Kapadia's performance and charismatic presence enhance an otherwise weak script. A year later, Kapadia and Rishi Kapoor reunited as a lead couple for the third time after
Bobby and
Saagar in
Pyaar Mein Twist, starring as middle-aged single parents who fall in love and are subsequently confronted with the reaction of their children. The film generated mostly negative reviews but critics concurred the chemistry between the lead pair was enough of a reason to watch it, acknowledging the nostalgic value of the pairing. Few people went to see the film; within two weeks it was declared a failure. In 2016, scholar Afreen Khan cited Kapadia's character as a departure from the conventional portrayal of mothers in Hindi films, believing her role to be a modern mother whom daughters dream of having. In 2006, Kapadia co-starred with Saif Ali Khan and
Naseeruddin Shah in the black comedy
Being Cyrus, an English-language independent feature and the directorial debut of
Homi Adajania, who would often cast her in his future endeavours. Kapadia played Katy Sethna, Shah's neurotic and unfaithful wife who has an affair with Cyrus (Khan), a young drifter who enters their house as an assistant. The film was well received at a number of film festivals before its theatrical release in India, upon which it was embraced by critics and audiences, making a considerable profit against its small budget. The
BBC's Poonam Joshi stated, "the descent into despair of Dimple Kapadia's Katy is enthralling" but other critics, including
Derek Elley from
Variety and Shradha Sukumaran from
Mid-Day, criticised her for excessively overacting. In the mystical love story
Banaras (2006), Kapadia played a wealthy
Brahmin woman whose daughter falls in love with a man of a
lower caste.
V. K. Prakash's romance
Phir Kabhi (2008) stars Kapadia and Mithun Chakraborty as ageing people who meet at a school reunion and rekindle their high-school romance. The film was awarded seven prizes, including the Best Film Award in the Narrative Feature section, at the Los Angeles Reel Film Festival. It was released direct-to-video a year later and was simultaneously distributed via
pay-per-view direct-to-home (DTH) services, becoming the first Hindi film to premier on streaming media platforms. At the request of her son-in-law Akshay Kumar, Kapadia voiced the character Devi, the mother of the elephant Jumbo (Kumar), in the animated feature
Jumbo (2008), a remake of the 2006 Thai computer animation
Khan Kluay.
Recognition for character roles (2009–2014) Kapadia was cast in
Zoya Akhtar's first directorial venture
Luck by Chance (2009), a satirical take on the Hindi film industry. She played Neena Walia, an erstwhile superstar—referred to in the film as "a crocodile in a chiffon saree"—who struggles to launch her young daughter into the movie business. Kapadia was approached for the part because it required an actress who had been a mainstream star in the past. Akhtar noted Kapadia's edgy portrayal of the character's fickle nature, saying Kapadia is "all warm, soft sunshine and then there's a flip and she's hard, cold, steely".
Luck By Chance opened to a warm critical response, though its financial income was modest. Critics were appreciative of Kapadia's performance, which earned her a Best Supporting Actress nomination at Filmfare. Deepa Karmalkar from
Screen characterised her role as "gloriously bitchy" while Avijit Ghosh of
The Times of India believed Kapadia had delivered "one of her most nuanced performances" in a character he found to be "a rare kind of Hindi film mother" who is "hawk-eyed, tough as nails but vainglorious, and in a strange way, vulnerable as well". In 2010, Kapadia played the small part of
Salman Khan's asthmatic mother in action comedy
Dabangg, which was the most popular film of the year in India and the
second-highest grossing Hindi film of all-time up to that point. Reviews for Kapadia's role were varied; Blessy Chettiar of
Daily News and Analysis likened her character to "the mothers in Hindi cinema of yore, self-sacrificing, torn between relationships, slightly over-the-top, likeable nevertheless". Next followed
Tum Milo Toh Sahi (2010), a romantic comedy which stars Kapadia as Delshad Nanji, a
Parsi woman in charge of an
Irani café whose business is under threat from developers and who falls in love with the lawyer (Nana Patekar) who represents her in court. Kapadia adopted a Parsi accent for the role and while preparing for it, visited several Irani cafés in Mumbai to adapt to the character's cultural milieu. The film opened to average reviews but Kapadia's performance received generally positive feedback. According to
Anupama Chopra, the character of Delshad "veers into caricature" but Kapadia "plays her with affection and energy and at least has some fun doing it". In her only film of 2011, Kapadia was cast as Rishi Kapoor's wife and her son in-law Akshay Kumar's mother in
Nikhil Advani's
Patiala House, a sports film revolving around cricket. Kapadia collaborated again with Homi Adajania in
Cocktail (2012) and
Finding Fanny (2014), both critical and commercial successes.
Cocktail, a romantic comedy, saw her play Saif Ali Khan's loud Punjabi mother, Kavita Kapoor, an appearance to which Aniruddha Guha of
Daily News and Analysis referred as a "veritable treat". While filming
Cocktail, Adajania shared the script of the satirical road movie
Finding Fanny with Kapadia. Believing he is a director capable of bringing the best in her, she expressed keen interest in the project. She was cast as Rosalina "Rosie" Eucharistica, a conceited-but-well-meaning woman who joins her late son's widow (
Deepika Padukone) on a road trip across Goa. Kapadia was required to wear a heavy prosthetic posterior for the role, and her portrayal earned her a fourth Best Supporting Actress nomination at Filmfare. In 2013, Kapadia was the protagonist in the comedy
What the Fish, portraying Sudha Mishra, an irate Delhi-based divorcee who begrudgingly entrusts her niece with taking care of her house while she is away. Kapadia was enthusiastic about the part, feeling challenged to play its different traits. Sarita A. Tanwar of
Daily News and Analysis considered the film "a rather audacious entertaining attempt" and said Kapadia was "in top form", and similarly positive comments were written by Subhash K. Jha.
Limited work, Tenet and beyond (2015–present) Over the rest of the decade, Kapadia returned to film twice for minor roles in the action comedies
Welcome Back (2015) and
Dabangg 3 (2019). She played a conwoman in
Anees Bazmee's
Welcome Back along with an ensemble cast led by Anil Kapoor and Nana Patekar.
Dabangg 3, the third instalment of the
Dabangg film series, saw her briefly reprise the role of Naina Devi. In her first film of the 2020s, Kapadia appeared alongside
Irrfan Khan and
Kareena Kapoor in the comedy-drama
Angrezi Medium (2020), her fourth project under Homi Adajania's direction. A
spiritual sequel to the 2017 film
Hindi Medium, it was theatrically released in India on 13 March amid the
COVID-19 pandemic, which affected its commercial performance due to the closing of cinemas. Initial plans for a re-release were cancelled and the film was made available digitally less than a month later. Kapadia played a strict store owner estranged from her daughter (Kapoor), a role Vinayak Chakravorty of
Outlook thought was "used to highlight loneliness among the aged" but believed could have been stronger. Kapadia next played arms dealer Priya Singh in
Christopher Nolan's spy thriller
Tenet. Her screen test for the role was shot in 2019 by Adajania before filming for
Angrezi Medium began, followed by an audition for Nolan in Mumbai. Impressed with her charisma and poise, Nolan cast Kapadia in the part, believing she thoroughly embodied his vision of the character. The film opened amid the pandemic to a worldwide audience and, having grossed $364million worldwide, became the
fifth-highest-grossing film of 2020. Critics reacted positively to her performance;
Richard Roeper of
Chicago Sun-Times wrote Kapadia "quietly steals every scene she's in" and Guy Lodge of
Variety said she had given the film's "wiliest performance". Having admitted to being a reluctant actor for years, Kapadia credited
Tenet with restoring her passion for film acting.
Ali Abbas Zafar's 2021
Amazon Prime political streaming series
Tandav starred Kapadia in her first appearance on a digital platform as Anuradha Kishore, a power-hungry politician who seeks to undermine the new political rival (Saif Ali Khan) of the Prime Minister of India, her longtime ally. The show opened amid massive protests and police complaints against its makers for allegedly insulting
Hindu deities and hurting the religious sentiments of Hindus, following which Zafar cut several scenes and issued a formal apology. Reviewers responded variably to
Tandav, but Kapadia's efforts were better received.
A Thursday (2022), Behzad Khambata's
vigilante-hostage thriller starring
Yami Gautam, featured Kapadia in the fictional part of Prime Minister of India Maya Rajguru. Kapadia had a cameo in
Ayan Mukerji's action fantasy
Brahmāstra: Part One – Shiva (2022) and starred in
Siddharth Anand's action thriller
Pathaan (2023), led by
Shah Rukh Khan. In
Pathaan, based in the
YRF Spy Universe, she played Nandini, a senior officer in charge of a unit of
Research and Analysis Wing (RAW) agents. Her performance was particularly picked up for praise. Sneha Bengani of
CNBC TV18 was appreciative of her "sharp and graceful, commanding, yet restrained" performance. The film broke several box-office records to become the
second-highest-grossing Indian film of 2023 and the third-highest-grossing Hindi film of all time. Kapadia won a
Zee Cine Award for Best Actor in a Supporting Role – Female for her performance. A supporting role as the mother of
Ranbir Kapoor's character in
Luv Ranjan's romantic comedy
Tu Jhoothi Main Makkaar (2023) brought Kapadia positive notice. Despite mixed reviews, the film enjoyed a strong run at the box office. Kapadia next reunited with Adajania for the
Disney+ Hotstar crime thriller series
Saas, Bahu Aur Flamingo, in which she played the protagonist Savitri, the powerful matriarch of a drug cartel selling a cocaine variant called flamingo. For the part, Kapadia was required to learn the local dialect to the fictional town of Runjh, located in northwest India. The show was well received and Kapadia earned rave reviews for her central performance.
Shubhra Gupta, writing for
The Indian Express, said Kapadia is "effortlessly in command of the room, and the situation". For her work, Kapadia received a
Filmfare OTT Award for Best Actress in a Drama Series. Kapadia played a scientist in the romantic comedy
Teri Baaton Mein Aisa Uljha Jiya (2024), starring
Shahid Kapoor and
Kriti Sanon, and featured alongside an ensemble cast in Adajania's mystery film
Murder Mubarak. She will next star opposite the former's father,
Pankaj Kapur, in
Saurabh Shukla's
Jab Khuli Kitaab, a romantic comedy about an older couple who seek divorce after 50 years of marriage. ==Public image and artistry==