Bollywood actor Aamir Khan has confirmed that he will marry his partner Gauri Spratt on July 5, bringing an end to months of speculation surrounding their relationship. The announcement comes more than a year after the actor publicly introduced Gauri as his partner during his 60th birthday celebrations in 2025.

Speaking during a recent interaction, Aamir confirmed that preparations for the wedding are underway and described the decision as a natural progression of their relationship. According to the actor, both he and Gauri now feel ready to formalize their bond after spending significant time together and building a strong personal connection.

The development has generated considerable interest among fans and the entertainment industry, as this will be Aamir Khan’s third marriage. The actor has previously spoken openly about his personal life and the lessons he learned from his earlier relationships.

Long Friendship Turned Relationship

Reports indicate that Aamir Khan and Gauri Spratt have known each other for nearly 25 years. What began as a friendship gradually developed into a romantic relationship in recent years. The couple has reportedly been living together in Mumbai for more than two years and has frequently appeared together at public events since making their relationship official.

Gauri Spratt is a Bengaluru-born entrepreneur associated with the fashion and beauty industry. She studied fashion and styling in London and currently manages professional ventures in Mumbai. Like Aamir, she was previously married and is also a parent.

Industry observers note that the couple maintained a low profile for a long period before deciding to go public with their relationship. Since then, they have been seen together at several social and entertainment events.

A New Chapter

Aamir Khan has previously described Gauri as an important source of peace and stability in his life. In interviews earlier this year, the actor said he felt fortunate to have found companionship again and credited their relationship with bringing renewed balance to his personal life.

The actor’s first marriage was with film producer Reena Dutta in 1986. The couple separated in 2002 after nearly 16 years together and share two children, Junaid Khan and Ira Khan. Aamir later married filmmaker Kiran Rao in 2005. The couple announced their separation in 2021 but have continued to maintain an amicable relationship while co-parenting their son, Azad.

Despite their separation, Aamir and Kiran have continued to collaborate professionally on social and film-related projects. Their mutual respect has often been cited as an example of a mature post-divorce relationship within the entertainment industry.

The upcoming wedding is expected to attract significant public attention, given Aamir Khan’s stature in Indian cinema. However, sources close to the actor suggest that the ceremony is likely to remain a private affair attended by close family members and friends.

With the wedding scheduled for July 5, fans and well-wishers are now looking forward to the next chapter in Aamir Khan’s personal journey as he prepares to begin a new phase of life with Gauri Spratt.

Junaid Khan and Sai Pallavi’s ‘Ek Din’ Promises Heartfelt Romance This May

Moving away from the trend of high-octane action, Aamir Khan Productions is ready to release Ek Din on May 1, 2026. The film marks a significant milestone as it serves as the Hindi film debut for South Indian powerhouse Sai Pallavi. Paired with Junaid Khan, the movie is a remake of the acclaimed 2016 Thai film One Day, bringing a poignant, time-bound love story to Indian audiences.

A Snowy Tale from Japan

A major portion of Ek Din was filmed in the picturesque, snow-covered landscapes of Sapporo, Japan. The visual language of the film relies heavily on this serene backdrop to mirror the emotional journey of the protagonists. Directed by Sunil Pandey, the story follows Rohan (Junaid), a man who gets the chance to spend one day with his crush, Meera (Sai Pallavi), under extraordinary circumstances.

Sai Pallavi’s Highly Anticipated Debut

While Junaid Khan continues to build his filmography, all eyes are on Sai Pallavi. Known for her natural acting style and refusal to use heavy makeup, her transition to Bollywood has been a topic of discussion for years. Industry insiders suggest her performance in Ek Din stays true to her "girl-next-door" image, focusing on micro-expressions and emotional depth rather than typical "glam" roles.

Musical Backing by Ram Sampath

The film’s soundtrack, composed by Ram Sampath with lyrics by Irshad Kamil, has already begun making waves. With Arijit Singh lending his voice to the title track, the music is expected to be a pillar of the film’s marketing strategy. The soulful, melodic approach aligns with the film’s identity as a "pure romance" in an era of digital-age dating stories.

Release Strategy and Buzz

By opting for a May 1 release, the makers are positioning Ek Din as the primary choice for fans of the romance genre. While it shares the release date with the historical epic Raja Shivaji, the target demographics are distinct. The film will also be dubbed in Tamil and Telugu, catering to Sai Pallavi’s massive fan base in the South.

Cinema’s greatest legends and icons come together in a rare visual celebration as the Tuli Research Centre for India Studies (T.R.I.S.) presents an extraordinary series of exhibitions at the International Film Festival of Delhi (IFFD). Curated by pioneering arts archivist, author and institution-builder Neville Tuli, the exhibition brings together towering figures of world and Indian cinema alongside rare and vintage film art, memorabilia, posters and archives that trace the visual history of the medium.

From the quiet genius of Satyajit Ray to the mass appeal and love for the Cinema of Raj Kapoor, Dilip Kumar, Dev Anand & Shakti Samanta, to the enduring charm and stardom of Dharmendra and Sharmila Tagore to the epic grandeur of Mughal-E-Azam, and the contemporary superstardom of SRK, Salman Khan and Aamir Khan, the exhibition captures multiple eras of cinematic imagination under one roof.

One of the highlight Exhibitions is “The Golden Age of Hollywood, 1910–1960s,” which explores the evolution of cinema from the silent era to the rise of global stardom. The exhibition is positioned as part of a larger Indo-American cinematic dialogue and as a learning module within India Studies.

Another major showcase, “Highlights of Indian Cinematography, 1913–1973,” celebrates the pioneers behind the camera, featuring the work of legendary cinematographers including Faredoon A. Irani, Josef Wirsching, the Mistry Brothers, Radhu Karmakar, R.D. Mathur, V.K. Murthy, Dilip Basu, and Subrata Mitra, whose visual craft shaped the aesthetics of Indian cinema.

The exhibition “The Heart of Cinema as a Critical Educational Resource – The Song-Synopsis Booklet” revisits a fascinating film artefact that once served as both publicity material and audience guide. Today, these booklets stand as important educational resources that reflect how music and storytelling became inseparable from Indian cinema.

A spectacular display titled “Significant Artworks of Landmark Films of Bombay Cinema, 1940–80s” presents original artworks, hoardings and rare multi-sheet posters that once dominated the visual culture of Indian cities, from classics such as Sholay, Guide, Azaad, Pakeezah, Deewaar, and many others.

Another rare showcase, “The World of Satyajit Ray through the Lens of Nemai Ghosh, 1969–1990,” offers an intimate glimpse into the legendary filmmaker’s working life through rare still photographs captured across decades.

The global influence of film poster design is reflected in “Vintage Polish & Japanese Designed Posters, 1950–70s,” which highlights powerful graphic traditions that shaped international cinema publicity.

Among the most evocative presentations is “A Tribute to the Greatest Epic Indian Film – Mughal-E-Azam,” featuring memorabilia and visual material connected with the iconic film and its legendary cinematography.

The exhibition “From Trinity to Trinity to Trinity | Dev-Raj-Dilip to Ray-Ghatak-Sen to Salman-Aamir-SRK” traces how different cinematic trios have defined successive eras of Indian cinema, reflecting the changing idea of heroism and storytelling.

Additional exhibitions pay homage to major cinematic personalities including Dharmendra, filmmaker Shakti Samanta (1926–2026) and Sharmila Tagore, offering deeper insights into their artistic journeys and influence, and the first magnificent Exhibition ever held in India on a vast range of the uniquely Indian Film Jubilee Trophy from the 1950s to the 1990s.

Together, these twelve exhibitions bring together a vast constellation of film objects — posters, lobby cards, still photographs, booklets, pamphlets, memorabilia and Jubilee trophies — demonstrating how cinema’s life extends far beyond the screen and into the cultural imagination of audiences.

The initiative is anchored by the Tuli Research Centre for India Studies (T.R.I.S.), an independent charitable society and trust dedicated to advancing Contemporary India Studies. Through its pioneering digital platform tuliresearchcentre.org, the centre offers an open-access knowledge base structured across sixteen Research Categories spanning the arts, humanities, social and ecological sciences.

T.R.I.S. combines digital scholarship with physical archives, extensive library collections, exhibitions and live interactions with leading creative minds. The initiative also connects with the Vanraja Sanctuary and Hospice, a path-breaking initiative dedicated to the welfare of canine and feline children.

Through institutional collaborations and interdisciplinary engagement, the centre seeks to build the first structured Contemporary India Studies curriculum where visual, textual and audio materials are treated as equal sources of knowledge.

Neville Tuli says,
“Cinema has always been far more than the films we watch. It is a vast universe of visual memory — posters, publicity art, photographs, booklets and objects that carry the spirit of their time. Through these exhibitions we hope to re-introduce cinema as a powerful educational resource, where the visual becomes a serious source of knowledge and dialogue across disciplines. Our endeavour through T.R.I.S. is to help audiences, scholars and students rediscover the deeper intellectual and aesthetic worlds that cinema has created across generations, and relate such to all the arts, humanities and social sciences in a systematic manner.”

Filmmaker and choreographer Farah Khan has lifted the curtain on one of the darkest chapters in Bollywood's history — the years when organised crime had its shadow firmly cast over the Hindi film industry. Speaking candidly during a podcast conversation with Ranveer Allahbadia on March 14, 2026, Farah confirmed that the three biggest superstars of the 1990s — Shah Rukh Khan, Salman Khan, and Aamir Khan — all faced pressure from the underworld during that era. She also recalled a chilling incident involving a direct threat made to director Karan Johar just days before the premiere of his debut film Kuch Kuch Hota Hai.

'That Was the Darkest Era of Bollywood'

Farah did not mince words when describing what working in the film industry felt like in the early 1990s. She recalled the moment that first brought home the reality of how dangerous things had become — when she was on a film set around 1993 or 1994 and news broke that film producer Mukesh Duggal had been shot. The murder sent shockwaves through the entire industry.

"That was in the 90s. I remember I was on a set, I had just started my career, maybe '93 or '94, and Mukesh Duggal was shot," Farah recalled, describing how the news froze everyone and made it impossible to continue working as if nothing had happened.

She described the atmosphere on sets during that period as deeply unsettling — with a pervading sense that anyone in the industry could become a target at any moment, and that the underworld was watching, evaluating, and when it suited them, demanding.

All Three Khans Faced Underworld Pressure — Farah Confirms

When Ranveer Allahbadia asked directly whether Bollywood's biggest names of the era — Shah Rukh Khan, Salman Khan, and Aamir Khan — had been subjected to underworld pressure, Farah gave an unambiguous answer: "Yes."

She was careful to clarify what she personally knew and what she did not. When pressed on whether Shah Rukh Khan had personally received a call from the underworld, she said she could not confirm that specific detail. However, she made clear that the overall climate of fear and pressure applied to the biggest stars of the decade — and that none of them were entirely shielded from it simply by virtue of their fame.

Karan Johar's Terrifying Premiere Night

The most gripping moment of Farah's revelations centred on director Karan Johar and the premiere of Kuch Kuch Hota Hai in 1998 — one of the biggest films of that decade and Johar's directorial debut.

Farah recalled that Karan received a direct underworld threat in the days surrounding the premiere — and that the entire team was plunged into a state of genuine fear and uncertainty. "It was very scary. Everyone was discussing whether the premiere should be cancelled or we should go ahead with it," she said.

After intense deliberation, the decision was made to proceed with the premiere — but with a dramatically heightened security presence. "Security was beefed up and I think we went ahead with the premiere. Karan was very stressed. Imagine it is your first movie, but all you are thinking about is this," Farah said, painting a picture of what should have been the most celebratory night of a young filmmaker's career being overshadowed entirely by fear.

The 1980s: When Bollywood Lost Its Audience

Alongside her underworld revelations, Farah took a sweeping look at how Indian cinema evolved across the decades. She described the 1980s as the single worst era in the history of mainstream Hindi films — a decade she said was dominated by a tired, formulaic template of multi-hero films featuring familiar faces, with little creative ambition.

"We used to look down upon Hindi films. When we were in college, we used to only watch Hollywood films," she said, citing classics like Saturday Night Fever and Dirty Dancing as the kind of cinema her generation was drawn to. She described the prevailing quality of 1980s Bollywood as simply not good enough to hold a young audience's attention.

It was the 1990s, she said, that brought real change — new directors, new storytelling, a new generation of stars — even as those same years brought the underworld's dark influence to its peak.

Main Hoon Na 2 Rumours Dismissed

Farah also used the podcast appearance to address persistent social media rumours suggesting she was working on a sequel to her 2004 blockbuster Main Hoon Na with Shah Rukh Khan. She shut down the speculation firmly. "I have officially dismissed these claims, please do not believe unverified reports," she said. She hinted, however, that she is planning a return to film direction later in 2026 — possibly with a high-energy action comedy — once her children leave for college.