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Niyati Fatnani
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Niyati Fatnani, an accomplished Indian actress best known for her work on Hindi television, was born on January 11, 1991. When she made her acting debut in the 2016 television series "D4-Get Up and Dance," where she convincingly played the role of Niharika Sinha, she began her career in the entertainment sector. But her outstanding acting talent and adaptability brought her global acclaim. Niyati Fatnani is particularly lauded for her outstanding performance as Piya Rathod in the well-liked TV series "Nazar," where she enthralled viewers with her portrayal of a supernatural character. Her portrayal of Ginni Garewal Singh in "Channa Mereya" further highlighted her acting skills and established her status as a standout performer in the Hindi television industry. Niyati Fatnani is a renowned personality in the industry who continues to impact her fans with her hard work and talent.
Early Years
Niyati Fatnani was born on January 11, 1991, in the energetic city of Rajkot, Gujarat, India. Her formative years were spent in Gujarat's culturally diverse setting. She began her educational adventure at the picturesque Gujarati city of Bhavnagar's Amar Jyoti Saraswati International School. In addition to her academic endeavors, Niyati Fatnani is a skilled Kathak dancer. She has a wide range of skills, and her enthusiasm for this traditional Indian dancing style shows her strong ties to her cultural roots. The early years of Niyati's childhood and schooling were crucial in molding her into the skilled actress and artist she is today, giving her performances a special blend of talent and cultural depth.
Career
Niyati Fatnani has had several important roles and accomplishments throughout her career in the entertainment world. In the television series "D4 - Get Up and Dance," she made her acting debut in 2016, playing the role of Niharika "Baby" Sinha and starring with Utkarsh Gupta. Her first acting role demonstrated her talent and laid the fou
Heroine: Unlived And Empty
“Main keh raha hoon, main keh raha hoon, main keh raha hoon!” Everytime I watch a wannabe film on adult relationships..I remember this Kulbhushan Kharbanda (he is on the phone with his neurotic actress girl friend who wants to know if he has broken the news of their affair to his wife) dialogue from Mahesh Bhatt’s Arth.. still the most grown-up movie of them all, almost 30 years after it was made. And really, after the few indelible scenes in which Smita Patil’s Kavita, a schizophrenic heroine pops or rather chews sleeping pills, clings sickeningly to a married man, throws tantrums and lashes out at imagined threats and intangible fears, what more is left to say in cinematic language about the inner life of a woman who has it all but is hollowed out and afraid to be loved too much or too little? Right from the opening scenes where a trail of cloths leads us to Kharbanda and Smita in a hotel room play acting like two old people who have spent a life time together, there is a flesh and blood intimacy that makes you recoil even though there is no- in- your- face nudity. Compare that to the love making scene in Heroine where the protagonist, always the actress.. is filming herself in the throes of passion. This is finally the biggest problem with Heroine. The characters never stop acting. The scenes look staged. The camera never stops rolling. Life never takes over.
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While Smita’s bi-polar Kavita went from being perfectly normal to suicidal in a heartbeat and made you cringe with her hysteric neediness, a breakdown in Heroine is just the popping of some nameless pills, glugging endless drinks and a runny mascara.
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This ain’t Bhumika where Smita Patil (yes, again) pulsed pain as the scarred soul being tossed from one exploitative relationship to another, in a blind hunger to find a centre, an anchor. This definitely ain’t Kagaz Ke Phool that summed up what f See full article at The News Minute Unni Mukundan’s Acting Choices: Why He Hasn’t Played A Romantic Hero In 7 Years Allu Arjun Reveals He Was First Scared When Sukumar Started Designing The Jathara Scene in Pushpa 2 Wearing a Saree Neek Review On X: “Fun Rom-Com” To Dhanush’s “Free-Flowing Comic Punchlines” – Netizens Are Impressed! Bromance (2025) Movie Review: This Over-the-top Comedy Has Failed Gags And Occasional Moments of Laughter Subhash K Jha Selects Randhir Kapoor’s 5 Finest Performances On His Birthday Exclusive: Hera Pheri 3 Set to Begin Shooting in December 2025 with Akshay Kumar, Paresh Rawal, and Suniel Shetty! Mollywood (Malayalam) Box Office Collection & Verdicts 2025 Daveed: Who’s really the bad guy? Dominic And The Ladies’ 2023 Indian Hindi-language television series Not to be confused with Farsi. Farzi (transl. Fake) is an Indian Hindi-language black comedycrime thriller television series created, produced and directed by Raj & DK, who also co-wrote the series with Sita Menon and Suman Kumar. It stars Shahid Kapoor, Vijay Sethupathi, Kay Kay Menon, Raashii Khanna and Bhuvan Arora, and tells the story of a disillusioned artist who decides to make counterfeit money. Initially conceived as a film in 2014, Farzi was expanded into a television series by 2019. Principal photography began in Mumbai in July 2021. Filming also took place in Alibaug, Goa, Nepal, and Jordan. Sachin–Jigar and Tanishk Bagchi composed the songs, while Ketan Sodha provided the score. The series shares continuity with Raj & DK's spy series The Family Man. The eight-episode series was released on Amazon Prime Video on 10 February 2023. Farzi received positive reviews, and emerged as the most-watched Indian streaming series. By the end of February 2023, Kapoor confirmed that the show would return for a second season. At the 2023 Filmfare OTT Awards, Farzi received 10 nominations. Sunny is an artist disillusioned by the income inequality in India after failing to keep his grandfather's extensive printing press in business. He decides to team up with his best friend Firoz to make counterfeit money. They face challenges from Mansoor, a gangster, and Michael, a cop. According to co-creator Raj Nidimoru, the title refers to counterfeiting, as well as the "fakeness" inherent in people.Mohanlal (I)
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