Sunny Deol soaks in serenity on ‘road to heaven’ in Kutch

by IANS |

Mumbai, Feb 10 (IANS) Actor Sunny Deol offered a glimpse of a reflective moment from his travels, sharing a picture from Kutch.

Sunny took to Instagram, where he shared a video of himself leaning against his car, gazing at the vast expanse of water as the sky melts into soft hues of dawn or dusk.

Captioning the post as “Road to heaven. Kutch,” the star, who is currently enjoying the success of his latest release “Border 2”, captured the landscape's stillness and calm.

Border 2 is based on the 1971 war and real events. The film is presented by Gulshan Kumar & T-Series, in association with J.P. Dutta’s J.P. Films. Backed by a powerful production team including Bhushan Kumar, Krishan Kumar, J.P. Dutta, and Nidhi Dutta, and directed by Anurag Singh.

Meanwhile, J.P. Dutta’s blockbuster “Border’ was released in 1997. The film stars an ensemble cast that includes Sunny Deol, Jackie Shroff, Suniel Shetty, Akshaye Khanna, Puneet Issar, Sudesh Berry, and Kulbhushan Kharbanda in pivotal roles, alongside Tabu, Pooja Bhatt, Rakhee Gulzar, Sharbani Mukherjee, Sapna Bedi, and Rajiv Goswami.

The superstar will next be seen in ‘Lahore 1947’, which is scheduled to hit the cinemas on August 13.

The film brings together Sunny Deol, director Rajkumar Santoshi, and producer Aamir Khan for the first time.

Talking about the film, Aamir Khan said in a statement, “This was one of the favourite scripts of Dharamji, and I am so glad he could see the film”.

The film also stars Shabana Azmi, Preiti Zinta, and Karan Deol, with music by AR Rahman and lyrics by Javed Akhtar. ‘Lahore 1947’ marks Sunny’s next project following his recent blockbuster successes.

The film is set against the backdrop of the Partition of India in 1947, one of the most turbulent chapters in the subcontinent’s history. It marks Sunny Deol’s reunion with Rajkumar Santoshi after films such as ‘Ghayal’ and ‘Damini’.

The narrative is reportedly adapted from Asghar Wajahat’s acclaimed play ‘Jis Lahore Nai Dekhya, O Jamyai Nai’, which examines Partition not through large-scale politics, but through intimate human relationships fractured by communal violence and displacement.

The story centres on a Hindu family forced to migrate from Lahore to India, who are allotted a haveli vacated by a Muslim family, only to discover an elderly Muslim woman still living inside.

What follows is a tense, emotionally layered exploration of identity, loss, coexistence, and moral responsibility in a time of mass upheaval.