In August 2022, T-Series announced a film titled “100%” featuring John Abraham, Riteish Deshmukh, Nora Fatehi, and Shehnaaz Gill. Promoted as a thrilling comedy blending love, marriage, family, spies, and action, it marked Sajid Khan’s return to directing after “Humshakals.” Originally slated for a Diwali 2023 release, the project encountered setbacks when John unexpectedly left, leading to reports of its shelving. In an interview with News18 Showsha, Nora Fatehi clarified, “It’s not happening in the way it was said it was going to happen. They’re restructuring and changing certain things. But it might even happen, who knows! Let’s see.” Besides “100%,” Nora is set to star in other films like “Matka” with Varun Tej and Remo D’Souza’s “Be Happy” with Abhishek Bachchan, taking on leading roles.
Known for her dance hits like “Manohari,” “Dilbar,” “Kusu Kusu,” “Kamariya,” “O Saki Saki,” “Manike,” and “Jehda Nasha,” Nora is excited to transition into a new phase of her career as an actor. Despite her fame as a dancer, Nora never judged filmmakers for casting her in dance numbers earlier in her career. She recognizes the difference in their intentions for offering her dance versus acting roles but values both equally. “I see the difference but I also don’t think that one is better than the other. Both qualify as work and you’ve to bring something to the table in either case,” she said. Nora embraces the opportunity to add glamour and make projects more appealing and profitable.
“If you’re coming to bring the glam factor in a film and uplift its commercial value, that’s a big deal too. Not a lot of people are able to do that. So I do a dance number in a film with a lot of pride. Getting to have your name attached to a project knowing that it will help it commercially is a big deal. It means that I must have done something great to reach this point,” she remarked. For Nora, screen time in a film is crucial, and seeing her dreams come true fills her with happiness. “It’s work at the end of the day. Once upon a time, I was a ‘nobody’. I was in my hood called Jane and Finch in Toronto hustling and doing four-five jobs. Today, a filmmaker is thinking about me and wanting to cast me, and that’s helping me be in front of millions of people on a cinema screen. That’s a big deal for me. I look at it like that more than anything else.”
