Category: Arts Entertainments

5. Inception (2010): Filmmaker Christopher Nolan’s ‘Inception’ was a high-concept sci-fi thriller that pushed DiCaprio’s acting to new heights. His portrayal of Dom Cobb, a thief who steals secrets from dreams, proved his ability to handle emotionally layered roles. The film was both a commercial and critical success, making audiences rethink the very nature of reality. Additionally, it only highlighted the actor’s versatility, further establishing him as one of Hollywood’s legends.

6. The Wolf of Wall Street (2013): Teaming up once again with Scorsese, DiCaprio delivered an explosive performance as the infamous stockbroker Jordan Belfort. With his manic energy, sharp wit, and an unrelenting charisma, our man Leo brought to life one of his most daring roles– a morally corrupt character! His performance in this movie truly is unforgettable which is what made it a success.

7. The Revenant (2015): After years of near misses, Leo’s Oscar drought finally ended with The Revenant, directed by Alejandro G. Iñárritu. He took home the Academy Award for Best Actor for his gruelling role as frontiersman Hugh Glass. DiCaprio endured physical hardship and isolation for months to deliver one of his career’s most intense performances. It was a just reward for his remarkable body of work which he had built over two decades, thus ending the internet’s running joke about his never-ending wait for the prized statuette.

8. Once Upon a Time in Hollywood (2019): Saving the best for the last, Leo teamed up with Quentin Tarantino to portray fading TV star Rick Dalton. His character as a struggling actor in 1960s Hollywood was equal parts funny, sad, and relatable. The film, set in 1969 Los Angeles, was an ode to Hollywood’s golden age and DiCaprio’s performance earned him another Oscar nomination. This role in particular allowed the actor to flex his comedic skills alongside his dramatic talents, proving that he could pull off both with equal flair.

The last rites of veteran actor Delhi Ganesh took place on Monday morning in Ramapuram, Chennai according to ANI.

After a day of honour, his mortal remains were cremated with Air Force honours. Indian Air Force personnel paid tribute to Delhi Ganesh by placing an IAF ensign on him.

Before starting his career in the film industry, the actor served as a former Air Force officer.

He passed away on Sunday, November 9 at the age of 80 due to age-related ailments. The news was confirmed by his son, Maha Devan.

“We deeply regret to inform that our father Mr. Delhi Ganesh has passed away on 9th November around 11 pm,” he wrote on social media.

From fans to members of the film industry and politics, several renowned figures paid their heartfelt condolences after learning about the death of Delhi Ganesh.

The ceremonial respects paid by his fellow servicemen reflect the admiration and reverence he held, not only as a distinguished actor but also as a dedicated former member of the Indian Air Force. This tribute highlighted his contributions and the legacy he leaves behind both in service and in cinema.

Colombian sensation aka ‘Queen of Latin Music’ Shakira is returning to the animal world of Zootopia next year as Gazelle. The news was just announced at D23 Brazil, a Disney fan event. In a video message shared with attendees and later posted on social media, Shakira expressed her excitement about reprising her role.

“I’m here to announce some big news. Are you ready? Gazelle is returning to Zootopia 2,” she said in the video, which included footage from the first Zootopia of Gazelle performing with her tiger backup dancers.

“That’s right. Gazelle is back and she’s got a new look, a new song and, of course, new dance moves. Just wait until you see what she and her tiger dancers have been working on. I know you’re going to love it. That’s all I can share for now, but I look forward to seeing you all on my tour next year and I’ll see you at the movies next November,” she added.

Also returning to the sequel are detectives Judy Hopps (Ginnifer Goodwin) and Nick Wilde (Jason Bateman) as they unravel another mystery in their city. It also has new additions such as Gary, a sneaky slippery snake who is pursued by the duo. Everything Everywhere All at Once Oscar winner Ke Huy Quan will be voicing the character.

Directed and written by Byron Howard and Jared Bush, Zootopia 2 is slated for a theatrical release on November 26, 2025. The first part which released in 2016 grossed more than $1 billion and won the Oscar for Best Animated Film.

The much-anticipated pan-India film Pushpa-2: The Rule, directed by the acclaimed Sukumar and starring the iconic Allu Arjun is all set for its grand release on December 5. The excitement from fans stems from the massive success of its predecessor, Pushpa: The Rise.

Produced by Naveen Yerneni and Yalamanchili Ravi Shankar under the Mythri Movie Makers banner in association with Sukumar Writings, the sequel promises to be a major box-office hit and will release on nearly 12,000 screens worldwide.

As part of the promotional campaign, the makers have announced a grand promotional tour that will cover seven major cities across India.

Building up to its release, the film has already broken advance booking records in the United States. Many Allu Arjun fans are eagerly awaiting for the sequel’s release and to keep the excitement high, the team has officially announced via video that major promotional events will take place in Patna, Kolkata, Chennai, Kochi, Bengaluru, Mumbai, and Hyderabad.

Currently, Pushpa-2: The Rule is in its final stages of filming and post-production is proceeding rapidly.

The film features a star-studded cast including Rashmika Mandanna, Fahadh Faasil, Anasuya Bharadwaj, Sunil, and Rao Ramesh who will be reprising their roles from the original. Reportedly, Sree Leela too will be making a special appearance for a song video. 

LOS ANGELES: Actor Phil Dunster is teaming up again with “Ted Lasso” co-creator Bill Lawrence for a new HBO project.

The English actor will feature alongside “The Office” star Steve Carell in the untitled comedy series, written by Lawrence and Matt Tarses, reported entertainment news outlet Variety.

Announced in May, the series will consist of 10 episodes and is set on a college campus, focusing on the complicated relationship between an author and his daughter.

Details about Dunster’s character are currently being kept under wraps.

Lawrence and Tarses co-wrote the pilot episode of the series and will serve as executive producers along with Carell.

The series is produced by Warner Bros.

Television, where both Lawrence and Tarses have overall deals.

Dunster, 32, became popular with his portrayal of footballer Jamie Tartt in “Ted Lasso”, which ran for three seasons on Apple TV+.

In 2023, he picked up an Emmy nomination for Best Supporting Actor in a Comedy for his work on the show.

His other notable credits include TV series such as “The Devil’s Hour”, “Strike Back”, and “Humans”, as well as films like “Murder on the Orient Express” and “The Good Liar”.

Lamar’s ubiquitous diss track released during his feud with Drake, “Not Like Us,” is nominated for record and song of the year, rap song, music video as well as best rap performance. He has two simultaneous entries in the latter category, a career first: Future & Metro Boomin featuring Lamar, “Like That” is up for best rap performance and best rap song.

This is his third time receiving two simultaneous nominations for best rap song.

Taylor Swift and first-time nominees Sabrina Carpenter and Chappell Roan boast of six nominations each.

Last year, women artists dominated the major categories. This year, that continues somewhat, but the main trend seems to be a variance of genre. In the album of the year category, alongside “Cowboy Carter” is André 3000’s new age, alt-jazz “New Blue Sun” and multi-instrumentalist Jacob Collier’s “Djesse Vol. 4.” Rising pop stars Carpenter and Roan round it out, with “Short n’ Sweet” and “The Rise and Fall of a Midwest Princess” respectively, as well as Swift’s “The Tortured Poets Department,” Eilish’s “Hit Me Hard and Soft,” and Charli XCX’s rave-ready “BRAT.”

Eilish is the only artist to have her first three albums become nominated for album of the year.

Last year, Swift won album of the year for “Midnights,” breaking the record for most wins in the category with four. This year, she becomes the first ever woman to seven career nominations in the category.

“The breadth and the variety of genres represented in the general field feels new and really exciting,” says the Recording Academy CEO and President Harvey Mason jr. He credits an active and evolving voting body for its success. “We’ve been very intentional in how we looked at and tried to rebalance our membership. So not just gender or people of color, different racial makeup, but also genre equity and trying to make sure that all different types of music in different regions and different locations are being represented in every way possible.”

Only recordings commercially released in the U.S. between Sept. 16, 2023 through Aug. 30, 2024 were eligible for nominations. The final round of Grammy voting, which determines its winners, will take place Dec. 12 through January 3.

“The breadth and the variety of genres represented in the general field feels new and really exciting,” says the Recording Academy CEO and President Harvey Mason jr. He credits an active and evolving voting body for its success. “We’ve been very intentional in how we looked at and tried to rebalance our membership. So not just gender or people of color, different racial makeup, but also genre equity and trying to make sure that all different types of music in different regions and different locations are being represented in every way possible.”

Only recordings commercially released in the U.S. between Sept. 16, 2023 through Aug. 30, 2024 were eligible for nominations. The final round of Grammy voting, which determines its winners, will take place Dec. 12 through January 3.

In the best new artist category, Carpenter and Roan will go head-to-head, alongside Benson Boone, Doechii, Khruangbin, RAYE, Shaboozey and Teddy Swims.

In the song of the year category, Beyoncé is joined by Eilish with “Birds of a Feather,” Swift and Post Malone with “Fortnight,” Roan’s “Good Luck, Babe!”, Carpenter’s “Please Please Please,” Lamar’s “Not Like Us,” Lady Gaga and Bruno Mars’ “Die With A Smile,” and Shaboozey’s “A Bar Song (Tipsy).”

Shaboozey is also a first-time nominee. His “A Bar Song (Tipsy)” is the biggest song of the year, having spent more weeks at No. 1 on the Billboard Hot 100 than any other — it is so popular, a remix of the track is also up for remixed recording.

Elsewhere, Shaboozey is nominated in the melodic rap performance category for his feature on Beyoncé’s “SPAGHETTII.” Linda Martell, the first commercially-successful Black woman musician in country, is also featured on the song, delivering the 83-year-old artist her first Grammy nomination.

For record of the year, “Texas Hold ’Em” will compete against Swift and Post Malone’s “Fortnight,” Eilish’s “Birds of a Father,” Lamar’s “Not Like Us,” Roan’s “Good Luck, Babe!”, Carpenter’s “Espresso,” Charli XCX’s “360,” and the Beatles last new song, the AI-assisted “Now and Then.”

“We’re trying to make sure we’re keeping up with how music creators and our community are using technology. And in this case, AI enhanced the record and allowed it to be eligible in the categories that it was eligible in,” Mason jr explains.

So, what’s missing? Like last year, there’s a huge dearth of Latin music — the fastest growing streaming genre in the United States — across the board, and no representation in the major categories. There are also only four entries in the best Música Mexicana album category, despite it also being one of the fastest growing genres.

And K-pop, too, seems to be absent. There are no nominations for the BTS members who’ve released solo material this year: RM’s “Right Place, Wrong Person,” J-Hope’s “Hope on the Street, Vol. 1,” and Jimin’s “Muse.” As a boy band, BTS has received five nominations across their career.

“I definitely see room for improvement across many genres and we are continuing to invite people to be a part of the academy,” Mason jr. says. “Without the right representation we don’t get the right results. When I say right, I mean reflective and representative of what’s happening in music today. So, the work continues.”

The 2025 Grammy Awards will air Feb. 2 live on CBS and Paramount+ from the Crypto.com Arena in Los Angeles.

BUENOS AIRES: Three people have been charged in connection with the death of Liam Payne, a former member of musical group One Direction who died after falling from the balcony of his hotel room in Buenos Aires last month, Argentine prosecutors said Thursday.

Prosecutor Andrés Madrea charged the three suspects, whose identities were not revealed, with the crimes of “abandonment of a person followed by death” and “supplying and facilitating the use of narcotics,” the prosecutor’s office said. Madrea also requested their arrest to judge Laura Bruniard, who ruled the three cannot leave the country.

Payne fell from his room’s balcony on the third floor of his hotel in the upscale neighborhood of Palermo, in the Argentine capital. His autopsy said he died from multiple injuries and external bleeding.

Prosecutors also said that Payne’s toxicological exams showed that his body had “traces of alcohol, cocaine and a prescribed antidepressant” in the moments before his death.

Investigators said hours after Payne’s death that he was by himself when he fell. But the prosecutors’ office said Thursday that one of the people charged was often with the singer during his time in Buenos Aires. The second is a hotel staffer who allegedly gave Payne cocaine during his stay between Oct. 13 and 16. And the third is a drug dealer.

The charges in Payne’s case bear some resemblance to the US cases stemming from the death of “Friends” star Matthew Perry a year ago. The actor’s personal assistant and a longtime friend are among those charged with helping supply him with ketamine in the final months of his life, leading up to his overdose on the anesthetic.

Three young men were similarly charged in the opioid-overdose death of rapper Mac Miller in 2018.

Local authorities gathered, among other pieces of evidence, Payne’s cell phone records, material for forensics and testimonies. They are yet to unlock the singer’s personal computer – which is damaged – and other devices that were seized.

The makers of Nitesh Tiwari’s upcoming mythological epic Ramayana have announced the release date of the film. Produced by Namit Malhotra, Ramayana will hit theatres as a two-parter, with the first part set to open on Diwali, 2026, and the second one slated for release on the same festive occasion in 2027. Superstar Yash has confirmed that he will be essaying the role of the demon king Ravana in the film. Reports strongly suggest that the film will also star Ranbir Kapoor as Lord Rama and Sai Pallavi as Sita.

Taking to social media, producer Namit shared a poster announcing the release dates and captioned the post, “More than a decade ago, I embarked on a noble quest to bring this epic that has ruled billions of hearts for over 5000 years to the big screen. And today, I am thrilled to see it taking shape beautifully as our teams work tirelessly with only one purpose: to present the most authentic, sacred, and visually stunning adaptation of our history, our truth, and our culture – our “RAMAYANA”– for people across the world.”

Namit heads Prime Focus Studios and has been involved in some of Hollywood’s biggest projects, including Dune and Inception, as well as recent hits like The Garfield Movie. Additionally, he announced Angry Birds 3. On the other hand, Nitesh is known for directing 2016’s Dangal, starring Aamir Khan, Fatima Sana Shaikh, and Sanya Malhotra.

Chandan Shetty’s latest composition ‘Nilabeda’ holds a great significance to his life and career. Opening up about the song, he says, “This song helped me push through my struggles. No matter what life throws at you, don’t stop—keep moving.” With his vibrant beats setting the stage, ‘Nillabeda’ brings a fresh talent from North Karnataka, Sunidhi Neelopant, into the limelight in a dance track that has quickly garnered attention, gaining millions of views.

Directed and choreographed by Abhishek Matad, the video also includes a heartfelt touch from Sunidhi’s grandmother, Pratibha Neelopant. Alongside Sunidhi, the video also brings to the frame a few actors, Harini Srikanth, Anu Prabhakar Mukherjee, Asgar, Shashi Master, and Matad himself.

At a recent launch event, Producers’ Association President Umesh Banakar lauded Sunidhi’s talent, saying, “She moves as if she has no bones!” He also praised Shetty’s music, noting its universal appeal that brings people of all ages to the dance floor. Banakar encouraged rising stars like Sunidhi to seek opportunities across diverse languages and regions, highlighting the importance of broader exposure for emerging talent.

Actor Naveen Shankar echoed these sentiments, appreciating Sunidhi’s performance and advocating for more opportunities for Karnataka’s young talent. Director Abhishek Matad, thrilled by the response, shared that even choreographer Harsha and actor Daali Dhananjaya had praised the song’s appeal.

Sunidhi, dedicating ‘Nillabeda‘ to dancers everywhere, admitted she initially felt nervous but now hopes to inspire others. The video, with visuals by Sanket, editing by Ranjeet Rasa, and lyrics by Vijay Eshwar, is a rhythmic celebration of dance.

However, during the probe conducted by a team under DySP TM Varghese, it was found that Nivin was not in Dubai when the alleged incident took place. Police examined the mobile phone of Nivin, and checked his travel history including entries on his passport as part of the investigation.

“We could not find any evidence against Nivin. The allegation raised by the complainant against Nivin did not corroborate with evidence we collected as part of the probe. But there is evidence against other accused persons in the case. Hence, we decided to discharge Nivin from the case. The report was given to remove him from the accused list,” an officer said.

Soon after the incident, actor Vineeth Sreenivasan who is a close friend of Nivin released documents revealing that on December 14 and 15, the actor was in Kochi as part of film shooting of “Varshangalkku Shesham” movie. Earlier, Nivin also denied the allegation and said that he would legally challenge the case.

Kiran Raj, who was last seen in Ronny, and Kajal Kunder, who graced the screen in Vinay Rajkumar’s Pepe, are teaming up for Megha. Through this film, its director Charan intends to bring in the subtle differences between true friendship and love.

According to the director, Megha portrays human emotions in a cinematic light and showcases the value of various relationships. “The characters in the film depict the bonds of friendship and the impact of true love, highlighting the beauty and deep joy of relationships,” says Charan.

The film is backed by Yatish HR, Yatish RG, and Ramesh HN, under Krishi Productions founders. It also stars veteran actor Rajesh Nataranga as a father, along with Shobaraj, Sangeetha, Sundar Veena, Hanumanthagowda, Taranga Vishwas, and Girish Shivanna.

The film has lyrics to two songs penned by V Nagendra Prasad and three songs by director Charan himself, with Joel Sakkari handling the compositions. It also has Franklin Rocky’s background score.

Megha, looking for a November release, will be distributed by Manoj Kumar through Ravi Films. As a third-generation distributor, Manoj honours his family’s legacy, which his father, Chandrashekar, built by distributing over 250 Telugu and other language films across Karnataka.

Netflix will remove most of its interactive shows and films on December 1st, according to a statement provided to The Verge. Currently, the streaming platform offers 24 interactive titles, but after the purge, only Black Mirror: Bandersnatch, Unbreakable Kimmy Schmidt: Kimmy vs. the Reverend, Ranveer vs. Wild with Bear Grylls, and You vs. Wild will remain available.

This marks a significant shift from Netflix’s initial venture into interactive content, which began in 2017 with Puss in Book: Trapped in an Epic Tale. The removal comes as Netflix phases out the early experiments that introduced viewers to interactive, choose-your-own-adventure storytelling.

In addition to titles inspired by franchises like Carmen Sandiego and The Boss Baby, Netflix also developed unique interactive experiences, including a daily trivia series and a multiplayer trivia game. However, the relatively small selection hints at limited viewer interest; Puss in Book itself appears to have been removed some time ago.

According to The Verge, Netflix spokesperson Chrissy Kelleher stated that while the interactive technology was initially valuable, it has since become restrictive as Netflix shifts focus to other technological projects. This decision aligns with comments from former head of gaming Mike Verdu, now Netflix’s VP of “GenAI for Games,” who told Game File’s Stephen Totilo—that the company no longer intends to produce interactive titles, said The Verge.

The upcoming delistings add to Netflix’s ongoing challenges in gaming. Despite its growing catalogue of mobile games, often tied to reality series, Netflix recently closed its AAA game studio before it could release a title. Its game streaming beta, launched in the US over a year ago, remains in testing.

Kishore, the multifaceted actor known for his work in different languages, will next be the face of Anamadheya Ashok Kumar. He joins actor Harshil Koushik in this thriller by debut director Sagar Kumar. The makers have wrapped up filming and are currently in post-production, aiming for a release at this year’s end. They have just released the motion poster and shared a few stills with CE.

Kishore, who has been a part of various South Indian films, is also making his big-ticket Bollywood debut in Sikandar, starring Salman Khan and directed by AR Murugadoss.

Anamadheya Ashok Kumar revolves around the murder of a celebrated lawyer in town and a retired cop battling for his life. A relentless journalist finds himself embroiled in a web of suspicion. Meanwhile, an intelligent cop, played by Harshil Koushik of Achar and Co fame, races against time to untangle the conspiracy. Whether he can separate the truth from lies before it’s too late forms the crux of the film.

Harshil Koushik’s transformation from a boy next door character to a cop in Anamadheya Ashok Kumar testifies to his versatility. Harshil says the shift in his on-screen image is not just intended to explore his range in acting but also aims to surprise audiences. “It’s always exciting to see myself in dynamic characters—and this role could really set me apart,” he says. Kishore adopts a raw and distinct look in the film, showcasing his ability yet again to play characters of different kinds.

The film, produced under SKN Films and distributed by Janani Pictures, features a screenplay written by director Sagar Kumar along with Benny Thomas. The film’s DOP is Sunil Honalli, and the music is composed by Azad, while editing is handled by K. Yesu.

Anamadheya Ashok Kumar, which is made in Kannada, is also likely to be dubbed in Tamil.

NEW DELHI: The International Film Festival of India (IFFI) will mark the centenary of four icons of Indian cinema Raj Kapoor, Tapan Sinha, Akkineni Nageswara Rao (ANR), and Mohammed Rafi at its upcoming 55th edition, the organisers said on Monday.

The gala, which will be held in Goa, will also present restored versions of their timeless classics during its nine-day run.

The opening ceremony of IFFI, set to take place on November 20, will pay tribute to these legends, accompanied by an audiovisual presentation bringing their cinematic journeys to life.

“The 55th IFFI’s centenary celebrations are an homage to the enduring influence of Raj Kapoor, Tapan Sinha, Akkineni Nageswara Rao, and Mohammed Rafi on Indian cinema.

“By bringing together art, history, and interactive experiences, IFFI seeks to inspire future generations through the legacies of these luminaries. Join us as we celebrate the spirit of Indian cinema and honor the legends who continue to inspire audiences and creators worldwide,” a press release stated.

At the festival, ANR will be feted on November 22, Kapoor on November 24, Rafi on November 26, and Sinha on November 27.

A restored version of the 1953 movie “Devadasu”, that cemented Telugu film icon ANR’s place in the annals of cinematic history, will be screened at the gala.

His birth centenary was celebrated on September 20.

Sinha, one of the most prominent Bengali cinema directors in the 1970s and 1980s forming a quartet with Satyajit Ray, Ritwik Ghatak and Mrinal Sen, will be honoured with the presentation of his 1976 classic “Harmonium”.

His centenary was observed on October 2.

IFFI will showcase a digitally restored “Awaara” (1951), headlined and directed by Kapoor, known as the Showman of Indian Cinema.

Rafi will be celebrated for his songs in the 1961 film “Hum Dono”, which will be screened in its enhanced audio and visual restoration.

The birth centenaries of Kapoor and Rafi will be commemorated officially on December 14 and December 24, respectively.

During its course, the festival will hold in-depth panel discussions and in-conversation sessions with esteemed guests and family members who will provide unique insights into the lives and legacies of the four cinema legends.

In a special tribute, IFFI will unveil a unique ‘My Stamp’ dedicated to these luminaries, along with a ‘Caravan of Songs’, a musical journey featuring 150 songs by Kapoor and Rafi, and 75 songs associated with Sinha and ANR.

A curated exhibition, featuring rare memorabilia, photographs, and artifacts from the lives of ANR, Kapoor, Sinha, and Rafi, will also be open to audiences.

On the days dedicated to each personality, there will be thematic activities, including quizzes, planned throughout the Entertainment Arena.

A sand art illustration by renowned artist Sudarshan Pattnaik as a tribute to the legendary artistes will be on display as part of the centenary celebrations.

IFFI will come to a close on November 28.

Music composer Arjun Janya has stepped into the director’s chair for the first time with his debut film, 45, bringing together Kannada stars Shivarajkumar, and Upendra, along with Raj B Shetty in one frame. Recently, Arjun gave fans a glimpse of what’s to come by unveiling the looks of Shivarajkumar and Upendra while keeping Raj B Shetty’s character shrouded in mystery. This suspense was finally lifted with the release of Raj’s teaser around Deepavali, quickly generating excitement.

The teaser introduces Raj B Shetty in a quirky, comedic role that has already charmed fans. It opens in dramatic black and white, showing Raj’s character in a corporate suit facing off with two intimidating rowdies who try to scare him with knives. But Raj’s response flips the script: with a smirk, he says, “Don’t try to touch me—my brother sent me to karate class when I was young,” and then proceeds to show off his karate skills, adding a humorous twist to the scene.

In a fun detail, fans speculate that the two men confronting Raj might be Shivarajkumar and Upendra. The hints are in their props—one sports a chain with the iconic ‘Om’ symbol, while the other wields a trident, pointing to their classic characters. Raj’s character seems to have a colourful past, perhaps hinting at a former life as a rowdy before moving into the corporate world.

Produced by Ramesh Reddy under Suraj Productions, 45 has wrapped up filming and is now in post-production. Arjun Janya not only directs but also composes the film’s music. Satya Hegde serves as the cinematographer, while KM Prakash takes charge of editing.

Robbie and Ackerley first met in 2013 on the set of the World War II drama Suite Francaise, where he was an assistant director and she starred as Celine Joseph.

Robbie and Ackerley have been close collaborators through their production company, LuckyChap Entertainment, which they run alongside Robbie’s childhood friends Sophia Kerr and Josey McNamara. The company has been behind successful projects including ‘I, Tonya,’ ‘Birds of Prey,’ and ‘Barbie’-all of which stars Robbie.

In December 2016, they married in a private ceremony in Byron Bay, Australia. Before their wedding, the couple kept their engagement a secret.

Margot Robbie, known for her acting roles, has also been involved in producing several Hollywood films. Among these, she co-produced the movie ‘Barbie.’

BENGALURU: Renowned Kannada movie director Guruprasad (52) was found dead in a residential apartment complex in Madhanayakanahalli.

According to the Madhanayakanahalli police, the decomposed body of the director was found hanging from the ceiling of his apartment. He is suspected to have died by suicide due to financial issues. He has been staying alone in the flat for the last eight months.

The police suspect that the director must have taken the extreme step a few days back. He was also arrested in a cheque bounce case in January, last year.

The incident came to light on Sunday after neighbours sensed a foul smell from his flat. Guruprasad’s birthday was on November 2nd, and the news about his death came to light a day after his birthday.

Guruprasad has directed five movies including actor Jaggesh starrer ‘Mata’ movie. Guruprasad is said to have incurred losses after one of his recent movies flopped. The director after his marital dispute with his first wife had remarried.

He had also participated in the Kannada Bigg Boss show. Some of the other movies directed by him were Edelu Manjunatha and Director’s Special.

A case has been registered and further investigation are underway, officials added.

(If you are having suicidal thoughts, or are worried about a friend or need emotional support, someone is always there to listen. Call Sneha Foundation – 04424640050, Tele Manas – 14416 (available 24×7) or iCall, the Tata Institute of Social Sciences’ helpline – 02225521111, which is available Monday to Saturday from 8 am to 10 pm.)

Brother begins by showing us how Karthik, a law school dropout, who cannot tolerate irresponsible behaviour, goes on to start a fight with anyone and everyone. As the tradition of Tamil cinema has it, every unruly brother can be fettered only by his dotting elder sister.

Enter Anandhi (Bhumika Chawla), Karthik’s sister, who promises her parents to make her brother a better person, and takes him to her house in Ooty. How Karthik brings chaos into the lives of Anandhi and her husband Aravind (Natty), forms the rest of the story.

A protagonist who makes light of serious situations is director Rajesh M’s forte. However, it seems he hasn’t been updating his humour to suit the changing sensibilities of the audience. Brother could have been a better film if Rajesh had stuck to the exploration of emotions instead of reverting to the no-longer-funny comedy routines.

Except for the brother-sister portions of Karthik and Anandhi, no other character feels like real people. What should have been soulful conversations turned out to be a recitation contest. In scenes involving Priyanka Mohan, it fails even to be that, as she punctuates at unnecessary places.

Her characterisation seems like it never crossed the first draft of the script. Extensive thought should have gone into how Karthik and Archana (Priyanka) get acquainted with each other. Making her Karthik’s sister-in-law seems like a convenient way to write romance.

Easy and casual writing even pervades the promising Karthik-Anandhi bond. Anandhi’s IFS husband Aravind and her in-laws are disciplinarians who can get pissed off for things as simple as a dinner delayed by ten minutes.

We wonder if they are really humans or walking clocks obsessed with time. Apart from punctuality, mixing English with Tamil is also believed to be a marker of sophistication in Tamil cinema. This trope too is employed in Brother beyond necessity.

Talented actors like Seetha, Achyuth Kumar and Saranya Ponvannan are wasted with underwritten roles. VTV Ganesh, like always, manages to land a few jokes with his peculiar voice or intonation—nothing more, nothing less. Where we would have loved to see more of Karthik and Anandhi, Rajesh goes back to his bad-boy bestie trope, preventing us from connecting with the story. Repulsion, not humour, stemmed out of these portions. Harris Jeyaraj, on his part, offers some respite with the catchy ‘Makkamishi’ and a poorly placed yet beautifully choreographed ‘Medhakudhu Kaalu Rendum.’

Through a lighthearted and delightfully indulgent sequence, we are introduced to Kavin’s character as a carefree homeless individual who believes that the concept of hard work is an absurd lie.

Then as though the film itself is punishing him for enjoying himself a bit too much, Kavin spends the rest of the film being chocked with a tie, bludgeoned with a bat, suffocated with a cloth, electrocuted, drowned inside a fish tank and then punched underwater, beaten to a pulp with prickly cactus, and also has a couple of forks pinned to his back for good measure.

Apart from imagining innovative ways to torture his actor, director Sivabalan Muthukumar also infuses these scenes with charm and humour. There is a thin line where violence meets humour and Sivabalan skillfully walks this line by attaching all the aforementioned scenes with a quirky gag. However, the true strength of Bloody Beggar lies in its thematic richness.

After the death of a legendary actor, his children and their respective families plot and scheme against each other for his wealth. Mistaken to be the actor’s long-lost son, our homeless protagonist must escape his mansion while the late actor’s family is out for his blood. This is where the film’s meta-commentary on class divide takes centre stage.

The beggar is first manipulated, then bargained with, exploited, puppeteered, and discarded at will with ruthless indifference. The film finds its humour in how the central motivation of our protagonist is nothing more than to be let go while every act of violence and chaos is borne out of the greed of the rich.

The beggar is merely an unwitting pawn in their game. The absurdity of how the lives of the underprivileged are affected by the whim of the rich is the central axiom of Bloody Beggar. And how the rich affect the poor is not just explored through the lens of humour alone. We get a poignant backstory about the beggar where we see how his nihilistic approach to life is developed. The film also explores how guilt, regret, and the idea of karma feed off each other and corrodes a person’s conscience.

A long list of characters with just slightly different motivations seems like a chaotic mess. Sivabalan overcomes this by sketching every character with diligent attention, infusing them with unique details and quirks.

There is a method actor who takes his job way too seriously, a middle-aged man who still thinks he can throw a javelin like when he was younger, wives married to the same man with thinly veiled contempt for each other, and a hopeless ghost only visible to the eyes of the beggar.

NEW DELHI: “L2: Empuraan”, the sequel to Malayalam star Prithviraj Sukumaran’s 2019 film “Lucifer”, will be released in theatres on March 27, the actor announced on Friday.

In the second installment of the action franchise, Malayalam superstar Mohanlal reprises his of Stephen Nedumpally aka Khureshi-Ab’raam. Sukumaran, who directed the movie from a script by Murali Gopy, also features in the movie alongside Manju Warrier, Tovino Thomas, Indrajith Sukumaran, Saniya Iyappan and Arjun Das.

“#L2E #EMPURAAN The 2nd instalment of the #Lucifer franchise hits cinemas world wide on 27th March 2025,” the actor wrote on X alongside a poster of the movie.

“L2 Empuraan” will be released in theatres in five languages — Malayalam, Kannada, Tamil, Telugu and Hindi.

The film is produced under the banner of Lyca Productions and Aashirvad Cinemas.

“Lucifer”, which follows Mohanlal’s Stephen Nedumpally, an enigmatic political figure who becomes embroiled in a battle for power after the death of a political leader, was a major commercial and critical success.

The movie was praised for its action sequences, drama, and Mohanlal’s performance.

Amaran, inspired by the life of Major Mukund Varadarajan, revels in these realistic spaces. We see evidence of this emotional richness repeatedly. Initially, for instance, Mukund’s mother resists, even trying to sabotage the romantic union by hinting at the dangers of her son’s army life. But soon enough, Indhu and his mother become thick as thieves, bound by love and the shared ache of separation from Mukund. It’s all so beautifully, understatedly done.

In another film, Mukund’s mother and Indhu’s father might be reduced to mere caricatures, stepping in and out as needed by the film. But here, they stay part of the film’s fabric, making the universe of Amaran fuller, more real, more detailed.

At the film’s heart beats the love between Indhu and Mukund. In a world growing more cynical, theirs feels like an idealised romance—one that doesn’t rely on proximity, that endures even in absence. Much like Mukund prioritises his duty, it seems to me that the Mukund-Indhu romance too thrives under the discipline of duty. Indhu isn’t just passively accepting of her role as an army man’s wife; she revels in it, as though she wouldn’t want it any other way. It’s a throwback to a simpler kind of love, a love that asks few questions and demands fewer reassurances.

Sai Pallavi and Sivakarthikeyan share effortless chemistry, a mutual affection that breathes through the screen, a relationship that allows each other to channelise the child within them—like when Mukund leans on Indhu, seeking rest, like when Indhu runs and leaps at him with the exuberance of a child. In a particularly tender scene, they fall asleep over a video call, a beautiful idea in the script that allows us and them to briefly forget the thousands of kilometres between them. The “I love you”s flow naturally between them, not as declarations, but as affirmations woven into daily life. Even when Mukund casually introduces Indhu as his girlfriend, it’s without cinematic fanfare—unpolished, and all the more endearing and lifelike for it.

Sai Pallavi’s performance is deliberately animated and lively. She’s Indhu, a woman who embraces her near-single parenthood with resilience, a cheerleader for a husband she cannot always reach, a mother to a daughter who tries to figure out why her father keeps disappearing. I enjoyed the ease of her Malayali-Tamil dialect (“Mukunthay!”) and how the film doesn’t resort to subtitles unless it’s absolutely needed. She shines in every scene, be it when she sees Mukund on the terrace, or when she’s on the phone with him and there’s mayhem on the other side, or when she’s breaking down at the end, remembering to control herself to respect his wishes, but realising that she’s unable to.

Sivakarthikeyan will no doubt secure many plaudits for his physical transformation, for owning the action scenes and the motivational speeches… but I caught myself being especially impressed with how he seemed to radiate an effortless sense of goodness and vulnerability, despite his job requiring him to be an alpha male at all times. Watch him tear up as he pleads for a teammate’s life. Watch the joy in his eyes during his OTA ceremony, with Indhu smiling softly in the background in a beautifully composed shot. Watch him hug Indhu and daughter and walk away, but change his mind to return to steal another embrace from them both. These are powerful, heartfelt moments.

If I’ve lingered as long on the romance in this film, it’s because that’s the soul of Amaran. There’s pulse-pounding action, yes—gunfights seen from sweeping top angles which capture streaking bullets, close-combat choreography that pulls you in, with G.V. Prakash Kumar’s rhythmic percussions creating tension. I’ll remember that moment when Mukund’s companion leaps onto a grenade with only a wooden board as shield, or the dim, yellow-lit confines of the climax as Mukund hunts his target.

Yet, in its quest to glorify Mukund’s heroism, Amaran stumbles into uncomfortable territory, romanticising kills and eager to echo the cadence of a ‘mass’ action film. When Mukund exclaims “Avana podanum!” it rings familiar, straight from the mass-hero playbook, and his desire to boost the “kill count” made me shift uncomfortably. Also, the film’s excitement over each kill feels at odds with its somber premise; it’s one thing to honour a man’s bravery, but quite another to revel in the taking of lives, no matter which side you represent. Note that sequence where the kills are juxtaposed with shots of the soldiers celebrating by throwing colours at each other.

The Kashmir conflict, in Amaran, is starkly binary, reducing a decades-long upheaval to simple good-versus-evil tropes. Stone-pelting, for instance, is interpreted solely as terrorism, overlooking its symbolic role in global contexts as a form of protest by the powerless. Amaran misses these nuanced shades, painting a compelling portrait of valour but without the richness of complexity. In its focus on Mukund’s bravery, it also glosses over the silent struggles of the civilian (even if it briefly contrasts the portrait of Kashmir children with Mukund’s own daughter, comfortably sleeping in her bed).

There’s a cycle of violence here, where one death leads to another, where justice seems to become justification. The film, in its passion, risks suggesting that certain forces, certain actions, are beyond question. But there’s room to love a soldier’s dedication without succumbing to bloodlust, to honour bravery without idolising brutality. This, after all, is why the greatest war films stand as silent testaments against war itself. And so, Amaran gives us a romance that touches the heart, an action film that stirs the pulse. As a political piece though, it raises questions. It’s uplifting, yet uneasy, stirring, yet simple. Ultimately, Amaran’s true legacy may be as a love story—one that lingers after the echoes of battle have faded. It’s its own sort of lesson on this premise.

It’s inspiring that female actors like Alia Bhatt, Deepika Padukone and Anushka Shetty are fronting major action movies, says Samantha Ruth Prabhu, who has also dived into the genre with her upcoming series, Citadel: Honey Bunny.

Directed by Raj Nidimoru and Krishna DK, the series is part of the expansive global Citadel universe with its parent show featuring Richard Madden and Priyanka Chopra Jonas, while Matilda de Angelis stars in the Italian version.

The India chapter features Varun Dhawan and Samantha as spy agents Bunny and Honey, respectively.

“I’m glad that I discovered a new facet or genre that gets me excited, which is action. Many actresses are indulging in action movies like Alia Bhatt, Deepika Paduokone, Katrina Kaif, Disha Patani, Kiara Advani and Kangana Ranaut. Down south Anushka Shetty has also done action movies. It is amazing for women to take control, the actor told PTI in an interview.

A major name in Tamil and Telugu cinema, Samantha is known for her performance in films like Ye Maaya Chesave, Eega, Neethaane En Ponvasantham, Mahanati, and Super Deluxe.

Samantha, whose debut Hindi series The Family Man 2, also directed by Raj & DK, featured her in the role of the main antagonist, said “most of her action sequences in the show were almost cut.”

The actor once wanted to play a female version of James Bond said Citadel: Honey Bunny is closest to her dream of portraying a spy on the lines of the famous fictional character.

“Who doesn’t want to do a lot of cool action and play a spy, I think that’s on every actor’s dream list, James Bond is the ultimate role to play. As actors, we are very excited about doing action,” Samantha said.

Now the actor wants to work in a comedy film with her Citadel: Honey Bunny co-star Dhawan. “We will do it soon, a comedy movie,” she said.

The India chapter of the global drama Citadel, also starring Kay Kay Menon, Saqib Saleem, and Sikander Kher, will debut on November 7 on Prime Video.

NEW DELHI: It is the director who controls an actor’s performance, much like a jockey would rein in the horse, says Rajpal Yadav, who believes in adapting to the style of the filmmaker whenever he signs on a new project.

The actor, best known for his comedic roles in films such as Hungama, Mujhse Shaadi Karogi, Garam Masala, Chup Chup Ke, Bhool Bhulaiyaa, and Partner, is returning as the popular character Chhota Pandit in the third installment of Bhool Bhulaiyaa.

Yadav first played the part in 2007 released Bhool Bhulaiyaa, which was directed by his frequent collaborator Priyadarshan. He reprised the role in Bhool Bhulaiyaa 2 (2022), helmed by Anees Bazmee with whom the actor had worked in 2015’s Welcome Back.

Asked to describe the filmmaking styles of Priyadarshan and Bazmee, Yadav said every director has their own point of view. “Actors are like horses, directors are like jockeys. It’s the jockey’s mission to take the horse in the right direction. All horses are the same, but their gait changes once the jockey is around. Each director has their own interpretation and approach. That’s what makes the films different. Whenever I work with two different directors, I try to fit well in both types of filmmaking styles. That’s my duty,” the actor told PTI.

Yadav said he is happy to play Chhota Pandit in Bhool Bhulaiyaa 3.

“He is more like a caricature. Whatever he does, it doesn’t offend anybody. He always makes fun of himself, like an innocent fool. Chhota Pandit brings joy to people across ages,” he added.

The actor is set to reunite with Priyardarshan in Bhooth Bangla.

After Bhool Bhulaiyaa 3, he will next be seen in Baby John and Welcome To The Jungle.

“Today, we lost someone from our film industry and its a painful reminder of the struggles many of us face but rarely talk about. The pressures in this industry are real, and it’s okay to feel overwhelmed. Please know that asking for help isn’t a sign of weakness–its strength. If you’re going through something, reach out. We’re all in this together, and your story matters. You’re not alone,” wrote Wazim Hyder in an Instagram story that was widely shared by many young aspiring filmmakers on Wednesday.

This followed film editor Nishadh Yusuf’s shocking demise in what police suspect to be a case of suicide.

For cinephiles, especially those hailing from God’s own country, Nishadh is a name that rose to fame after the release of the Tovino Thomas-Kalyani Priyadarshan starrer ‘Thallumaala’. But true fans who have followed his works know him for his other famous movie — ‘Unda’, the 2019 black comedy directed by Khalid Rahman with an ensemble cast of Mammootty, Shine Tom Chacko, Arjun Ashokan, Dileesh Pothan, Asif Ali and more.

NEW DELHI: Producer Dinesh Vijan’s Maddock Films on Wednesday announced “Thama”, the latest chapter in the studio’s horror comedy universe that will be headlined by Ayushmann Khurrana.

Actors Rashmika Mandanna, Paresh Rawal and Nawazuddin Siddiqui will also feature in the movie, which joins “Stree” films as well as “Bhediya” and “Munjya” in the franchise, conceptualised by Vijan.

The movie will be directed by Aditya Sarpotdar, who helmed “Munjya”, and released in theatres on Diwali 2025.

“Dinesh Vijan’s Horror Comedy Universe needed a love story… UAnfortunately, it’s a bloody one. Brace yourselves for #Thama – Diwali 2025!” Maddock Films posted on Instagram along with an announcement video of the film.

Niren Bhatt, the writer of Maddock’s most recent hit “Stree 2”, has penned “Thama” along with Suresh Mathew and Arun Fulara.

Amar Kaushik, the director of “Stree 2”, will produce the movie along with Vijan.

In Bagheera, Rukmini plays a doctor, a role she will also play in the upcoming Bhairathi Ranagal, starring Shivarajkumar and directed by Narthan. When asked if she ever wanted to be a doctor herself, she laughs and says, “No way! I don’t have the skills for that. But the selflessness of doctors is admirable; it’s a beautiful calling. I aimed to bring that spirit to my character.”

Bagheera is particularly exciting for Rukmini, as it marks her first collaboration with Hombale Films, known for blockbusters like KGF and Kantara. She stars alongside Sriimurali, with the storyline coming from KGF director Prashanth Neel and Dr Suri directing. The film has Ajaneesh Loknath scoring the music and AJ Shetty as the cameraman.

“Bagheera brings together an interesting team, which I was glad to be part of. As an actor, I want to explore as many genres as I can. When I got to be part of an action thriller, and when Dr Suri talked about the role and the impact it could create, I didn’t think too much about screen time. If a character moves the film forward, I consider my contribution. The moment I learnt about Sneha and how much she could give to the film, I seized the opportunity, also considering the creative team I am part of.”

When asked about contrast between heroines such as Malashree, Sudharani, Prema, and Rakshitha—who helped build the Kannada film industry—unlike today’s heroines, who quickly move to other industries when they are on the rise, Rukmini opines, “I believe the question should be directed at filmmakers. We, as actors, are here because we connect with the stories writers and directors tell. Whether trends resurface is up to the filmmakers. I am still learning the ropes of the industry, so the language I work in should not matter. I feel fortunate that people appreciate the roles I play and give me opportunities to work in different genres and fit into various roles.”

Rukmini is aware of being in the headlines constantly, due to her collaborations with big stars, noted directors, and production houses across languages, yet she remains grounded. “The fluctuations of the industry keep going on. I am just trying to keep my head down and do the work. It doesn’t matter where opportunities arise,” she signs off.

‘Smartphones have become supporting characters’

For Samantha, this time, the kicking and punching didn’t come easy. The actor was suffering from dermatomyositis, a muscle inflammatory disorder, while she was filming for the series. “When I see it (the action sequences), I can’t believe I actually did it,” she says.

“There were times when I had an IV in my arm in the morning and we were shooting intense combat scenes in the afternoon.” Raj butts in with a laugh, “She lay there with a drip going and outside we were discussing how to stage the scene. Then I would go into the room and ask her ‘Can you do it?’ and she said ‘I don’t know’. Next thing you know, I said ‘Action!’, and she is jumping from one place to another.” Varun adds, “I don’t think most actors on set even knew what she was going through.”

Since their debut directorial 99, the 90s era seems to enthral Raj and DK as creators. Their previous show Guns and Gulaabs was also set in the pre-internet era, filled with the nostalgia of audio cassettes and STD phone booths. Honey Bunny is also set in the pre-mobile phone era. “The point was to take the tech away,” says Raj.

“With everybody having a smartphone these days, surveillance has become so easy. We wanted to get away from that and make it gritty and grounded. Nostalgia was of course, a flavour.” Apart from love for the 90s, there also seems to be an undercurrent of disdain for cell phones in the works of Raj and DK. In 99, Kunal Kemmu and Cyrus Broacha play crooks who hate mobile phones but are in the business of duplicating sim cards.

They have an amusing catchphrase which translates to: “Mobile’s radiation causes cancer. Put it on your ear and your brain is finished. Put it in your shirt pocket and your heart is finished and if you put it in your trouser pocket then generation…finished.” In The Family Man, the most joyous scenes are of Manoj Bajpayee shouting expletives over a phone call.

“We were the first generation to use mobile phones. People used to give each other missed calls all the time because calling rates were so expensive. Now this thing (mobile) is like a computer in your hands, but back then it used to be silly like that,” says DK. “We didn’t realise,” adds Raj, before continuing, “But somewhere in our journey cell phones became supporting characters.”

Ram Garuda, still receiving acclaim for his role in KGF, is excited to be part of Bagheera, the first Kannada superhero film from Hombale Films. Having acted in around 30 films across multiple languages, Ram finds this role particularly special.

“This film is packed with action and entertainment, brought to life by a fantastic team. With music by Ajaneesh Loknath and cinematography by AJ Shetty, this is an experience that deserves to be seen in theatres,” he says.

Discussing his character, Ram described the challenge of playing the antagonist.

“It’s complex. He believes he’s right, even as his actions negatively impact society.” The director, Suri, wanted to transform Ram’s look for the role, which involved an extensive process.

“We experimented with at least seven or eight different looks. Make-up artists from various regions came in to create Suri’s vision, which features half of my face burnt. Our own make-up artist, Prakash, ultimately nailed it, but it took three hours each time,” Ram explained. “Bagheera has a full mask, while I wear a half mask with burn effects,” he shares with a chuckle.

He concludes with a powerful statement, “In simple words, every common man can be a superhero if he fights for justice and stands by the truth.”

Actor Sai Dhanshika has been mentored by a long list of acclaimed directors since her debut in Peranmai (2009). From SP Jananathan, Bala, and Vasanthabalan to Pa Ranjith, each one of them has left a profound impact on her career.

Joining the list is director Naga, renowned for his work on Marmadesam, the critically acclaimed and popular TV series of the late ‘90s. Opening up on working with such experienced filmmakers, Dhanshika says, “I still feel like a student. Each of these directors have been like an institution to me, each one a legend in their own right.

Their storytelling styles and the way they convey ideas are unique. I think I’ve had the chance to work with directors who bring serious conviction and depth to their work,” she explains, adding, “I also believe that what you carry within yourself reflects in your work. In that way, I feel fortunate to work with directors whose styles resonate with my own nature. I’m a deep thinker, and I believe that shows on screen as well.”

In this brief conversation, Dhanshika elaborates on her career and the learnings that she has had over the years, her belief in spirituality, how she deals with failures, and more.

Excerpts:

How did you decide to star in a web series?

I am a huge fan of Marmadesam. So, when I got a call from Naga sir, I immediately said yes. He gives multiple layers to his characters. He has also mastered creating attention with his work. Although I got many offers, I didn’t work on any web series till now. I have been working in the industry since I was 17 years old. I had prepared myself for the big screen since then. But we had a shift in between since the pandemic with the entry of OTT platforms. It took me some time to understand that this, too, is a medium where you can make an impact.

NEW DELHI: Bollywood superstar Salman Khan on Sunday announced that he is set to perform at the “Da-bangg The Tour – Reloaded” in Dubai on December 7.

Besides Salman, Sonakshi Sinha, Jacqueline Fernandez, Disha Patani, Tamannaah Bhatia, Prabhu Deva, Maniesh Paul, Sunil Grover, and Aastha Gill will also perform at the event.

The actor, who is currently shooting for his upcoming film Sikandar, shared the announcement on his official X page.

“DUBAI get ready for DA-BANGG THE TOUR – RELOADED on 7th December 2024 #SonakshiSinha @Asli_Jacqueline @DishPatani @tamannaahspeaks @PDdancing @ManishPaul03 @WhoSunilGrover @GillAastha @patel_jordy @theJAEvents @SohailKhan #AdilJagmagia #SohailKhanEntertainment,” Khan wrote on the microblogging site.

There is also the questionable usage of a subplot around sexual assault as a device to underline Satya’s evolving humanenness, which becomes further problematic by the on-your-nose execution style by the director. This occasional lack of subtlety bothers all the more because the narrative is so easy-going otherwise, unbothered about its accessibility. The humour through out the narrative is subtle yet sharp, and the laughs come in consistently. (A particular moment alluding to a character gratifying himself left me shocked and cackling at once.)

The film is undoubtedly at its best in the 20 odd minute birthday celebration sequence in the second half, which goes to hilariously unexpected places, encompassing a whole gamut of emotions. Through all their antics and misadventures, we are laughing at the buffoonery of these two grown men, never laughing with them—not when Salman lands up at his ex’s house with a strange request, nor when they boast about their sexual prowess to a stranger.

Shiva Ramchandravarapu is excellent as Satya, particularly bringing great earnestness to moments where he has fewer dialogues. In a story where the communication gap between the protagonist and everyone else plays a major role, Shiva’s performance hits all the right notes. Nithin Prasanna, playing D Salman, is equally marvelous despite his character not being the story’s focal point. The two actors share amazing chemistry, particularly in comic moments, playing off each other’s energy to great results.

When the two characters first meet, there is an awkward formality between them, especially from Satya’s end. From witnessing that moment to then seeing these men forge a friendship of such intimacy without any big eureka moments or a moment of heightened emotion is refreshingly relatable—after all, that’s how life functions.

Like a great sitcom character once said, if you stay in any one place for long enough, you grow the tendency to make it your home. And while life remains transient, you continue to make many homes, only to fly away from them to start afresh again and again. Friendships are the same. Among many other things, Narudi Brathuku Natana gets this right.

Movie: Narudi Brathuku Natana

Cast: Shiva Ramchandravarapu, Nithin Prasanna, Shruti Jayan, Viva Raghav, Aishwarya Anil Kumar

Director: Rishikeshwar Yogi

Rating: 3.5/5

The first half takes its time, cautiously building the premise, feeding the audience with all the necessary context, and setting the stage for a rousing climax. There is also a lovely throwback to the director Sahit Mothkhuri’s previous indie hit, Bandham Regad with a tribute to Ram Gopal Varma’s Shiva (1990). However, as the second half unfolds, the film begins to falter, losing narrative clarity with uneven momentum. The pacing shifts abruptly, with the editing becoming rushed in an attempt to evoke emotional payoff too soon. This sudden haste disrupts the flow, leaving you disoriented, unsure of what exactly you are rooting for.

Take, for example, a critical scene where the village mob debates over bringing the missing sacrificial sheep for the sacred Baalamma ritual. Just then, a young girl begins reading a government-issued health awareness pamphlet, which they couldn’t grasp until then because they are uneducated. Gradually, the group of people soften, realise the folly of their actions and collectively erupt into a song. On paper, this sequence sounds brilliant. It has all the charisma to blow your mind and melt your heart, but on screen, it is hurried, rushing towards resolution with little emotional resonance. Whether this misfire stems from wrong editing choices or a lackluster feedback from suits who wanted a shorter journey is unknown. But the film is fused with such narrative haste, leaving you disappointed.

The cinematography by Monish Bhupathiraju and the production design by Narni Srinivas stand out. Their combined efforts bring an atmospheric depth to the story, granting you an epic scale that feels both authentic and immersive. Shekar Chandra’s music breathes new life into the rural cinema trope. And Yuva Chandra is a phenomenal actor with mastery over language, a remarkably expressive face, and a great sense of being in the moment. His act is a study in lean performance. Instead of rapidly tipping into excess, he chooses to draw the viewer into the emotional core of his character first.

This is one of those films you watch to like, but sadly, it never gives you enough time to truly immerse yourself in it. Instead of evolving naturally, it sprints towards meaning, and in doing so, stumbles over its own ambition. There are more planted highs than necessary situations to drive the story forward. In spite of all this, the film provides a meaty watch and you will appreciate the story they wanted to tell.

Movie: Pottel

Cast: Yuva Chandra, Ananya Nagalla, Ajay, Chandra Sekhar, Noel Sean, Srikanth Iyengar, Thanasvi Chowdary

Director: Sahit Mothkhuri

Rating: 2.5/5

An anime feature film based on the John Wick action franchise, starring Keanu Reeves as the titular character, is currently in development. Chad Stahelski, who directed all four John Wick films, commented, “We can be a little bit more crazy and nutty in the anime, and we can be a lot more explicit in our storytelling and world-building on the TV show. So those are exciting to us without seeming repetitive, and that’s where we’re putting our energies right now.”

The anime will reportedly explore John Wick’s mysterious past, including his time as an assassin and his retirement after marriage. The franchise, created by Derek Kolstad, began when the legendary hitman was pulled back into the criminal underworld following the murder of his dog. The first film John Wick was released in 2014, followed by three sequels: John Wick: Chapter 2 (2017), John Wick: Chapter 3 – Parabellum (2019) and John Wick: Chapter 4 (2023).

Ballerina, a spin-off film from the John Wick universe, will be released next year. Starring Ana de Armas, it takes place between the third and fourth instalments. Additionally, a spin-off centred on Donnie Yen’s character Caine has also been confirmed.

After helming the HBO documentary series Ren Faire, director Lance Oppenheim will collaborate with actor Robert Pattinson to produce a new film titled Primetime for A24.

Though plot details remain under wraps, the project is said to be inspired by the 2000s reality show To Catch a Predator, hosted by Chris Hansen. The show aimed to catch sexual predators in the act by setting up hidden cameras and conducting sting operations. The suspects were lured to a location under the pretext of meeting a minor for sexual intercourse, only to be arrested upon arrival.

Oppenheim is also known for directing documentary films such as Some Kind of Heaven and Spermworld. Some Kind of Heaven explored the world’s largest retirement community, while Spermworld delved into the lives of sperm donors and recipients and the connections between them.

In addition to backing Primetime, Pattinson will next be seen in Parasite director Bong Joon Ho’s Mickey 17, scheduled to release on January 31, 2025. He is also headlining and co-producing The Batman sequel, directed by Matt Reeves, slated to hit theatres in 2026.

The Feature Film Jury is headed by acclaimed film director, actor and screenwriter Chandra Prakash Dwivedi. The jury comprises 12 members, who individually represent various acclaimed films and are well-known film professionals, while collectively representing the diverse Indian film fraternity, said the ministry.

The other members of the jury include Manoj Joshi (actor), Susmita Mukherjee (actor), Himansu Sekhar Khatua, (director), Oinam Gautam Singh, (director), Ashuu Trikha, (director), SM Patil, (director and writer) and Priya Krishnaswamy (director).

The list of feature films selected in the Indian Panorama 2024 includes Kerebete (Kannada), Venkya (Kannada), Jui Phool (Assamese), Mahavatar Narsimha (Hindi), Jigarthanda Double X (Tamil), Article 370 (Hindi), Srikanth (Hindi), Aamar Boss (Bengali) and Bramayugam (Malayalam).

In the mainstream cinema section, the selected films are Karkhanu (Gujarati), 12th Fail (Hindi), Manjummel Boys (Malayalam), Swargarath (Assamese) and Kalki 2898 AD (3D) (Telugu).

The Indian Panorama was introduced in 1978 as part of the IFFI umbrella to promote Indian films.

On the occasion, Deepa Menon, senior Vice-president, Corporate Communications and CSR, PVR Inox Limited also said “Cinema has always been a powerful storyteller, shaping perceptions and influencing social change, and now it’s amplifying the voices of millions of people with disabilities who have often been marginalized and left unheard”.

Menon further said that the film aligns with our commitment to making cinema accessible to all through multiple initiatives such as sensory screenings and facilities for people with disabilities, ensuring that everyone has an equal opportunity to experience the magic of cinema.

“All in all, we are proud to be part of this vital initiative, and through our extensive network of theatres, we aim to amplify this essential message, inspiring audiences to embrace a more inclusive perspective”, she remarked.

Deepa Nagraj, Global Head of Communications, Sparkle Innovation Ecosystem, ESG, and CSR at Mphasis applauded the initiative and said, “At Mphasis F1 Foundation, we are committed to fostering an inclusive society where every individual, regardless of ability, has the opportunity to thrive”.

“This PSA is an important step toward raising awareness about the challenges faced by persons with disabilities and advocating for a more accessible and equitable environment. By bringing this message to theatres across the country, we aim to create mass awareness and promote collective action to build a more inclusive India”,he said.

“As India strives to become Viksit by 2047, the idea of inclusivity and issues of disabled people should get mainstreamed. This film is a powerful step toward that change, highlighting the importance of inclusivity and the role it plays in fostering a community where everyone has the opportunity to succeed and contribute to a richer, more diversified society”, said Arman Ali, Executive Director, NCPEDP.

This one-of-a-kind film, also supported by Delhi Metro Rail Corporation (DMRC), draws attention to the invisible yet persistent challenges that people with disabilities face every day while painting a vivid picture of what a truly inclusive India could look like if we come together to break down these barriers. 

From navigating public spaces to accessing opportunities, the film envisions a society where inclusion is at the heart of development.

Vineesh Kammath, a passionate traditional temple percussionist, has dedicated the past few years to showcasing Kerala’s rich art heritage on prominent global platforms. With a lineup of over 200 artists from the state delivering a variety of performances, Kammath has recently made a significant impact at the latest Kerala Travel Mart (KTM), the state’s flagship tourism promotion event.

“With a focus on authenticity and artistic excellence, we aspire to become global ambassadors for Kerala’s cultural legacy,” he states.

Kammath’s event organising firm, Kriti Entertainments, reportedly plays a pivotal role in highlighting the cultural diversity of Kerala at various national and international events.

Through these performances, Kriti aims to immerse audiences in the beauty of Kerala, offering a unique blend of music, storytelling, and cultural expressions. Kammath emphasises that the events showcase several art forms, including the performance of the Edakka—a traditional drum that holds a special place in Kerala’s cultural and spiritual practices, often featured in temple rituals and classical music performances. They also highlight Sopanasangeetham, an ancient style of devotional music rooted in Kerala’s temples, alongside captivating storytelling.

Kriti’s repertoire includes instrumental Jugalbandi, a dynamic fusion of classical Indian instruments. Traditional Kerala instruments such as the Chenda, Veena, and Flute come together to create a harmonious interplay of melody and rhythm, captivating audiences with an energetic musical experience. Additionally, Panchavadyam performances, curated by Kriti in various formats, have become a highlight of their events.

Adding an enriching layer to the performances, Kriti features unique storytelling sessions about Kerala. Skilled storytellers, narrating in both Malayalam and English, share the state’s history, legends, and folklore—tales of kings, the origins of classical arts, and stories that exemplify devotion and bravery. By combining performances with storytelling, Kriti creates a platform where ancient traditions are celebrated, ensuring their relevance in today’s world.

The cast of the upcoming film Roofman is getting bigger with the addition of Game of Thrones star Peter Dinklage. He will join Channing Tatum and Kirsten Dunst in the crime drama from writer-director Derek Cianfrance.

The film is based on the true story of Jeffrey Manchester, a convict who escapes from prison and hides for months in a toy store. He was captured again after he left his fingerprints on a DVD of Steven Spielberg film Catch Me If You Can, starring Leonardo DiCaprio as a conman. The film will revolve around the robber’s months-long escapade.

Dunst stars in Roofman as a staff member at the store who struggles to make a living for herself and her girls, Lindsay and Dee. She eventually falls in love with Jeffrey, and the story also explores their relationship. Details regarding Dinklage’s role are not known.

Dinklage was recently seen in the Amazon MGM Studios comedy Brothers, opposite Josh Brolin and Brendan Fraser. The actor’s upcoming projects also include Wicked, as well as the King Lear adaptation Lear Rex alongside Al Pacino and Jessica Chastain, among others.

MUMBAI: Filmmaker Ekta Kapoor and her mother, Shobha Kapoor, have been asked to appear before Mumbai Police on October 24 in connection with a POCSO case registered against them over the alleged obscene portrayal of minor girls during a web series, an official said.

A case was registered against the mother-daughter duo last week on a court’s order and a notice had been issued to them to face the investigation. They were asked to appear before the police on Thursday, the official said on Tuesday.

The FIR was registered against Ekta, Shobha, and Balaji Telefilms Limited in connection with the alleged streaming of inappropriate scenes involving minor girls in an episode of the ALT Balaji’s web series “Gandii Baat”.

The case is related to the season 6 of the web series.

Apart from the POCSO (Protection of Children from Sexual Offences) Act, they are booked under provisions of the Information Technology Act.

According to the complainant, who is a resident of Borivli in Mumbai, obscene scenes of minor girls were streamed between February and April 2021 in one of the episodes, the official said.

The controversial episode is currently not streaming on the ALT Balaji app, he added.

BUENOS AIRES, Argentina: An initial toxicology report for ex-One Direction singer Liam Payne, who died last week after falling from a third-floor hotel balcony in Buenos Aires, showed that he had cocaine in his system after his death, an Argentine official said.

The final toxicology results are not expected to be made public for some weeks. But the preliminary toxicology report of the wildly famous boy band star, handed to local prosecutors on Monday, suggested evidence of exposure to cocaine, the official said, stressing that these initial results don’t offer an accurate reading of just how much was circulating in his blood when he died.

The official spoke on condition of anonymity because he was not authorized to brief journalists. The preliminary report was widely reported in local media on Monday.

Argentina’s public prosecution is investigating the case — which is not uncommon when a death is sudden or unexpected.

Payne’s autopsy concluded that the traumatic injuries that caused his death were consistent with his three-story fall from the hotel window. Prosecutors have ruled out anyone else being involved.

Argentine investigators found what appeared to be narcotics and alcohol strewn about broken objects and furniture in 31-year-old Payne’s hotel room, leading the public prosecution to surmise Payne had suffered a substance abuse-induced breakdown around the time of his fall. The prosecution said Payne could have plunged from his hotel room balcony in a state of “semi or total unconsciousness.”

Sriram Ananthashankar’s Rocket Driver, just like the recently released Meiyazhagan, revolves around a broken man who changes over the course of a day after meeting another man.

Vishvath plays Prabha, who has big, sprawling ambitions but is forced to quit his science degree and run an auto for a living. He is exasperated at things around him, dismissing everyone around as dumb and unworthy. There is a nice stretch early on where, throughout his day, whenever he gets annoyed with someone, he imagines being in a made-up situation where he scolds them. What happens when Prabha runs into a teenager who seems to have landed from 1948, who happens to be one of India’s most renowned scientists, APJ Abdul Kalam?

At a concept-level, this is a brilliant idea that ties nicely into the film’s main character. Externally, Abdul Kalam is everything Prabha wants to be; he even has a sticker of Kalam in his auto. But internally, Kalam represents everything Prabha has misunderstood about life: that simple things don’t matter, that everything needs to have a big purpose and meaning. A man from the 1940s landing in 2023 lends ample opportunities for not only social commentary but also comedy. For instance, when the teenage Kalam (Naga Vishal) gets to meet his friend (Kathadi Ramamurthy) in 2023, he exclaims, “Dei Shastri!!” to who is now an old man. And why does Kalam get transported to the present day? The reason is both silly and sweet at the same time: does it have to be a matter of national security, or can it just be a small personal motive?

However, these ideas are not explored to their full potential. The smaller issue is the pace. Rocket Driver unfolds so leisurely that it could make Meiyazhagan look like a Hari film. But that’s really okay considering its rarity in the midst of all the adrenaline-pumping, hyper-violent films that have been ruling the roost. The bigger issue is the lack of drama. It seems like a missed opportunity when you bring back such a prominent figure and do so little with him. Kalam, for the most part, is highly clueless and quiet, which is rather perplexing for a future scientist who landed in a timeline 75 years later. Does he not want to at least know what happens in the future or actively figure out a way to go back to his home? The middle portions of the film are emotionless and stale, with the overbearing background music desperately trying to make things interesting. Vishvath has a perpetually irritated expression that goes well with his character, and Sunainaa as his friend has a comforting presence, although I wish she had been given much more to do. There are a bunch of laughter-inducing moments that land organically. I laughed out loud at a scene where, in an attempt to take Kalam back in time, Prabha boards a bus to Rameshwaram with him and forces him to sleep. But the fun quotient in scenes like these doesn’t get fully materialised on screen. In other words, we can see the potential here waiting to burst out, but what we end up getting is rather a dripping out of this potential. 

Rocket Driver doesn’t try to say or do much. This is a very simple story, and rightly so, in tune with its overall message. Not all films need to burst with energy and events, but when you have a rocket, why just nudge it instead of drive?

On Saturday, at the New York Comic Con’s ‘Marvel Fanfare With CB Cebulski’ panel, Daredevil: Born Again’s lead actors Charlie Cox and Vincent D’Onofrio announced the release date of their series. The show is all set to begin streaming on Disney+ Hotstar on March 4, 2025.

Daredevil: Born Again stars Charlie Cox as Matt Murdock, the blind lawyer turned superhero who fights crime, and Vincent Donofiro as the supervillain Kingpin. The upcoming series is all set to have nine episodes. A second season has already been greenlit by Disney+ Hotstar and Marvel Studios, and is all set to go on floors soon, as announced by Kevin Feige, earlier at the D23 expo in Anaheim.

Daredevil: Born Again is not the sequel to the three seasons of Netflix’s Daredevil show. However, the Disney+ series will continue the arcs of the returning characters. Jon Bernthal stars as Frank Castle, also known as The Punisher, a thug who gets into a fistfight with Murdock before the latter realises that he is his ally.

Daredevil: Born Again will be part of Phase Five of the Marvel Cinematic Universe (MCU). The official synopsis of the series reads, “Matt Murdock (Cox), a blind lawyer with heightened abilities is fighting for justice through his bustling law firm, while former mob boss Wilson Fisk (D’Onofrio) pursues his own political endeavors in New York.

When their past identities begin to emerge, both men find themselves on an inevitable collision course.” The cast of Daredevil: Born Again also comprises Margarita Levieva, Deborah Ann Woll, Elden Henson, Zabryna Guevara, Nikki M James, Genneya Walton, Arty Froushan, Clark Johnson, Michael Gandolfini, Ayelet Zurer, Wilson Bethel, and Jeremy Earl. Dario Scardapane runs the show, with the director duo Aaron Moorhead and Justin Benson of Loki fame.

It seems Ishaan Khatter caught the seven-year-itch. After a lukewarm career in Bollywood, which began in 2017, he has finally returned to public memory as Shooter Dival in the Hollywood murder mystery series, The Perfect Couple, alongside Nicole Kidman and Liev Schriber.

An adaptation of Elin Hilderbrand’s book of the same name, the plot gains momentum when a wedding party in the posh Winbury residence goes wrong, following the discovery of a dead bridesmaid. Khatter’s enigmatic Shooter Dival is the best man, but also an outsider who has found his way into the elite clan. The 28-year-old actor describes his character as “an animal who moves in his path”. “I found the character distinct and individualistic; one who has an arc through the story. I found the why of his whys quite interesting. As a performer, one is always looking at layers to play with,” elaborates Khatter, who has become somewhat of a heartthrob following his abs-flaunting scene in the show.

Though the character of Shooter Dival is white in the book, Khatter is appreciative of the casting process for going beyond ethnic boundaries. He also liked the fact that it didn’t feel like a “token representation” of a character. “Given the diversity narrative in the West. it is easy to fall into the trap of casting somebody for that reason, and not for what they bring to the table as an actor,” he says, adding, “I was happy that it was devoid of all those trappings, and I saw the potential in biting into this character and making it my own.”

Khatter has not tread the conventional path in Bollywood. The actor had a soft launch in Indian cinema in 2017 with the intellectually stimulating Beyond the Clouds by Majid Majidi, before making a quintessential Bollywood debut a year later with Dhadak under the Dharma banner. Although his films in the last couple of years—Khaali Peeli, Phone Bhoot and Pippa—did not have the desired impact, Khatter seems to have given it a positive spin.

“I have been lucky to have these opportunities, and it is a recurring theme in my career. I have never worked with the same team twice. This is a field of independent creative minds and people have a different way of working, and that’s what has made me more adaptive as a performer,” he says, adding, “I don’t want to be a flavour of the season and am in this for the long haul. I want to keep surprising people, and grow as an actor, and do stuff that keeps people engaged across all mediums.”

Noted Kannada producer K Manju has officially announced his 44th film, teaming up with director Smile Sreenu for this new venture. Manju, celebrated for successful films like Raja Huli and Rama Shama Bhama, aims to take this project to a national audience.

Director Smile Sreenu, known for his unique ability to blend mass appeal with meaningful storytelling, expressed his enthusiasm about the collaboration. “This project has been in the works for a while, and now it’s finally happening,” he said. “It’s inspired by a real-life personality who has made a significant social impact, and we’re committed to showcasing that story.”

K Manju, who also has a wealth of experience in distribution, believes their partnership will enhance the project’s reach. “Working with Smile Sreenu is an exciting opportunity. His creative vision combined with my distribution experience will help us achieve national recognition,” he shared.

Currently, the film is in the scripting phase, with more details about the cast and technical team expected soon.

After Khakee: The Bihar Chapter, filmmaker Neeraj Pandey is set to reunite with actor Avinash Tiwary for a Netflix original titled Sikandar Ka Muqaddar. The film, described by the streaming service as “a globe-trotting adventure and the heist of the century”, will also star Tamannaah Bhatia.

Sikandar Ka Muqaddar is backed by Shital Bhatia and Neeraj’s production house Friday Filmworks. “I am excited for its release. It should be out in the next couple of months, and I hope everyone enjoys it,” said Shital. She also praised Avinash’s acting prowess and added, “When Neeraj was writing the film, he felt Avinash was perfect for the role. That’s how we cast him, and he has done an exceptional job.”

Neeraj last helmed the Ajay Devgn and Tabu starrer romantic-drama Auron Mein Kahan Dum Tha. Avinash, last seen in Madgaon Express, was in the news recently after his 2018 film Laila Majnu was re-released and fared well at the box office. Tamannaah was last seen in the hit song Aaj Ki Raat from the year’s blockbuster Stree 2.

Actor Mason Dye, known for his role in Stranger Things, has joined the cast of The Boys season 5. The fifth and final season will see the actor playing the character Bombsight.

Although details of the character have not been revealed, Bombsight was mentioned in season 4 as the third oldest known Supe in history who was active in the 1950s. The character is also expected to star in the upcoming prequel series Vought Rising opposite Jensen Ackles and Aya Cash.

The Boys stars Karl Urban, Jack Quaid, Antony Starr, Erin Moriarty, Jessie T Usher, Laz Alonso, Chace Crawford, Tomer Capone, Karen Fukuhara, Colby Minifie, Claudia Doumit, and Cameron Crovetti.

Based on Garth Ennis and Darick Robertson’s comic books, The Boys, developed by executive producer/showrunner Eric Kripke, shows the consequences of people with superheroic powers going rogue and beginning to misuse their capabilities.

In season 4, the Boys are in pursuit of exposing the truth regarding the organisations Seven and Vought, which manages them and conceals their dirty secrets.

Dye played Hawkins High basketball star Jason Carver in Stranger Things season 4.

The actor is also known for starring in series such as Teen Wolf, Flowers in the Attic, My Stepdaughter, Stalker’s Prey and The Wrong Son. He has also starred in films such as Natural Selection, Vanished – Left Behind: Next Generation and Truth or Dare.

The thing about boy bands is quite obvious, right? Their voices, the eyes, those damn smiles, and of course the charm. Liam Payne ticked all the boxes.

If you grew up listening to boy bands, you would have definitely heard ‘One Direction’ — a household name ever since five boys got together after ‘The X Factor’ in 2010.

Although Payne joined as a solo contestant, the judges decided to pair him with the other four — Harry Styles, Zayn Malik, Louis Tomlinson and Niall Horan. And that, my friends, was the birth of a phenomenal band that stole as well as broke many young teenagers’ hearts.

The boys didn’t actually win ‘The X Factor’ that year, but came third behind Matt Cardle and Rebecca Ferguson in a final watched by 17 million people.

But Simon Cowell knew a good thing when he saw it. He signed them to his label and waited nine months to release their debut single — ‘What Makes You Beautiful’. Thank you Simon!

The song was an instant pop classic that went straight to number one — the first of four UK chart-toppers over the next four years. Even today, thousands scream and shout out their lungs to the lyrics during karaoke nights. I just did last week, and so many youngsters, especially the ladies, had joined me. It was followed by their many other famous numbers like ‘Night Changes’ — a song that will never be the same now.

As time went on, Payne discovered that he also had a talent for songwriting, with writing credits on half of the band’s final two albums for songs like ‘History’, ‘Steal My Girl’ and ‘Story Of My Life.’

When the band decided to break up and go their separate ways, fans were devastated. They always hoped that the boys would reunite some day. However, with Payne’s tragic death, that day is not arriving anymore. Perhaps, in his honour, the other four may get back together. That’s probably a far-fetched dream, but it’s one we’d love to wake up to unlike today’s nightmare.

Eventually, Radha and Raghavan elope and marry, leaving Achootty heartbroken. While Raghavan gradually proves himself to be a capable and hard-working fisherman, earning Achootty’s silent admiration, Achootty still publicly mocks him, taunting Raghavan to catch a shark to prove his worth before daring to engage with him. Frustrated by the constant mockery, Raghavan decides to venture into the deep sea alone to capture a shark. Unfortunately, his inexperience leads to disaster, and when he doesn’t return, the villagers suspect that Achootty has killed him. Even Radha begins to doubt her father, fearing he may have harmed her husband.

With nothing left to lose, Achootty sets out into the stormy sea and discovers Raghavan unconscious among the wreckage of his boat. Though the villagers eventually recognise Achootty’s innocence, he feels betrayed by their earlier suspicions. Saddened and disheartened, he takes his catamaran and ventures into the sea, declaring that the ocean is the only entity that has loved him unconditionally.

The film score was composed by the maestro Johnson, while the soundtrack features four beloved songs composed by Raveendran, with lyrics by Kaithapram Damodaran Namboothiri.

It was no surprise that Amaram won a National Award and three state awards. KPAC Lalitha received the National Award for Second Best Actress, as well as Kerala State’s Best Second Actress Award, for her exemplary performance in the movie. The film also earned Madhu Ambat the state’s Best Cinematographer Award and Murali the Second Best Actor Award.

Recently, the Malayalam film industry has seen a trend of mega re-releases of cherished films. Two of the most nostalgic Malayalam movies to be re-released in 2024 were Sibi Malayil’s Devadoothan and Fazil’s Manichitrathazhu.

Devadoothan (The Heavenly Messenger) is a 2000 Indian Malayalam-language musical horror film directed by Sibi Malayil and written by Raghunath Paleri. Starring Mohanlal and produced by Siyad Koker, the film features original songs and a score composed by Vidyasagar. Although it underperformed at the box office, it received critical acclaim and has since developed a cult following. Devadoothan won three Kerala State Film Awards, including Best Film with Popular Appeal and Aesthetic Value, Best Music Director, and Best Costume Designer.

A digitally remastered 4K Dolby Atmos Director’s Cut of the movie was released on July 26, 2024, and reportedly became a commercial success after its re-release. Another Mohanlal film directed by Fazil, Manichitrathazhu, was also re-released in September 2024, marking 30 years since its original release. This film was directed alongside three other directors, including Priyadarshan, Sibi Malayil, Siddique and Lal.

NEW DELHI: Filmmaker Payal Kapadia’s Cannes-winning title “All We Imagine As Light” has bagged five nominations at the 17th edition of the Asia Pacific Screen Awards.

The Asia Pacific Screen Academy announced the nominations, which saw representation by 31 films from 23 Asia Pacific countries and areas, a press release said.

“All We Imagine As Light”, which scripted history by becoming the first Indian movie to win the Grand Prix award at the Cannes Film Festival, has been nominated for top honour of best film as well as best director and best screenplay for Kapadia.

Actor Kani Kusruti received a nod for best performance and lensman Ranabir Das for best cinematography.

The Malayalam-Hindi film is an official collaboration between Chalk and Cheese Films and Another Birth from India and petit chaos from France.

Led by Kusruti and Divya Prabha, “All We Imagine As Light” narrates the story of two Kerala nurses Prabha and Anu co-habiting in Mumbai.

It is titled “Prabhayay Ninachathellam” in Malayalam.

It also features Chaya Kadam in a pivotal role.

The Asia Pacific Screen Awards aims to honours the “cinematic excellence of 78 countries and areas of the Asia Pacific and films that best reflect their cultural origins and the diversity of the vast region”.

Besides Kapadia’s movie, “April” by Dea Kulumbegashvili is nominated for five awards.

The film, which presents the story of an obstetrician-gynecologist, is also nominated for best film, best director, best screenplay, best cinematography, and best performance.

Another Indian title “Boong”, backed by Farhan Akhtar and Ritesh Sidhwani, received a nomination in the best youth film category.

The movie, which had its world premiere at the Toronto International Film Festival, is directed by debutante director Lakshmipriya Devi.

Filmmaker PS Vinothraj bagged a best screenplay nomination for his Tamil language movie “Kottukkaali”.

The movie is titled “The Adamant Girl” in English.

The 17th Asia Pacific Screen Awards will be held on November 30 at The Langham, Gold Coast, Australia.

Beatles ’64, an upcoming documentary will chronicle the iconic band, The Beatles’ historic trip to the US in 1964. A Martin Scorsese production and a David Tedeschi directorial, the documentary will be released on November 29 on Disney+. It features never-seen-before footage from the Beatles as well as interviews with its singers Paul McCartney and Ringo Starr.

The documentary offers an intimate look at the Fab Four, namely John Lennon, Starr, McCartney, and George Harrison, in the peak of Beatlemania. It tells the story of their arrival in New York City and groundbreaking performance on The Ed Sullivan Show.

Rare footage from documentarians Albert and David Maysles that is restored in 4K provides a unique perspective on this pivotal moment in music history.

This marks Scorsese’s second Beatles-related project. In 2011, he directed George Harrison: Living in the Material World, a documentary exploring the life and legacy of the band’s lead guitarist.

SEOUL: A member of chart-topping K-pop group NewJeans tearfully testified to South Korean lawmakers Tuesday as part of an enquiry into workplace harassment, amid a boardroom drama over her super producer.

In recent years, South Korea’s K-pop industry has become a global juggernaut powered by the success of groups like BTS, but domestically it is known for imposing strict standards and controls on fledgling stars.

Rising K-pop idols are expected to adhere to their powerful agency’s behaviour and appearance guidelines, with many stars describing receiving extreme backlash from fans over perceived mistakes in their personal lives, for example dating.

Hanni, 20, who is Vietnamese-Australian, testified that she overheard a manager of another idol group linked to her parent agency instructing members of another girl group to spurn her.

“I saw a manager along with three members from another group and said hello… When the manager saw me, she told the members to ‘ignore her as if you didn’t see her,'” she told lawmakers.

“I could not understand why I had to go through this.”

The alleged event took place amid a dispute between NewJeans’ producer and mastermind, Min Hee-jin, and HYBE, the South Korean agency that manages BTS, after HYBE filed a legal complaint against Min for breach of trust in business.

Min, who headed the HYBE subsidiary ADOR which manages NewJeans, was replaced as ADOR’s president in August amid the boardroom conflict.

During the livestream in which Hanni had raised the harassment claim, all NewJeans’ members demanded that Min be reinstated as ADOR’s CEO.

Multiple court cases on the issue are ongoing.

Ila Veermalla’s journey in Murphy goes beyond traditional acting; it’s an exploration of her versatility and passion for filmmaking. The film, which marks her eighth project, provided her with the opportunity to wear multiple hats under the direction of BSP Varma.

Reflecting on the unique circumstances that birthed the film, Ila recalls, “When we were just a handful of people on set, BSP Varma asked if I was interested in taking on other facets of filmmaking beyond acting. With little on my plate during the pandemic, I seized the chance,” says the actor ahead of its release this week.

Taking on the challenge, Ila stepped into the roles of assistant director and costume designer, all while shining in front of the camera. Her journey began as a child artist in Ball Pen, and she has since made her mark in commercials and television serials.

Ila’s filmography includes works such as Shubha Mangala and Gharshane, among others. Yet, Murphy holds a special place in her heart, as it is her first film in a leading role, sharing the screen with Prabhu Mundkur and Roshni Prakash.

Reflecting on her full-fledged involvement in the film, Ila states, “Balancing responsibilities in front of and behind the camera has deeply enriched my experience on the sets of Murphy. It all started so organically; being on set never felt overwhelming. Engaging with scenes allowed me to connect deeply with every aspect of the film. The major takeaway for me was the opportunity to dabble various roles.”

In Murphy, Ila portrays Jessy, a character whose dynamic with Roshni Prakash’s Janani is central to the narrative. “Roshni and I are like two sides of the same coin,” she describes. “We aren’t too different, yet we aren’t exactly the same. We’re all on the same page, navigating our own paths.”

Previously, in an interview, Alia Bhatt had revealed that she has Attention Deficit Hyperactivity Disorder (ADHD). In another recent conversation, she spoke more about her condition and also about the two activities that bring her peace while managing this disorder: facing the camera and being with her daughter Raha.

In an interaction with The Lallantop, the Jigra actor said, “I have been zoning out from things since childhood. I would zone out while in the classroom or in the middle of a conversation. Just recently, I took up a psychological test and after that, I realised I have ADHD; my spectrum is quite high.”

Although the revelation surprised Alia, she said her friends had a different reaction. “When I revealed this to my friends, they said they knew this for a long time now; it is not some big revelation because of my personality, and I was like, ‘But, I didn’t know.’”

“Then I realised why I am at so much peace when I am in front of the camera. I stay present at that moment. I don’t know if it’s the character or what, but I am more present at that moment. And of course, after Raha, whenever I am with her, I am most present at that moment. I am at peace at these moments, and also mentally present,” she added.

Previously, the actor had opened up about her ADHD with Allure and had said, “It needs to be something that you can do very quickly. I have ADHD and don’t have interest in investing too much time. Whatever needs to happen needs to happen fast. On my wedding day, my makeup artist Puneet (B. Saini) was like, ‘Alia, this time you need to give me two hours.’ I told her, ‘You’ve lost it. Especially on my wedding day, I’m not giving you two hours because I want to chill.’”

Alia stars in the latest Vasan Bala directorial Jigra, alongside Vedang Raina.

(This story originally appeared on Cinema Express)

For a film dealing with reality-bending concepts, you need a skilled performer who sells the believability of the events. Jiiva taps into the range exhibited in his earlier films and shoulders the entire film with a subtle yet effective performance.

Any amount of exaggeration on Jiiva’s part might have ruined the grounded approach the story was going for. Fortunately, Jiiva seems to have understood the assignment. However, the same could not be said of Priya Bhavani Shankar. While her take on the character is functional enough, it still comes off as uninventive.

For a film with a grounded and gritty approach, Black loses its hold on our attention with the portions involving the 1960s timeline and Vivek Prasanna’s character. However, the film still connects with you because at its core, it is not a story about time anomalies or parallel realities, it is about a couple who are forced to go through their marital woes, and whether or not they accept their flaws and save their relationship. This is why the contrived final few minutes make us feel like the film has let go of its emotional core and is once again focusing on coming across as a ‘complex’ story.

At its heart, Black makes the best use of the genre. It uses complex sci-fi concepts to tell a human story about relatable struggles. The execution, however, wraps layers and layers of complexity and sci-fi jargon around a solid core, in a desperate attempt to complicate a simple narrative, which renders it messy.

Black once again proves to us that no matter the execution, the heart of a story (or its lack thereof) will always decide how much we connect with a film. In this particular case, it seems that the debut filmmaker has made an engaging thriller with the only problem being his overwrought execution, for a film that would have worked with a subtle directorial touch.

Director: KG Balasubramani

Cast: Jiiva, Priya Bhavani Shankar, Vivek Prasanna

Rating : 2.5/5

The filmmaker said he plans to re-release ‘Shikara’ next year with its original title ‘Love Letter from Kashmir’.

Chopra, also known for directing films such as Parinda, 1942: A Love Story, and Mission Kashmir said even though his debut home production Munna Bhai MBBS (2003) was a box office failure, he believed in director Rajkumar Hirani’s vision.

“When Munna Bhai MBBS released, it flopped on day one, no one went to see it.”

He wanted to sell it to a south India-based distributor who promised to give Rs 11 lakh for the film.

After watching the film he said “Munna Bhai MBBS” won’t work beyond Mumbai’s suburban area Borivali and the deal fell through.

“We managed to get one-morning show in a theatre in Tamil Nadu where the film did a business of over Rs 1 crore,” the filmmaker recalled.

When Hirani met him a day after the film released, Chopra said he gave him Rs 11,000 But he said, “I won’t take it because the film is a flop”.

I told him, “I’m paying you this money for the next movie”.

“Eventually, he got Rs.11 lakhs, Rs. 51 lakhs, Rs. one crore and God knows how many crores(as it did well),” he said.

“Don’t lose your belief system because the industry will try and corrupt your soul, and say, ‘Do this or that, this is what sells’… “I believed in the film”, he added.

It’s hard not to draw parallels with other culinary dramas like The Bear and The Menu, where head chefs spiral into madness in their relentless quest for perfection. This brutal, cut-throat world often demands a sacrifice of mental sanity. DeBose embodies this descent into obsession well, crafting an intense culinary experience.

Yet, despite her compelling performance, the script lacks essential flavour, and its undercooked layers leave the final dish bland. House of Spoils is a reminder that a captivating premise can promise an intriguing film, but it doesn’t guarantee delivery.

Chef Marcello (Marton Csokas) ominously declares early on, “To be a chef, you need to love the taste of blood.” This foreshadows DeBose’s transformation into a feral creature, but the film only lightly seasons these ideas. Cinematographer Eric Lin brings a balance of rustic beauty and subliminal horror, moving seamlessly between scenic landscapes and claustrophobic spaces within the haunted mansion. He creates a visual feast, but the weak writing undercuts his carefully curated imagery.

House of Spoils flirts with themes of witchcraft and modern cuisine as well, even toying with the concept of “feeding the soil”, and yet, it fails to deliver a satisfying meal. Ultimately, this Blumhouse horror film offers few real scares and leaves an unpleasant aftertaste.—Narayani M

NEW DELHI: “Gadar 2” director Anil Sharma’s next feature film is titled “Vanvaas”, the makers announced on Saturday.

The film marks his latest collaboration with Zee Studios and comes after the blockbuster success of Sunny Deol-starrer “Gadar 2”, the sequel to his 2001 movie “Gadar: Ek Prem Katha”.

The makers shared an announcement video on social media, offering a first glimpse of “Vanvaas”, which features Nana Patekar and Sharma’s son Utkarsh Sharma.

The movie will be released in cinemas soon.

“Kahani zindagi ki…Kahani jazbaat ki. Kahani apno ke vishwaas ki! Pure parivaar ke sang dekhiye parivaar ki film, #Vanvaas, coming soon in theatres near you,” Zee Studios posted on Instagram.

According to the makers, the film promises to be a compelling tale, exploring timeless themes of duty, honour, and the consequences of one’s actions.

“Ramayana and Vanvaas is a different take on the same where kids make their parents take exile. Kalyug Ka Ramayana jaha Apne hi Dete Hai Apno ko Vanvaas (The Ramayana of the modern age, where one’s own people exile their own),” said Sharma, who has also produced the movie.

Umesh Kr Bansal, Chief Business Officer at Zee Studios, said “Vanvaas” offers a fresh take on modern-day family dynamics.

“We are thrilled to back such an extraordinary project and we are confident it will deliver a truly unique experience for the audience,” he added.

It’s this optimism and open-heartedness that makes Prakash such an endearing character, and Sai Chand does complete justice to his part. There is also a great monologue in the flashback sequence about courage being the true force to exist, whereas fears need to be treated as lies or myths.

However, Abhilash’s script lacks the necessary thoroughness to bring out the emotional core of the story at hand. The emotional punches do not land well because the characters and their interpersonal dynamics aren’t etched out with enough depth.

We are told that Johnny has been raised well by his father Srinivas (Sayaji Shinde), which leads to a major payoff towards the end. However, we aren’t granted enough evidence to establish any sense of guidance that Srinivas could have provided to his son, despite being distant—it almost feels like Johnny raised himself.

The other equations are all undercooked as well, be it Johnny’s relationship with his work friend Satya or with his girlfriend. There are so many potential segments that could have been used to underline the evolving relationship between Johnny and Prakash. There are standalone moments that attempt to reach out to you emotionally, like the first time Johnny addresses Prakash as his father, but in its totality, Maa Nanna Superhero is not consistent as a character-driven drama.

Johnny is an interestingly grey-shaded character because he can play between the moral extremes. He might be capable of con and deceit to meet his gains, but he is also prone to showing great empathy towards a mean man, because the latter also happens to be a father to a little girl.

No matter how a man conducts himself morally, his stature as a good parent should never crumble down, Johnny tells the mean neighbour at a point. Sudheer Babu plays the character with the required aloofness, never trying to make Johnny too likeable or sympathetic. Sayaji Shinde as Srinivas is sadly underutilised, though, except for a few scenes early on and in the climax, the actor barely has anything to do.

TOKYO: Nobuyo Oyama, best known as the raspy voice of Doraemon, the beloved cartoon robotic cat from the future, has died. She was 90.

Oyama, who voiced Doraemon for more than a quarter century, died of natural causes on Sept. 29, her agency, Actors Seven, said Friday.

Oyama performed the voice of the blue-and-white robotic cat from 1979 to 2005.

Created by the cartoonist Fujiko F. Fujio in 1970, Doraemon and the story of his friendship with Nobita, a good-hearted but somewhat lazy boy, became hugely popular. The manga and anime series have been read and watched by millions of fans in Japan and across the world and have been translated into dozens of languages.

In the series, Doraemon arrives from the 22nd century and helps Nobita in difficult situations, often with gadgets from the future such as an “anywhere door” and “take-copter.”

Born in Tokyo in 1933, Oyama was an aspiring actor and debuted in a 1956 drama on Japan’s NHK public television. She had her first voice acting role in 1957 in the dubbed version of the TV drama series “Lassie.”

Oyama’s raspy voice quickly gained her popularity in anime and children’s programs. She was the voice of one of three piglets in a popular children’s puppet show in the early 1960s and of teenage boy Katsuo in the family anime series “Sazaesan” prior to “Doraemon.”

Oyama retired as Doraemon in March 2005 as part of a renewal of the voice actors for the main characters. “I hope Doraemon will still be a beloved character in the distant future,” she said.

In 2015, Oyama’s husband disclosed that she had developed dementia. Even so, as head of a sound arts school, Oyama was known to always succeed on the first try when she was asked to perform in her Doraemon voice.

Oyama’s agency said her funeral was held privately by her relatives.

Noriko Ohara, the voice of Nobita, died in July.

Sorry to Bother You director Boots Riley has announced his next project titled I Love Boosters, partnering with independent film production and distribution company Neon.

The announcement of the project has been made along with the primary star cast that includes Demi Moore, Keke Palmer, Naomi Ackie and LaKeith Stanfield. The rest of the star cast is yet to be disclosed.

I Love Boosters revolves around a ring of boosters or shoplifters whose target is a cutthroat fashion expert. The film is backed by Aaron Ryder, Andrew Swett, Allison Rose Carter, Jon Read, Mike Jackman, Ken Kao, Gus Deardoff, Josh Rosenbaum and Annapurna. It will begin production later this year.

Moore was last seen in the critically acclaimed body horror feature The Substance. Up next, she has Wind River director Taylor Sheridan’s upcoming series Landman, slated to premiere on Paramount+ in November. Palmer, best known for her role in Jordan Peele’s Nope (2022), also has Aziz Ansari’s Good Fortune and Tim Story’s The Pickup in the pipeline.

Ackie’s upcoming slate includes Bong Joon-Ho’s Mickey 17, alongside Robert Pattinson, and Chris Columbus’ The Thursday Murder Club.

The big joys of Vettaiyan are contained in its exploration of its serious story, spotlighting a protagonist who’s full of good intent and yet, so trigger-happy. He’s a man eager to kill bad men, but has the forgiveness needed to turn a thief into an adorable man. And this, is perhaps the most complex protagonist Rajinikanth has taken on in a while.

The film wants you to celebrate his actions, his kills, as we’ve always done. But here’s the twist: if the hero can change, can we? Can you? Or will you be forever stuck in that ‘Hunter vantaar choodu da’ mindset? The choices that the film makes are worth critiquing, I think, because the power of a scene, the power of a track, often survives the film’s own, eventual judgment of it.

For much of the film, it’s a whodunit and a drama, not merely a star vehicle—and what a relief, that is. Anirudh’s techno score is such a vibe, powering all the montages. As for the dialogue? Razor-sharp, like that line that speaks of the distinction between ‘avasaram’ and ‘viraivu’.

Yes, the story seems to go astray, with the hero-villain trading of punches, rather overshadowing Athiyan’s internal struggles. There’s a loss that feels brushed aside, and violence towards a woman that feels repetitive, and exploitative. Perhaps one other woman could have been more nuanced. The weight of a life taken should perhaps register more, innocent or not. But BUT…

There’s so much to be happy about. A film that fights for the downtrodden, shatters stereotypes and questions heroism. A secondary character getting as much screen time as the superstar himself. Even the Rajinisms—the cool glasses, the punch dialogue…—are integrated into the story. Vettaiyan reminds us that with Rajinikanth at the center, we can still have authentic stories with real, flawed characters, and which speak up against power.

(This story first appeared on Cinema Express)

Do you get to do last-minute improvisations like in films, because corporate companies like Sony usually expect everything to be planned and approved before execution?

As long as the story doesn’t change drastically, they’re okay with minor improvisations like modulations in dialogue delivery or performance. But, there are also instances where some characters or the actor’s performance inspires us to develop them further.

Miya and Suresh Krishna’s characters in Jai Mahendran were extended like that. We loved what they brought to the table and wrote additional scenes for them. In such situations, I used to write scenes at night, get approval from the platform’s creative team, and then proceed to shoot.

Similarly, these platforms are also very particular about political and other sensitive content. This being a political subject, did you get any such guidelines?

Not really, because from the very first draft, this script was not about any one party or person. It’s based on collective experiences, which includes my own. There are no direct references to anyone. Of course, they have a legal team who constantly monitor things. Even if we use a party logo in a scene, we have to get their approval.

You’re also playing a full-length character in the series. Did you always have an interest in acting?

I did, but during my struggling period in cinema, I realised the importance of being focussed. So, I chose not to act, even in my short films, as I wanted to make it as a director first. It was only in my 4th film, I decided to try acting. This role in Jai Mahendran was initially written for someone else. In fact, when it was a feature, I wanted Saiju chettan to play this role and we had even discussed it. But, by the time the series was greenlit, he became bankable enough to lead a project.

We were looking for other options, but Srikanth insisted that I play the role. He felt my offscreen rapport with Saiju chettan would reflect well on the performance. I was still not confident to play a full-length character and add to that the anxiety of being a producer. But, I think it has come out well. It’s for the audience to judge now.

Actress and director Revathy made her acting debut in Tamil with Mann Vaasanai (1983). Almost two decades later, she made her directorial debut with Mitr – My Friend (2002). Despite winning accolades for her acting in Tamil cinema, including a National Award for Best Supporting Actress in Thevar Magan, Revathy has ever directed anything in Tamil, yet.

The latest news came to light when Revathy took to Instagram to announce her upcoming project, where she revealed that she was directing a Tamil web series for Disney+ Hotstar.

Sharing a photo of the director’s copy of the upcoming series, the filmmaker/actor wrote, “So happy to get back to being the Director! A Tamil series for Hotstar with Siddharth Ramaswamy as co director and cinematographer. 1st day shoot on 5th Oct. The energy is different as a director… I love it!!!”

The trailer of the third season of Fabulous Lives of Bollywood Wives has recently been unveiled. The reality tv series this time is titled Fabulous Lives Vs Bollywood Wives and will see three rich wives from Delhi — Riddhima Kapoor, Shalini Passi and Kalyani Saha — join the original cast of Maheep Kapoor, Neelam Kothari Soni, Seema Sajdeh, and Bhavana Pandey.

The trailer starts off as a ‘90s telemarketing commercial and shows Kapoor, Kothari, Sajdeh and Pandey vexed with household chores. “Does your life lack spice?” we hear in a voiceover. As we spring back to the present, we are introduced to Kapoor, Passi and Saha who vow to “steal all the TRPs”. This time, it is Delhi vs Mumbai.

About the new entrants:

Kapoor is the daughter of veteran actors Neetu Kapoor and Rishi Kapoor and Ranbir Kapoor’s sister, while Passi is an entrepreneur and the wife of Sanjay Passi, chairman of PASCO Group, and Saha is founder of Rezon Luxury Silverware.

Sharing the trailer on Instagram, Netflix India captioned the post, “This season, it’s all about the fabulous rivalry between Delhi and Mumbai. Fabulous Lives vs Bollywood Wives arrives on 18 October only on Netflix!”

Previously, executive producer of the show, Karan Johar, had said in a statement, “After the success of the first two seasons, the challenge for both the teams, at Dharmatic and Netflix, was to figure a way to give fans a season that has everything they love about the show and also manages to take them by surprise.

So this season, the Bollywood Wives will step out of their comfort zone as they enter a new city and face off with Delhi’s best-known divas. What happens when the bling of Delhi excess battles it out against the swag of Bollywood star power? Season 3 will be entertaining, funny, emotional, dramatic, over the top…but at the heart of it all, it remains an exploration of the many faces of friendship. If you have watched and loved us in the last two seasons, we assure you Season 3 will be worth the wait.”

THIRUVANANTHAPURAM: Actor Siddique appeared for questioning on Monday at the office of Thiruvananthapuram City Police Commissioner Sparjan Kumar. A special investigation team (SIT) has been investigating the actor on suspicion of raping a young actress at the Mascot hotel in Thiruvananthapuram on 2016.

The Supreme Court had granted him temporary relief by staying his arrest for two weeks after his anticipatory bail plea was rejected by the High Court. He had gone into hiding after the High Court’s decision.

Following the Supreme Court’s interim bail grant, Siddique informed the police through email that he is ready to appear for questioning. Narcotic Cell Assistant Commissioner, who is leading the investigation, responded by issuing him a notice to appear on Monday.

The wait is finally over for the Indian fans of Pakistani actor Fawad Khan! The actor will be making his Bollywood comeback with a romantic comedy titled Abir Gulaal where he will be seen sharing screen space for the first time with actor Vaani Kapoor.

Fawad and Vaani kickstarted the shoot on September 29 in London.

Produced by Vivek B Agrawal, Avantika Hari, and Rakesh Sippy, Abir Gulal will be directed by Aarti S Bagdi (Chalti Rahe Zindagi) who gave a hint about the film’s storyline.

“The film explores the journey of two individuals who unintentionally help each other heal, with love blossoming as an unexpected consequence,” she said.

The makers released the film’s first-look poster which is billed as an international production with a support cast from India and UK.

Talking more about the project, the producers said, “Fawad has a massive global fan base, and we anticipate that audiences and his fans will wholeheartedly embrace this film, as it showcases him in his most endearing role yet.”

They also added that the chemistry between Fawad and Vaani is expected to light up the screen with their captivating performances and undeniable charm.

KOCHI: The links of film actors Sreenath Bhasi and Prayaga Martin with gangster Om Prakash, who was nabbed by the police on Sunday for possessing cocaine and liquor, are being probed after police found that the actors visited the gangster’s hotel room in Kochi.

Police in the remand report filed at Ernakulam Judicial First Class Magistrate on Monday submitted that 20 persons including Sreenath Bhasi and Prayaga Martin visited the hotel room where Om Prakash, 45, and Shihas, 55, stayed in Kochi.

Following a tip-off, police reached the hotel in Kochi’s Kundannoor where Om Prakash, a native of Valiyathura in Thiruvananthapuram, and Shihas of Kottarakkara in Kollam, have been staying since Saturday. They booked three rooms in the name of one Boby Chelapathy. Police seized a ziplock cover with a minute quantity of suspected cocaine and four litres of liquor from the hotel room.

Police filed a report when the duo were produced before the court on Monday. In the report, police stated that there were intelligence reports that the accused person collected cocaine from abroad and was selling it at DJ parties in Ernakulam and other districts. Even though both came to Kochi several times, to evade police attention, they booked rooms in the name of other accused persons.

“In further investigation, it is revealed that 20 including actor Sreenath Bhasi, actor Prayaga Martin, Binu, Baiju, Anoop, Don Lousis, Arun, Aloshya, Sneha, Tipson, Sreedevi, Navas, Roopa and Pappy visited the accused persons. For investigating these persons, the custody of the accused persons is imminent. The custody of the accused for investigating Boby Chalapathy who booked the rooms for the accused,” according to the remand report.

However, as the quantity of cocaine seized was minute, the court granted bail to Om Prakash and Shihas. But the police have decided to dig deep into the links of actors with Om Prakash. Om Prakash was involved in 30 criminal cases including in the murder of Paul Muthoot George, a young businessman from Kerala, in 2009.

“We had information that he (Om Prakash) was in Kochi to supply drugs for a major DJ event held in Kochi. We will record the statements of actors and others who visited Om Prakash at the hotel in the coming days. A special team will be constituted to probe the case,” a senior police officer said.

The other big new release of the weekend, Lionsgate’s White Bird, flopped with just USD 1.5 million from just over 1,000 locations, despite an A+ CinemaScore.

Overall, the weekend is up from the same frame last year, but “Joker’s” start is an unwelcome twist for theater owners hoping to narrow the box office deficit.

Phillips and star Joaquin Phoenix have said they aspired to make something as “audacious” as the first film. The sequel added Lady Gaga into the fold, as a Joker superfan, and delved further into the mind of Arthur Fleck, imprisoned at Arkham and awaiting trial for the murders he committed in the first.

It’s also a musical, with elaborately imagined song and dance numbers to old standards. Gaga even released a companion album called “’Harlequin,” alongside the film.

In his review for The Associated Press, Jake Coyle wrote that “Phillips has followed his very antihero take on the Joker with a very anti-sequel. It combines prison drama, courthouse thriller and musical, and yet turns out remarkably inert given how combustible the original was.”

The sequel has already been the subject of many think pieces, some who posit that the sequel was deliberately alienating fans of the first movie. In cruder terms, it’s been called a “middle finger.” But fans often ignore the advice of critics, especially when it comes to opening their wallets to see revered comic book characters on the big screen.

“They took a swing for the fences,” Dergarabedian said. “But except for a couple of outliers, audiences in 2024 seem to want to know what they’re getting when they’re going to the theater. They want the tried and true, the familiar.”

It has some high-profile defenders too: Francis Ford Coppola, who last week got his own D+ CinemaScore for his pricey, ambitious and divisive film Megalopolis, entered the Joker chat with an Instagram post.

“@ToddPhillips films always amaze me and I enjoy them thoroughly,” Coppola wrote. “Ever since the wonderful The Hangover he’s always one step ahead of the audience never doing what they expect.”

HYDERABAD: The national film award conferred on choreographer Shaikh Jani Basha, known as Jani Master, has been suspended by the National Film Awards Cell following his arrest in a POCSO case.

The cell also withdrew the invitation extended to him to attend the awards ceremony that is scheduled to be held at Vigyan Bhavan in New Delhi on Tuesday.

The suspension letter stated that the invitation to the choreographer was extended before the allegations of crime under POCSO Act came to light. However, considering the seriousness of the allegation, the national film award for ‘best choreography’ for 2022 to Jani for the film Thiruchitrambalam is suspended until further orders, the official letter said.

It is to be noted that a Rangareddy court on Thursday granted four-day interim bail to Jani from October 6 to October 10 so that he could attend the awards ceremony.

The choreographer was arrested by the Cyberabad police and subsequently lodged in the Chanchalguda Central Prison on charges of sexually assaulting a female assistant choreographer and criminally intimdating her when she was a minor. The survivor, now 21, alleged that Jani sexually assaulted her at a hotel during a shoot in Mumbai in 2019.

OKOM’s primary flaw is its random and fragmented storytelling with little character development, making it difficult to invest in any of the protagonists. Rugmangadan, now an Uber driver, experiences a series of misadventures with passengers that are presented in disjointed episodes.

These scenes neither advance the plot nor contribute to character development. For example, there’s a stretch where a husband knowingly lets his wife elope, but Rugmangadan ends up safely returning her home after the plan goes awry.

Another short segment involves an elderly couple visiting their son’s house, only to find it locked, prompting them to return to their ancestral home. Rugmangadan drives them back without accepting his taxi fare. While these scenes may be intended to illustrate his virtuous nature, they come across as irrelevant distractions that slow down an already tedious film. Despite its relatively short runtime of two hours, OKOM feels overlong and underwhelming.

The second hour of the film becomes increasingly pointless, particularly with a subplot that reminds another underwhelming film, Pavi Caretaker. In OKOM’s latter half, Madhumiya and Rugmangadan share the same room, taking turns at night and day according to their work schedules.

By the time the film comes up with a plot twist and reaches its somewhat contrived happy ending, you may find yourself zoning out due to its overall inertness. To give credit where it’s due, Eldhose George’s cinematography is commendable, particularly in the way the camera pans within the confines of buildings and rooms, showcasing tight framing.

Even though the performances of Hakim, Priyamvada, and Poornima are functional enough, the characters fail to evoke empathy or make us root for them, particularly due to veteran scenarist Raghunath Paleri’s confused screenplay that suffers from a lack of focus.

Even the presence of seasoned performers like Vijayaraghavan and Janardanan feels wasted. OKOM could have been a better affair as a coming-of-age story if it had delved deeper into the protagonists’ motivations and stayed focused on its core plot, avoiding unnecessary digressions such as the redundant goon sequences.

Film: Oru Kattil Oru Muri

Director: Shanavas K Bavakutty

Cast: Hakim Shahjahan, Poornima Indrajith, Priyamvada Krishnan

Rating : 1.5/5

Sathyan Anthikad has announced that Aishwarya Lekshmi and Sangita would be playing the female leads in his next with Mohanlal. Titled Hridayapoorvam, the film is produced by Antony Perumbavoor under the banner of Aashirvad Cinemas.

In a social media post, the director also mentioned that the film’s songs are currently being composed, while shooting is scheduled to commence in December. Its story is penned by Sathyan himself, with the screenplay and dialogues written by debutant Sonu TP, known for helming the short film Night Call (2022).

Hridayapoorvam will have Sufiyum Sujathayum-fame Anu Moothedath as the cinematographer and Prasanth Madhav as its art director. Its music is composed by Pachuvum Athbutha Vilakkum-fame Justin Prabhakaran.

Malayalam cinema has been on a remarkable journey and this year saw some of its finest works, with eight of the 20 highest-grossing Malayalam films of all time being released in 2024.

The industry has also been receiving recognition internationally with Manjummel Boys recently having been screened at KinoBravo Russian film festival as a contender. And now adding to the list of accomplishments, one of the films has landed a top spot in a list highlighting the best movies from around the world in a specific genre.

In the recently released ‘Top 25 Horror Films of 2024’ by Letterboxd, a popular online platform for film cataloguing, the Malayalam horror/thriller Bramayugam has earned second place. Directed by Rahul Sadasivan, this period folk horror film stars Mammootty in the lead.

The film has been met with widespread acclaim for its atmospheric storytelling and Mammootty’s riveting performance. “What’s a horror film if it doesn’t make you uncomfortable and squirm?” reads excerpt from the Cinema Express review of this film. And this is precisely what Mammootty does! The actor goes all in and doesn’t hold back from depicting his sinister form as the chaathan (goblin).

Meanwhile, director Amar Kaushik’s horror comedy Stree 2, starring Rajkummar Rao and Shraddha Kapoor in the lead roles, has secured the 23rd position. These are the only two Indian films in the list that mostly includes Hollywood movies among languages.

Grossing Rs 837.1 crore, according to industry tracker Sacnilk, Stree 2 currently ranks as the second highest-grossing Indian film and the highest-grossing Hindi film of 2024. It is the latest instalment in Maddock Films’ horror-comedy universe, which also includes Bhediya and Munjya.

Colin Farrell will be returning as detective John Sugar from the Apple TV+ drama Sugar for another season. The first season, which premiered this April, follows Farrell’s private eye, who investigates the mysterious disappearance of Olivia Siegel, the beloved granddaughter of legendary Hollywood producer Jonathan Siegel.

When Sugar attempts to figure out the fate of the woman, he unearths the recent and long-held secrets of the Siegel family. In the upcoming season, Sugar will look into the disappearance of another person in Los Angeles.

“It has been incredibly exciting to see audiences around the world embrace Sugar, and we are thrilled to return for a second season,” said executive producers Simon Kinberg and Audrey Chon.

“We’re so grateful to our partners at Apple for their support, our showrunner Sam Catlin, the brilliant Colin Farrell, and of course, our viewers. We can’t wait to get John Sugar back on the case.”

The first season also starred James Cromwell, Amy Ryan, Dennis Boutsikaris, Anna Gunn, Sydney Chandler and Alex Hernandez.

THIRUVANANTHAPURAM: Actor Mohanraj, the 69-year-old who is popularly known by his screen name ‘Keerikkadan Jose’ of Kireedam is no more. Actor and director P Dinesh Panicker informed the death of Keerikkadan Jose through his Facebook post that he died at his home at Kanjiramkulam in Thiruvananthapuram at 3 pm. The funeral will be held on Friday at his ancestral home, Chandra Bhavan

Mohanraj is survived by his wife Usha (Hudco, Chennai) and daughters, Jaishma (M Tech student, Canada) and Kavya (Fashion Designing and Communication student, Chennai). He was on the ventilator for four days and was later shifted to his home at Kanjiramkulam where he breathed his last.

His family members told TNIE that apart from having Parkinson’s disease, Mohanraj was recently affected with a stroke. He had undergone treatment for Parkinson’s disease at Apollo Hospital, Chennai. Later he told his family that he wanted to spend his last years with his brothers, Chandran (Assistant Commissioner, Sales Tax), Sivaprasad (Retd Dysp), Jayakumar (Retd municipal secretary) and Premlal (Thiruvananthapuram Corporation Office). Son of late Sukumaran Nadar and late Pankajakshi, Mohanraj was the second son.

Mohanraj who gave a new meaning to villain character, Keerikkadan Jose in Sibi Malayil’s epic film, ‘Kireedam’ released in 1989 later went on to be known by this screen name forever. Sibi Malayil was looking for a fresh villain when he came across Mohanraj who was then working as a central government employee as Enforcement Assistant Officer. The rest has been history. Kireedam script writer Lohitadas was equally impressed with Sibi Malayil’s finding as Mohanraj’s 6 feet 2 inches in height and over 100 kilo weight was found to be appropriate for the antagonist role in Kireedam.

Mohanraj also donned the villain role in Chenkol, sequel to Kireedam. In fact, Mohanraj made his debut in K Madhu’s ‘Moonnaam Mura’. But it was his second film, Kireedam which catapulted him to fame. Later, the supervillain proved that he could don comical roles in films like ‘Hello’ which saw him along with Mohanlal. He went on to act in more than 300 films which includes several hit films in Tamil and Telugu film industry too.

For quite some time, Mohanraj has been battling a slew of health issues. A few years ago, Mohanraj was injured during the shooting of a Telugu film which led to serious injuries to his leg. During 2019, Mohanraj was admitted at General Hospital, Thiruvananthapuram for more than a month for treatment to varicose vein where he had difficulty in walking.

His frail looking photos taken from the General Hospital went on to become viral citing that he was having financial constraints. But his family denied this which also saw then AMMA general secretary Edavela Babu intervening. The last film Mohanraj acted in was in Mammootty film, Rorschach in 2022.

As Martin, starring Dhruva Sarja in the lead role, approaches its release, the makers promise a game-changer for the action genre. Directed by AP Arjun and penned by noted actor-filmmaker Arjun Sarja, the action-heavy film is set to be released on October 11. It is produced by Uday Mehta with an astonishing budget of 120 crores, ensuring a grand cinematic spectacle.

While Dhruva takes centre stage, Martin thrives as a collaborative actioner, which brings together an exceptional crew. While cinematographer Satya Hegde captures the essence of the story, he declares, “It is the most expensive cinematic experience I’ve ever worked on in my career.”

Ravi Basrur, who has worked on the background score, says that Martin will envelop viewers in a rich auditory landscape that heightens the film’s narrative. “In just 20 minutes, Martin delivers a cinematic experience worth every penny,” Basrur mentions. It has additional contributions from composer Mani Sharma on the film’s songs.

The choreography is brought to life by dance masters Imran Sardhariya and Murali Master. Imran explains, “We are reshaping the future action sequences in Indian cinema with unmatched intensity.” At the same time, Murali adds, “In Martin, I experienced the magic of music. This is truly the most extravagant title song ever created in Indian cinema. I’m grateful to have been part of it.”

The film’s innovative action sequences are a standout feature, orchestrated by renowned stunt choreographer Ravi Varma. With a rich portfolio spanning South Indian and Bollywood films, Ravi Varma has designed five adrenaline-fueled sequences, including a climactic showdown in collaboration with the esteemed Ram-Lakshman duo. He states, “These action sequences are not merely for spectacle; they offer a fresh perspective on the genre, pushing boundaries and challenging conventions.”

This came after Surekha linked KTR to the separation of Samantha and Naga Chaitanya and alleged that the BRS leader used to tap the phones of the actresses and blackmail them.

Speaking to the media, Surekha said, “It is KT Rama Rao because of whom (actress) Samantha’s divorce happened…He was a minister at that time and used to tap the phones of the actresses and then find their weaknesses to blackmail them…He used to make them drug addicts and then do this…Everyone knows this, Samantha, Naga Chaitanya, his family, everybody is aware that such a thing happened.”

Surekha’s remarks sparked massive controversy, with several BRS leaders as well as superstar Nagarjuna Akkineni condemning the remarks.

Nagarjuna, who is the father of Naga Chaitanya, said that Surekha should not use the lives of movie stars to criticise her opponents and urged her to respect the privacy of others.

“I strongly condemn the comments of the Minister, Konda Surekha. Don’t use the lives of movie stars who stay away from politics to criticise your opponents. Please respect other people’s privacy. As a woman in a responsible position, your comments and accusations against our family are completely irrelevant and false. I request you to withdraw your comments immediately,” Nagarjuna said in a post on X.

Similarly, BRS leader Harish Rao took to X and demanded an apology from the minister. “I condemn the derogatory statements made by Minister Konda Surekha Garu and demand an unconditional apology,” he said.

Naga Chaitanya and Samantha were married in October 2017.

They announced their separation four years later, via a joint statement on social media in October 2021.

Another Bangalorean Harshitha Venkatraman’s favourite Lorelai Gilmore quote happens to be, “This is a jumbo coffee morning. I need coffee in an I.V.” Harshita opens up about how she has always grown around the smell of filter coffee at home, with the aroma being the first thing she woke up to. “I’ve always liked coffee although my parents refused to let me have it until I was about 14-15. When I first started drinking coffee, I would usually have about 1-2 coffees per day although it was mostly just one. Now it’s at least three and often more,” said Harshita, adding that she’s definitely a different person without her morning jolt, and another entire personality altogether after having a quick fix.

Anjitha Eldho, who works in a PR firm, confirms this notion by citing examples of how memes depicting people before and after coffee are so relevant in her case. Asked about her first time trying coffee, Anjitha explained that the shift coincided with the transition from childhood to adulthood. “As kids, we used to have malt-based drinks like Boost, Horlicks and Bournvita but once we became adults, we tried new beverages like black tea, black coffee etc. And when I started consuming tea and coffee, I realised that I liked the latter more due to its taste,” she shared.

Now, it’s not just Lorelai who has all the killer lines relating to coffee. Her daughter Rory’s “Flirt with him now, we need coffee” dialogue still cracks Anjitha up whenever it pops up on her Insta feed.

Life happens but coffee helps — be it an Americano or South India’s famous filter coffee. Whatever the concoction, connoisseurs are willing to go to any extent to declare their love for it. And none more so than Lorelai who famously said, “If it was physically possible to make love to a hot beverage, this would be the one!”

NEW DELHI: Vijay-starrer The Greatest of All Time (GOAT) will start streaming on Netflix from October 3, the platform announced on Tuesday.

GOAT, featuring Vijay in a dual role, is directed by Venkat Prabhu and produced by Archana Kalpathi of AGS Entertainment. This sci-fi action movie had its worldwide theatrical release on September 5.

Netflix India shared the release date of the movie on its official Instagram handle.

“Ever seen a lion become a G.O.A.T?! Thalapathy Vijay’s The G.O.A.T- The Greatest Of All Time is coming to Netflix on 3 October in Tamil, Telugu, Malayalam, Kannada & Hindi #TheGOATOnNetflix,” the post read.

GOAT also stars Meenakshi Chaudhary and Prashanth. Vijay is currently working on his 69th feature film directed by H. Vinoth. The currently untitled project is slated to be released next year.

KOCHI: Days after the explosive allegations made in social media interviews, the female actor on Monday filed a sexual harassment complaint against Malayalam actor and director Balachandra Menon.

The actress, hailing from Aluva, had previously filed complaints against seven others, including actors Mukesh, Jayasurya, and Edavela Babu. She approached the Special Investigation Team (SIT) on Monday with a complaint against Menon where claimed that the harassment occurred in 2007, during the shooting of the Malayalam movie ‘De Ingottu Nokkiye,’ which was directed by Menon and starred Jayasurya.

“We received the victim’s complaint on Monday. In it, the complainant alleges that the incident took place in Thiruvananthapuram. Therefore, we will be forwarding the complaint to the Thiruvananthapuram City Police Commissioner,” said SIT member Ajeetha Beegum.

Earlier, the Kochi cyber police registered a case against the YouTube channels that aired the sexual harassment allegations made by the female actor against Menon based on his complaint. “We received the complaint forwarded by the City Police Commissioner’s office. It stated that the video contained sexually suggestive content and called for action,” said Kochi Cyber Police Station SHO Murali. The case was filed imposing charges of transmitting obscene material in electronic form and publishing content containing sexually explicit acts, under the Information Technology Act, he said. The preliminary investigation is ongoing, and appropriate action will be taken following its conclusion, he added.

KOCHI: Actor-Director Balachandra Menon has filed a complaint to the State Police Chief claiming that a woman who recently made allegations of sexual advances against him tried to blackmail him as well.

Menon sent his complaint via email seeking an investigation against the woman and her lawyer. It was based on the statement of the same woman, police had registered seven cases against actors Mukesh, Jayasurya, Edavela Babu and Maniyanpilla Raju. Recently, in an interview, she disclosed how Menon made sexual advances towards her.

The actor alleged that he had received a call on September 14 from a lawyer threatening him with three molestation cases soon. Since he did not respond to the calls further, fake allegations and videos were circulated against him on social media platforms, he alleged. Later, he realised that the caller was a lawyer of the woman who made the so-called fake allegations against him.

Earlier, the woman had given a confidential statement to a magistrate. However, no allegation was raised against Balachandra Menon then. The woman who acted in Malayalam and Tamil is also facing a probe in a rape case on the complaint of her relative.

ABU DHABI: Superstar Shah Rukh Khan won the best actor award at the IIFA 2024 ceremony, while the Sandeep Reddy Vanga-directed Animal walked away with trophies in best picture, best director and supporting actor categories.

Here is the winners list:

Best picture: Bhushan Kumar, Krishan Kumar, Pranay Reddy Vanga — Animal

Direction: Vidhu Vinod Chopra — 12th Fail

Performance in a leading role (female): Rani Mukerji — Mrs. Chatterjee vs Norway

Performance in a leading role (male): Shah Rukh Khan — Jawan

Performance in a supporting role (female): Shabana Azmi — Rocky Aur Rani Kii Prem Kahaani

Performance in a supporting role (male): Anil Kapoor — Animal

Performance in a negative role: Bobby Deol — Animal

Music direction: Pritam, Vishal Mishra, Manan Bhardwaj, Shreyas Puranik, Jaani, Bhupinder Babbal, Ashim Kemson, Harshavardhan Rameshwar — Animal

Playback singer (male): Bhupinder Babbal (Arjan Vailly) — Animal

Playback singer (female): Shilpa Rao (Chaleya) — Jawan

ABU DHABI: “Manjummel Boys” director Chidambaram says he doesn’t think his superhit Malayalam film should be remade in any other language as he believes nuances may get lost in translation.

The survival thriller, based on real events, hit the theatres on February 22 in Kerala and Tamil Nadu, and received widespread acclaim from audience and critics.

Produced by Parava Films, “Manjummel Boys” revolves around a group of friends from a small town called Manjummel near Kochi whose vacation goes awry when one of them falls into an 800-foot-deep pit in the Guna Caves in Kodaikanal, Tamil Nadu.

Chidambaram, who also wrote the film, said while he is open to remakes in general, a culture-specific story like “Manjummel Boys” shouldn’t be adapted into another language.

“It’s a real story about a real cave and people. The cultural connection of the Kerala people, Tamil Nadu people. There are a lot of factors that helped the movie run (successfully) but if you’re going to remake it, I don’t know how much of it would be translated,” he said.

“I don’t think ‘Manjummel Boys’ is a movie that should be remade in any other language,” the director told PTI on the sidelines of IIFA Awards here on Saturday.

Chidambaram described the film as a “pure humane story” which had every ingredient to become a good movie.

“A guy saving his friend from the pit of death, it’s a first of its kind, and changing the history of the cave. Who will not jump to (make a film like) that?” he said.

“In every part of the world, there are going to be boys like this who do mischievous stuff, and end up in situations like this. It’s a universal story. That’s why it connected with a lot of people,” he added.

The psychological thriller Happily Married, featuring Pruthvi Ambaar and Manvita Kamath, is all set to premiere directly on select OTT platforms on September 28. As the release date approaches, directors Arunkumar M and Sabu Aloysius, who have brought this Kannada adaptation of the 2020 Malayalam thriller Love, have recently unveiled a trailer. The original film, written and directed by Khalid Rahman, starred Rajisha Vijayan and Shine Tom Chacko in the lead roles. It also has a Tamil remake starring Bharath and Vani Bhojan, among others.

The trailer provides a glimpse into the tumultuous lives of Pruthvi Ambaar and Manvita Kamath as a young couple navigating their relationship. Initially united in love, they grapple with conflicting perspectives, ultimately escalating into animosity and violence. This dramatic turn raises an essential question: what fate awaits their relationship as new characters enter their lives? The film also features a supporting cast, including Dharmanna Kadur and Sreejith Ravi.

Happily Married is produced by Friday Films, Silver Train International, and Tiny Hands Production. This film marks the second directorial venture for the duo, following their Kannada debut with Life is Beautiful, which has generated considerable buzz. With its compelling narrative and strong performances, Happily Married promises to captivate audiences as it explores the complexities of love, conflict, and human relationships. Fans are eagerly awaiting its release on September 28, ready to witness this gripping story unfold.

Writer-director Chidambaram’s survival drama Manjummel Boys will be screened at the KinoBravo Film Festival. It is the first-ever Malayalam film to compete at the festival, as well as the only Indian film to feature in its competition section this year.

Running from September 28 to October 04, the festival will also screen Payal Kapadia’s Cannes Grand Prix winner All We Imagine As Light and SS Rajamouli’s RRR at the Out of Competition: Festival Hits and the Out of Competition: Blockbuster Hits categories, respectively.

Recognised as the highest-grossing Malayalam film of all time, Manjummel Boys is a survival drama that tells the true story of a group of youngsters from Manjummel, Kochi, who go to the Guna Caves, also called Devil’s Kitchen in Kodaikkanal. Their excursion soon becomes a hellish trip following an accident.

The film stars Soubin Shahir, Sreenath Bhasi, Deepak Parambol, Jean Paul Lal, Ganapathi, Balu Varghese, Deepak Parambol, George Maryan, Abhiram Radhakrishnan, and Khalid Rahman, among others.

Besides Chidambaram’s writing and direction, the film earned widespread acclaim for the cinematography by Shyju Khalid, production design by Ajayan Chalissery, Vivek Harshan’s editing, and Sushin Shyam’s music. It also got great appreciation for the inventive use of the ‘Kanmani Anbodu‘ song from Kamal Haasan’s 1991 film Gunaa.

Soubin Shahir, Babu Shahir, and Shawn Antony produced the film through their banner Parava Films.

Coming to KinoBravo, it is a mainstream film festival with a mission to bring to the broad public national blockbusters that topped the box offices in their home countries, promote those films in the Russian and international markets, and strengthen international cooperation in cinematography.

Prizes will be awarded in nine nominations: Best Film, Best Director, Best Screenplay, Best Actor, Best Actress, Best Film Music, Best Cinematography, Best Visual Effects, and Best Editing.

The films will be judged by a multinational jury headed by chairman Marco Müller, a film critic, film historian, producer, head of the Center for Film Studies at Shanghai University and artistic director of the Taormina International Film Festival, and former director of film festivals in Locarno, Rotterdam, Pesaro, Turin, Venice, and Rome.

(With inputs from Online Desk)

(This story originally appeared on Cinema Express)

Ben Stiller’s Red Hour Films and Rivulet Films are reuniting once again for the upcoming pickleball-centric comedy film The Dink, headlined by Jake Johnson. Previously, the production companies collaborated on the recent film Nutcrackers, directed by David Gordon Green.

The Dink features Johnson as a washed-up tennis player who, to save a struggling club and gain his father’s approval, decides to play pickleball, a sport he vowed never to try. The film will also stars Mary Steenburgen, Ed Harris, Stiller and former tennis star Andy Roddick in key roles.

“The nomination for best direction, best editing, best sound and best feature film at the prestigious Asian Academy Creative Awards is truly a moment of pride for me and the entire team and I am thankful to everyone who believed in this story,” the filmmaker said.

Apoorva Bakshi, expressing her appreciation, said, “It is an immense moment of pride for all of us at Awedacious Originals to see ‘The Hunt for Veerappan’ receive multiple award nominations at the Asian Academy Creative Awards. This docuseries was a fever dream, a true labor of love, and a testament to the tireless dedication of our team.”

Meanwhile, Menon said the nominations were a testament to the great team he got to work with on “The Railway Men”.

“And to the audiences who keep supporting us—your love is what keeps us going! To Shiv Rawail for his passion and vision, YRF Entertainment for backing Shiv’s vision bringing forth a powerful narrative and Netflix for taking this story to not just across India but to audiences worldwide. I am truly honored,” the actor said.

Prerna Singh (CEO), of Bhansali Productions and Executive Producer for “Heeramandi” said, “The love and appreciation the series has been receiving around the world brings us immense joy. It’s an honor to see SLB’s vision being embraced by the Academy.”

Koirala said, “I’m thrilled to have been nominated for this award for ‘Heeramandi’ at the Asian Academy Creative Awards. It’s a beautiful project that highlights the strength and resilience of women. I’m proud to be part of it.”

The Grand Awards ceremony will be held on December 3rd and 4rth in Singapore where the nominees will compete in the final round.

NEW DELHI: South Korean star Park Seo-jun, popular among K-drama fans through shows such as What’s Wrong With Secretary Kim and She Was Pretty, says he loves Bollywood films and if invited, he would love to visit India.

The actor is currently looking forward to the premiere of his Netflix series Gyeongseong Creature Season 2, which will start streaming on the platform from Friday.

The show is directed by Chung Dong-yoon and also stars Han So-hee of My Name fame.

“If you invite me, anytime,” Park told PTI in a roundtable interview when asked whether he would come to India to meet fans here.

Asked whether the two-part Gyeongseong Creature appealed to him because it doesn’t follow the traditional K-drama arc, Park said even when the narrative is similar, the way the story is told makes a show unique.

The first part of Gyeongseong Creature, which premiered in December 22, 2023, revolved around Jang Tae-sang (Park), the owner of the House of Golden Treasure (Geumokdang), the best pawnshop in Gyeongseong, and Yoon Chae-ok (Han), a specialist in finding missing people who is searching for her mother.

Set in 2024 Seoul, season two of Gyeongseong Creature uncovers the never-ending ties between Gyeongseong via Ho-jae with Tae-sang (Park), and Chae-ok (Han), a survivor of the Gyeongseong spring.

Team Prakarana Tanikha Hantadallide, a group of theatre enthusiasts, is gearing up for the film’s release on October 18. Recently, they announced the news alongside the launch of their captivating trailer. The film is written and directed by Sundar S, and produced by Chintan Kambanna under the banner of Karadaayaama Studios. Chintan’s father, Dr Shivanna K, not only presented the trailer but also penned the lyrics for the title track.

During the event, producer Chinthan Kambanna shared his thoughts on what attracted him to the film’s storyline and the inspiration behind the lyrics. “I was initially drawn to acting through theatre,” he explained. After meeting director Sundar S, he felt compelled to produce this film, impressed by the director’s creative vision.

Interestingly, the film’s plot aligns with a real-life case currently under investigation, adding a twist to the story. Sundar noted, “Our team comes from a strong theatre background. We spent a lot of time developing various storylines before choosing one that connects with modern audiences.”

The technical crew includes cinematographers Mohan MS and Jagdish R, editor Nani Krishna, and composer Shiom, while Lakshmipathy MK has handled the film’s VFX. Producer Chinthan has also doubled up as an actor and has played a role in the film.

LOS ANGELES: Bob Marley’s musical legacy of harmony and peace has hit the road with his sons bringing their late father’s timeless message to life in a multi-city tour.

The reggae giant’s footsteps are being filled by his five sons Ziggy, Stephen, Julian, Ky-Mani and Damian during the Marley Brothers: The Legacy Tour. It’s the first time the siblings have performed together on tour in two decades.

Marley’s sons are honoring his work, performing about 30 of their father’s songs including massive hits like “No Woman, No Cry,” “Could You Be Loved,” “Is This Love” and “Three Little Birds.” The 22-date tour kicked off in Vancouver and will conclude in early October in Miami.

“This was very important,” Ziggy said about the tour while his brothers Stephen and Julian sat beside him after a recent rehearsal in Los Angeles. The multi-Grammy winner said it was important for them to collectively find time in their busy schedules and pay homage to their father — who would have turned 80 in February 2025.

“When the opportunity arise, we can come get together, cherish and appreciate it,” he continued. “That’s the big part of it — just being able to do this together. Time is moving.”

The Marley Brothers have their own reggae sounds but found a way to blend it all together. They’ve performed together since childhood including a Red Rocks performance in Colorado last year. Two or three have hit the stage in other shows, like when Damian and Stephen performed at the Hollywood Bowl last month.

Julian said years of collaboration have fostered a deep musical synergy between his siblings — a natural extension of their shared lineage.

“His message goes beyond barriers. It breaks down barriers,” Julian said. “No matter which country you go to, the people need the same message. That’s why this is so everlasting. Never ending. That is the reason we are here and doing this mission.”

NEW DELHI: Actors Aishwarya Rai Bachchan, Alia Bhatt and Sonam Kapoor are among the Indian stars who are making their presence felt at the ongoing Paris Fashion Week 2024.

While Aishwarya and Alia walked the ramp on Monday as brand ambassadors of a beauty label, a day later Sonam attended the gala for a luxury fashion house.

Alia, who is awaiting the release of her upcoming film “Jigra”, was dressed in an outfit crafted by Indian designer Gaurav Gupta.

Her outfit comprised a silver metallic silhouette upon a black top with flared black pants and matching earrings.

The actor also shared glimpses from the event on her official Instagram handle.

“A night to uplift, embrace & inspire; because we’re all #WorthIt #LeDefile2024 #LOrealParis #WalkYourWorth #ParisFashionWeek2024,” she captioned a series of pictures from the gala.

According to videos circulating on social media, Aishwarya wore a red oversized maxi dress with off-shoulders from the clothing brand Mossi.

At the end of the fashion show, the Indian actors shared the stage with Hollywood actors Jane Fonda, Andie MacDowell, Eva Longoria, as well as top models Kendall Jenner and Cara Delevingne.

On Tuesday, actor Sonam Kapoor attended the Christian Dior Spring – Summer 2025 Womenswear Show.

For the event, the actor was dressed in a tailored black trench coat embellished with delicate floral embroidery on the shoulder with a voluminous skirt and structured corset.

The outfit is part of the Christian Dior cruise 2025 collection, according to a press release.

Sonam praised the brand’s latest collection for “its intricate craftsmanship and unique celebration of heritage”.

“Every Dior show feels like a journey through art and fashion, and today’s event was no exception.

I’m deeply honored to wear Dior and represent India on such a prestigious global stage, where the blend of tradition and modernity truly resonates,” she said in a statement.

Vijay Kumar, riding high on the success of his sophomore directorial venture, Bheema, is now gearing up for his third outing, titled City Lights. This project holds special significance as it stars his daughter, Monisha, who is set to make her acting debut. The anticipation surrounding City Lights has been palpable, especially after the recent unveiling of its first-look poster.

The poster features Monisha in a thoughtful pose against the lively backdrop of bustling Bengaluru, hinting at her role as a relatable girl-next-door character facing the ups and downs of life. This visual effectively captures the essence of her journey, suggesting that her character will navigate various challenges that many can relate to. While the specific details of the storyline remain under wraps, the makers plan to deliver a realistic narrative.

Adding to the excitement is the news that Vinay Rajkumar will join the cast of City Lights. Known for his versatile roles in films such as Ondu Sarala Prema Kathe, Pepe, and the upcoming Gramayana, Vinay’s involvement marks an intriguing twist for the film.

The director and actor recently bonded over their respective projects, Bheema and Pepe, and this camaraderie likely inspired Vijay to bring Vinay into the fold for City Lights. The announcement came with a striking new poster featuring Vinay’s face reflected in the rearview mirror of an autorickshaw, suggesting a thoughtful and realistic storyline that captures the essence of urban life.

As Vijay Kumar and Vinay Rajkumar embark on this exciting journey together, their fresh partnership aims to bring a unique touch to the film. In an interview with CE, Vijay shares some insights about his upcoming directorial project: “In my two previous films, people noticed that I often focus on raw content, which has become my signature style.

Laapataa Ladies, which was released in March to universal praise from the critics, is a heartwarming and empowering take on two brides in rural India in 2001 who accidently get swapped during a train journey.

The film is backed by Rao’s Kindling Productions, Aamir Khan Productions, and Jio Studios.

Starring Nitanshi Goel, Pratibha Ranta and Sparsh Shrivastav in the lead alongside Ravi Kishan, Chhaya Kadam and Geeta Aggarwal Sharma, the Hindi film had its world premiere at the 2023 Toronto International Film Festival.

Tamil film Maharaja, Telugu titles Kalki 2898 AD and Hanu-Man, as well as the Hindi films Swatantraya Veer Savarkar and Article 370 were also in the list.

No Indian entry has been nominated for best international feature film at the Oscars since the Aamir Khan-starrer Lagaan in 2002.

Only two other films have previously made it to the final five and they are the Nargis-starrer Mother India and Mira Nair’s Salaam Bombay! Malayalam superhit 2018: Everyone is a Hero was sent last year.

‘Gyaarah Gyaarah’ is paced like a feature film. Did the thought of making it a film ever cross your mind?

No, the pacing was done in order to end every episode on a cliffhanger. Gyaarah Gyaarah was conceptualised as a series. Maybe after a few more seasons, say seasons 2 and 3, we may end the story with a film instead of a season 4.

Are you confirming exclusively with us that the series is getting renewed?

That’s how we dreamers think (laughs). There are always talks about new seasons, but it’s the streamer’s call.

Did director Umesh Bist convince you with his pitch, or did he ask you to watch Signal?

Actually, it happened the other way around. We loved Signal. We struggled for over a year and a half to acquire its remake rights. We then took it to Umesh, as we loved working with him in Pagglait. Umesh, along with writers Puja Banerji and Sunjoy Shekhar, did a fantastic job Indianising the show.

Why and how was Uttarakhand chosen as the setting for ‘Gyaarah Gyaarah’?

How we finalised Uttarakhand is an interesting story. We first wanted to set the story in Punjab or Rajasthan, for the unique colours these regions provide. Only later did Uttarakhand, Dehradun, and the mountains happen. The winter mist and the mountains of Uttarakhand added to the mystery of the show and helped bring out great visuals. The mountains of the state are an important element of the series.

On another occasion, you said Sikhya Entertainment aims to take Indian stories to the world. How do you define Indian stories?

We want to tell the stories of our land, not necessarily in Hindi. Our films like The Lunchbox, The Elephant Whisperers, Masaan, Kill, and Gangs of Wasseypur are stories of different regions of India. Several foreigners told me they knew India only through The Lunchbox. Likewise, I have heard so many people coming to India solely to meet Raghu and Ammu (the elephants in The Elephant Whisperers). So I would define Indian stories as raw, authentic, and original. Showing us (Indians) on the larger canvas is our superpower as storytellers. The more local and original the content, the greater the reach would be globally. Life is too short, and there is so much to be done. I like to be a bridge that constantly takes India to the world.

Being a woman producer, what is that extra lens you wear while filtering content while portraying women on screen?

I don’t believe in showing women in a certain colour, and I am sick of always turning them into goddesses. I feel women should be able to make all kinds of films and portray all kinds of roles, breaking stereotypes. Whenever it comes to showing a female body through a camera, there is always a subtext that you play into. Even in an otherwise male-dominated, testosterone-heavy action film like Kill, the biggest kills are given to women; that’s the subtext we wanted to convey. There is always a conversation between me and the directors on how the camera moves and what emotions we want to titillate. I don’t encourage the exploitation of women, at the same time, nor do I say whitewash women’s reputations, since we come in all forms and colours. It has to be taught that a film is not your ‘titillation space’; just tell your stories.

Alia Bhatt recently revealed in an interview that she has Attention Deficit Disorder (ADD) and because of that she can’t spend over 45 minutes on a make-up chair and that was why she went for a minimum makeup look for her wedding.

ADD or Attention Deficit/Hyperactivity Disorder (ADHD) is a chronic condition that is marked by an ongoing pattern of inattention or hyperactivity-impulsivity. This often interferes with functioning or development.

In a conversation with Allure, the actor said that because of her condition, everything needs to happen quickly for her. “I have ADD and don’t have interest in investing too much time. Whatever needs to happen needs to happen fast,” she said.

“On my wedding day, my makeup artist Puneet (B Saini) was like, Alia, this time you need to give me two hours. I told her, You’ve lost it. Especially on my wedding day, I’m not giving you two hours because I want to chill,” she added.

Alia married her Brahmastra co-star Ranbir Kapoor in April 2022, in front of a few family members and close friends. The star couple had been dating for over 5 years before getting married. The couple welcomed their first child, a daughter, Raha, on November 6 the same year.

On the work front, Alia will next be seen in Vasan Bala’s Jigra alongside Vedang Raina.

(This story originally appeared on Cinema Express)

Bill Cosby

The former “Cosby Show” star was the first celebrity to go on trial in the #MeToo era.

He was arrested in 2015 when a district attorney armed with newly unsealed evidence — Cosby’s damaging deposition in a lawsuit brought by Temple University sports administrator Andrea Constand — filed charges against him just days before the 12-year statute of limitations was about to run out. Constand accused Cosby of drugging and sexually assaulting her.

The AP does not typically identify sexual assault victims without their permission, which Constand has granted.

Jurors couldn’t reach a unanimous verdict when Cosby was put on trial in 2017. At a second trial in 2018, he was convicted and sentenced to up to a decade in prison. But the Pennsylvania Supreme Court in 2021 said the district attorney who made the decision to arrest Cosby was obligated to stand by a predecessor’s promise not to charge Cosby, though there was no evidence that agreement was ever put in writing.

Cosby, now 87, has been accused of rape, sexual assault and sexual harassment by more than 60 women. He has denied all allegations involving sex crimes.

R. Kelly

Federal juries in Chicago and New York convicted Kelly of crimes that include producing child sexual abuse materials and federal sex trafficking charges.

Born Robert Sylvester Kelly, he was sentenced to 30 years in the New York case last year and a mostly concurrent 20-year sentence in February in the Chicago case.

The 57-year-old was accused of using his fame to sexually abuse young fans, including some who were just children, in a systematic scheme that went on for decades.

The Grammy-winning, multiplatinum-selling songwriter also was accused of using his entourage of managers and aides to meet girls and keep them from speaking out, an operation that prosecutors said amounted to a criminal enterprise.

Attorneys for R. Kelly are appealing his convictions.

Sean “Diddy” Combs

The hip-hop mogul was arrested in New York on Sept. 16 and was accused in an indictment of using his “ power and prestige ” to induce female victims and male sex workers into drug-fueled sexual performances dubbed “Freak Offs.”

Prosecutors said he used violence and threats of blackmail to keep people from speaking out. Combs, 54, faces federal racketeering conspiracy and sex trafficking charges that could put him in prison for at least 15 years if he is convicted on all counts.

A judge Wednesday rejected the hip-hop mogul’s proposal that he await his sex trafficking trial in the luxury of his Florida mansion instead of a federal jail in Brooklyn.

Kevin Spacey

Last year, a London jury acquitted the Oscar-winning actor of sexual assault charges stemming from allegations by four men dating back 20 years.

Three men accused Spacey of aggressively grabbing their crotches, describing him as “vile” and a “slippery, snaky” predator. Spacey said he was a “big flirt” who had consensual flings with men and whose only misstep was touching a man’s groin while making a “clumsy pass.”

The court victory in England came after Spacey also successfully defended himself against a civil lawsuit in New York in 2022 brought by “Star Trek: Discovery” actor Anthony Rapp.

Cuba Gooding Jr.

The Oscar-winning “Jerry Maguire” star pleaded guilty in 2022 to forcibly kissing a worker at a New York nightclub in 2018 — and in return prosecutors dropped charges involving two other women that could have led to a possible jail term if the case had gone to trial and resulted in a conviction.

Gooding also publicly apologized for the first time to two other women who accused him of similar behavior in separate encounters, calling himself a “celebrity figure” who meant no harm. His admissions were part of a plea deal that came nearly three years after Gooding was arrested.

Gooding told the judge he “kissed the waitress on her lips” without consent.

Danny Masterson

“That ’70s Show” star is serving a sentence of 30 years to life in prison for raping two women.

After an initial jury failed to reach verdicts on three counts of rape in December 2022 and a mistrial was declared, prosecutors retried Masterson on all three counts.

At his second trial, a jury found Masterson guilty of two of three rape counts on May 31. Both attacks took place in Masterson’s Hollywood-area home in 2003, when he was at the height of his fame.

They could not reach a verdict on the third count, an allegation that Masterson also raped a longtime girlfriend.

Prosecutors alleged that Masterson used his prominence in the Church of Scientology — where all three women were also members at the time — to avoid consequences for decades after the attacks, and the women blamed the church for their hesitancy in going to police about Masterson.

Actor Johnny Depp is set to be honored with a Lifetime Achievement Award at the upcoming Rome Film Festival, where his latest directorial venture, Modi: Three Days on the Wing of Madness, will also make its debut. The biopic explores the life of renowned Italian artist Amedeo Modigliani, portrayed by Riccardo Scamarcio.

Depp’s Modi will be showcased in the festival’s non-competitive Grand Public section, marking his return to directing after his 1997 film The Brave. The film features an impressive ensemble cast, including Al Pacino as the influential art collector Maurice Gangnat, alongside Antonia Desplat, Stephen Graham, Bruno Gouery, Ryan McParland, and Sally Phillips, known for her role in the Bridget Jones series.

The plot follows Modigliani as he navigates a tumultuous life filled with artistic struggles, police evasion, and haunting hallucinations. With the support of fellow artists and his art dealer Leopold Zborowski, Modigliani grapples with a pivotal encounter that could alter his fate forever.

This film represents one of Depp’s most significant projects since his highly publicized legal battle with ex-wife Amber Heard, as he seeks to regain his footing in the industry. Following its premiere in Rome, Modi is set for a theatrical release in Italy, produced in collaboration with Be Water, Maestro Distribution, and Medusa Film.

Kaviyoor Ponnamma, (79) a veteran actor who has acted in more than 700 Malayalam films over the last 60 years, passed away in Kochi. She was suffering from age-related ailments and multiple organ dysfunction and was undergoing treatment at a private hospital in the last week.

Born in Kaviyoor, a village in Pathanamthitta in 1945, Ponnamma began her artistic journey as a trained singer, honing her craft for 10 years. However, destiny led her to acting, where she would embody the quintessential Malayali mother- loving, kind, and compassionate.

At just 14, Ponnamma was invited to act in Thoppil Bhasi’s drama, Mooladhanam, in the late 1950s. Her Malayalam film debut followed in 1964 with Kudumbini, directed by Sasi Kumar, where she played a mother. This role would become a defining aspect of her six-decade-long career.

Through iconic characters like Sharada teacher in Amma Ammayiamma (1998), Unni Amma in Nandanam (2002), and Meenakshiamma in Baba Kalyani (2006), Ponnamma showcased the selfless love and forgiveness of mothers. Although typecast as a mother figure, she explored negative roles in films like Thinkalazhcha Nalla Divasam (1985), Oppol (1981), and Karinizhal (1971), acknowledging later that these roles drew criticism.

In an interview, Ponnamma revealed that she had dubbed for all her characters, believing that no one else could bring her roles to life. Her most recent film appearances were in Ammachikoottile Pranayakalam and Aanum Pennum (2021).

The actor has also bagged the state film awards four times; in 1971, 1972, 1973 and 1994 for several films. She sang for a few films and appeared in about 20 television serials despite being a busy artist who appeared in one film after another.

Ponnamma was married to Maniswami, who was a film producer and the couple has a daughter Bindhu Maniswami. Though in films she has played the roles of selfless and caring mothers, Ponnamma was practical and modern in her thoughts about life and marriage. She held the opinion that staying in a marriage that had failed does not make sense and was separated from her husband later.

Muhammed Musthafa’s sophomore directorial Mura will be released on October 18. The film features Suraj Venjaramoodu and All We Imagine As Light-fame Hridhu Haroon in the lead roles. Billed as an action-packed gangster drama set in Thiruvananthapuram, it is scripted by Suresh Babu.

Mura also stars Maala Parvathi, Kani Kusruti, Kannan Nayar, Jobin Das, Anujith Kannan, Yedhu Krishna, PL Thenappan, Vigneshwar Suresh, Krish Hassan, Siby Joseph and Alfred Jose, among others.

The film has cinematography by Fazil Nazer, editing by Chaman Chakko, music by Christy Joby and action choreography by PC Stunts. It is produced by Riya Shibu under the banner of HR Pictures.

Muhammed, a critically acclaimed actor-turned-filmmaker, made his directorial debut with the 2020 film Kappela, headlined by Anna Ben, Roshan Mathew and Sreenath Bhasi.

The film earned Anna and Musthafa the Best Actress Award and the Best Debut Director Award respectively at the 51st Kerala State Film Awards. Also, its production design by Anees Nadodi was honoured at the 68th National Film Awards.

Recently, Laal on his social media account shared a video of a train passenger watching the pirated version of the movie on his mobile phone. The image was shared with the director by his friend. Laal claimed it as heartbreaking.

“Nothing else to say. Those who watched ARM on telegram.. let them do so. What else can I say,” he wrote on his Facebook page.

Producer of the movie Listin Stephen also made a social media post expressing his concern about ARM being circulated via telegram.

“Thank you for circulating the movie in this fashion. This is the situation of the movie which is all set to enter Rs 50 crores club today,” he wrote on his Facebook page.

Listin stated that the piracy of the movie has annihilated the hard work that included 150 days of shooting, one-and-half-years of post-production work, eight-years-long dreams of the director and scriptwriter, the investment of producers and the involvement of more than 100 people.

Piracy is destroying the Malayalam film industry, he stated.

Ravi Srivatsa, the director known for his film Deadly Soma, is back with a new project: Gangs of UK. This latest venture marks the launch of his production house, Deadly Arts, which aims to bring fresh stories to the Kannada film industry.

Gangs of UK is said to be inspired by real events, for which the director is bringing together a cast of 56 newcomers and is set to deliver a raw, authentic film. Facing the cameras in this ambitious project is Amogh, the son of Ravi’s late mentor KV Raju, who takes on the lead role.

Ravi, speaking on the concept for Gangs of UK, explained that it began to take shape after the passing of KV Raju. “This story has evolved over the years and is now finally coming to life,” he adds, stating, “The script was introduced to me by MS Ramesh last December, and filming kicked off in January, and had wrapped up recently.”

The narrative of Gangs of UK explores themes of bloodshed and the stories that flow from it. MS Ramesh emphasised the importance of local talent, stating, “We have incorporated local actors like Umesh and Mahantesh Hullur, ensuring that the dialogues are relatable and impactful.”

Alongside Amogh, the film features Sonu Upadhyay, Praveen, Orata Prashanth, Ugramm Reddy, Satya, Dhillon, Naveen Krishna Puttur, and Prajwal Muski in pivotal roles. Gangs of UK’s soundtrack includes nine songs, with eight inspired by the works of the revered social reformer and poet Shishunala Sharif. The film’s music is composed by Sadhu Kokila.

CHANDIGARH: A court here has issued notices to BJP MP and actress Kangana Ranaut and others on a complaint accusing them of maligning the image of Sikhs in her upcoming movie ‘Emergency’.

The notices were issued by the Chandigarh district court on Tuesday on a plea filed by advocate Ravinder Singh Bassi, who is also the president of the NGO Lawyers for Humanity.

The respondents have been asked to file their replies by December 5.

Bassi in his petition alleged that Ranaut and other respondents have in the movie ‘Emergency’ tried to “malign the image of Sikhs” and particularly “targeted” the former Jathedar of the Akal Takth by portraying him as a “terrorist”.

“The accused without studying the proper historical facts and figures had portrayed Sikhs in bad shape and also made wrong and false allegations against the supreme temporal seat of the Sikh community as in the trailer of the movie it was shown that the sitting Jathedar of Sri Akal Takth Sahib was demanding separate state which is totally false and it was shown just to malign the image of Sikhs and the Akal Takth Jathedars,” Bassi alleged in the plea.

“That by this act and conduct of the accused, they hurt the sentiments and feelings of the Sikh community in general and the deponent,” the petition filed by Bassi, the former president of the District Bar Association, Chandigarh, said.

He also alleged that “the actress, producer and director of the film ‘Emergency’, whose trailer has been released on the social media platform is a trouble creator and many times, created differences between communities by uttering provoking statements and speeches against the minorities”.

The petitioner has demanded an FIR against Ranaut and two other respondents under section 196(1) (promoting enmity between different groups on grounds of religion, race, place of birth, residence, language and doing acts of prejudicial to maintenance of harmony), 197(1) (punishment for making or publishing false or misleading information that could jeopardise India’ sovereignty, unity, integrity or security), 302 (uttering words etc with deliberate intent to wound religious feelings of any person) and 299 (deliberate and malicious acts, intended to outrage religious feelings of any class by insulting its religion or religious beliefs) of Bharatiya Nagrik Suraksha Sanhita, 2023.

Singer Charlie Puth has tied the knot with his longtime girlfriend, Brooke Sansone, after two years of dating. The couple celebrated their wedding on September 7 at Puth’s family home in Montecito, California, and shared the joyous news ten days later on September 17.

In heartfelt posts on Instagram, Puth revealed beautiful, candid moments from their intimate outdoor ceremony. Brooke looked stunning in a strapless white dress, while Charlie was dapper in a sleek black suit with lace-trimmed white accents.

Puth expressed his deep affection for Sansone in a touching caption, writing, “I love you, Brooke. I always have. With you, I am my very best. I promise I’ll love you every day in this life, and even more in the next. Brooke Ashley Sansone, now you’ll be Brooke Ashley Puth. Thank you for making me the happiest man alive. It has always been you.”

He also shared a video from their wedding photoshoot that captured the couple’s undeniable bond. In the video, he reflected, “Today, I stand before you, Brooke, and I can’t help but realize this is the happiest I’ve ever been in my 32 years of life. Some things I could not predict, but one thing has always been clear: I’ve always known I’d be standing with you.”

Combs, then known as Puff Daddy, was at the center of the East Coast-West Coast hip-hop battles of the 1990s as the partner and producer of the Notorious B.I.G., who was shot and killed in 1997. But like many of those who survived the era, his public image had softened with age into a genteel host of parties in Hollywood and the Hamptons, a fashion-forward businessman, and a doting father who spoiled his kids, some of whom lost their mother in 2018.

But a different image began emerging in November, when his former protege and girlfriend, the R&B singer Cassie, became the first of several people to sue him for sexual abuse with stories of a steady stream of sex workers in drug-fueled settings where some of those involved were coerced or cajoled into sex.

In her November lawsuit, Cassie alleged years of abuse, including beatings and rape. Her suit also alleged Combs engaged in sex trafficking by “requiring her to engage in forced sexual acts in multiple jurisdictions” and by engaging in “harboring and transportation of Plaintiff for purposes of sex induced by force, fraud, or coercion.”

It also said he compelled her to help him traffic male sex workers Combs would force Cassie to have sex with while he filmed.

The suit was settled the following day, but its reverberations would last far longer. Combs lost lingering allies, supporters and those reserving judgment when CNN in May aired a leaked video of him punching Cassie, kicking her and throwing her on the floor in a hotel hallway.

The next day, in his first real acknowledgement of wrongdoing since the stream of allegations began, Combs posted a social media video apologizing, saying “I was disgusted when I did it” and “I’m disgusted now.” Cassie’s lawsuit was followed by at least a half-dozen others in the ensuing months.

In February, a music producer filed a lawsuit alleging Combs coerced him to solicit prostitutes and pressured him to have sex with them.

Another of Combs’ accusers was a woman who said the rap producer raped her two decades ago when she was 17.

Another woman who filed a lawsuit, April Lampros, said she was a college student in 1994 when she met Combs, and a series of “terrifying sexual encounters” with Combs and those around him began that lasted for years.

Combs and his attorneys denied nearly all of the lawsuits’ allegations.

While authorities did not publicly say that the lawsuits set off the criminal investigation, Dyer said when the warrants were served that the case was based on “meritless accusations made in civil lawsuits.”

The AP does not typically name people who say they have been sexually abused unless they come forward publicly as Cassie and Lampros did.

As the founder of Bad Boy Records, Combs became one of the most influential hip-hop producers and executives of the past three decades Along with the Notorious B.I.G. he worked with a slew of top-tier artists including Mary J. Blige, Usher, Lil Kim, Faith Evans and 112.

Combs’ roles in his businesses beyond music — including lucrative private-label spirits, a media company and the Sean John Fashion line — took major hits when the allegations arose.

The consequences were even greater when the leaked beating video emerged. Howard University cut ties with him, and he returned his key to the city of New York at the request of the mayor.

Combs has faced various arrests before, and decades ago he was at the center of one of the biggest hip-hop industry trials of its era.

That trial stemmed from a Manhattan nightclub shooting that injured three people in 1999. His then-girlfriend, singer and actor Jennifer Lopez, was also there when the shots rang out.

Combs ultimately was acquitted of charges that he took an illegal gun into the club and tried to bribe his driver to take the fall for the weapon. His then-protégé, Shyne, was convicted of assault and other charges in the shooting and served about eight years in prison. Now going by Moses Barrow, he’s a member of the House of Representatives in his native Belize.

Also in 1999, Combs was arrested on a charge of beating up a record executive in New York. Combs pleaded guilty to harassment, which is a violation, and was sentenced to an anger management class.

Tito Jackson, one of the brothers who made up the beloved pop group the Jackson 5, has died. He was 70.

Jackson was the third of nine children, including global superstars Michael and Janet, and was part of a music-making family whose songs have sold hundreds of millions of copies.

“It’s with heavy hearts that we announce that our beloved father, Rock & Roll Hall of Famer Tito Jackson is no longer with us. We are shocked, saddened and heartbroken. Our father was an incredible man who cared about everyone and their well-being,” his sons TJ, Taj and Taryll Jackson said in a statement posted on Instagram late Sunday.

The Jackson 5, among the last of the major groups launched through Berry Gordy’s Motown empire, included teenage and pre-teen brothers Jackie, Tito, Jermaine, Marlon and lead singer Michael. Gordy signed them up in the late 1960s, when Motown’s power was slipping and tastes were shifting from the slick pop-soul of Motown’s prime to the funkier sounds of Sly and the Family Stone.

“I Want You Back,” the group’s breakthrough hit, was openly modeled on Sly and the Family Stone and topped the charts in 1969. The Jacksons followed with three more No. 1 songs, “ABC,” “The Love You Save” and “I’ll Be There,” and also hit the top 5 with “Mama’s Pearl” and “Never Can Say Goodbye.”

Some called their music “bubblegum soul.”

By mid-decade, the Jackson 5’s appeal was fading and the group, except Jermaine, moved to Epic and renamed themselves the Jacksons. Their latter hits included “Enjoy Yourself,” “Lovely One” and “Shake Your Body (Down to the Ground).” Michael Jackson became a multi-platinum solo artist in the 1980s and his collaborations with his brothers became rare after the 1984 album “Victory.”

The Jackson 5 was inducted into the Rock and Roll Hall of Fame in 1997, introduced at the ceremony by longtime friend Diana Ross.

“His talent as a musician was undeniable, ensuring that their live performances met the expectation of their fans who loved their records. He was low-key and at the same time commanded respect…the same respect he showed to others,” Motown founder Berry Gordy said in a statement. “You could say Tito was the glue that held the Jackson 5 together on their journey to superstardom.”

Raised in Gary, Indiana, the Jackson 5 had been formed under the guidance of their father, Joe Jackson, a steelworker and guitar player. Michael and sibling La Toya would accuse him of abusive behavior. Toriano Adaryll “Tito” Jackson was the least-heard member of the group, working as a background singer who played guitar.

Michael Jackson died at age 50 on June 25, 2009. Speaking to The Associated Press in December 2009, Tito Jackson said that his younger brother’s death pulled the family closer together.

“I would say definitely it brought us a step closer to each other. To recognize that the love we have for each other when one of us is not here, what a great loss,” he said, adding he would personally never “be at peace with it.”

“There’s still moments when I just can’t believe it. So I think that’s never going to go away,” he said.

In 2014, Jackson said that he and his brothers still felt Michael Jackson’s absence in their shows, which continued with international tours.

“I don’t think we will ever get used to performing without him. He’s dearly missed,” Jackson said, noting that his brother’s spirit “is with us when we are performing. It gives us a lot of positive energy and puts a lot of smiles on our faces.”

Days before his death, Jackson posted a message on his Facebook page from Germany on Sept. 11, where he visited a memorial to Michael Jackson with his brothers.

“Before our show in Munich, my brothers Jackie, Marlon, and I, visited the beautiful memorial dedicated to our beloved brother, Michael Jackson. We’re deeply grateful for this special place that honors not only his memory but also our shared legacy. Thank you for keeping his spirit alive,” Jackson wrote.

Jackson was the last of the nine siblings to release a solo project with his 2016 debut, “Tito Time.” He released a song in 2017, “One Way Street,” and told the AP in 2019 that he was working on a sophomore album.

Jackson said he purposely held back from pursuing a solo career because he wanted to focus on raising his three sons, who formed their own music group, 3T. Jackson’s website offers a link to a single featuring 3T and Stevie Wonder titled, “Love One Another.”

Earlier this year, Jackson settled in a house in Claremore, Oklahoma near Tulsa, Tulsa World reported. “I always wanted to get away from the West Coast and experience living somewhere with new people and new culture,” the paper quoted Jackson as saying. “California is … different.”

Jackson had ties to the area: His uncle, Samuel Jackson, had opened Jackson Undertaking Co. in Tulsa in 1917, and when it burned down during the Tulsa Race Massacr e in 1921, Samuel Jackson was hired by a white-owned funeral home to embalm the bodies of Black residents who were killed, the paper reported. He later rebuilt his own company.

Jackson also is survived by his brothers Jermaine, Randy, Marlon and Jackie, his sisters Janet, Rebbie and La Toya, and their mother, Katherine. Their father died in 2018.

Jackson’s death was first reported by Entertainment Tonight.

OSAKA: Japan celebrated on Monday the record-breaking Emmy Awards triumph of “Shogun”, although many confessed not having watched the series about the country’s warring dynasties in the feudal era.

“Shogun” smashed all-time records at the television awards in Los Angeles on Sunday, taking home an astounding 18 statuettes and becoming the first non-English-language winner of the highly coveted award for best drama series.

Lead Hiroyuki Sanada, who played Lord Toranaga, became the first Japanese actor to win an Emmy, while Anna Sawai achieved the same for her performance as Lady Mariko.

“As a Japanese, I’m happy Sanada won,” Kiyoko Kanda, a 70-year-old pensioner, told AFP in Tokyo.

“He worked so hard since he moved to Los Angeles,” she said.

“In ‘Last Samurai’, Tom Cruise was the lead, but it’s exciting Sanada is the main character in ‘Shogun’,” Kanda added.

But she admitted that she only watched the trailer.

The series is available only on Disney’s streaming platform, which is relatively new in Japan.

“I want to watch it. I’m curious to know how Japan is portrayed,” Kanda said.

Otsuka, who declined to give her first name, said she, too, has not watched the show.

“But I saw the news and I’m happy he won.” Sanada, now 63, began his acting career at the age of five in Tokyo and moved to LA after appearing in “Last Samurai” in 2003.

The words “historic achievements” and “Hiroyuki Sanada” were trending on X in Japanese, while Sanada’s speech at the awards racked up tens of thousands of views.

Yusuke Takizawa, 41, also only watched a trailer but he said he was amazed by the quality of the show.

“I was impressed by the high-spirited acting, the attention to detail and the film technology,” Takizawa told AFP outside Osaka Castle, a major historical location for the series.

“I think many young people will want to try their hand in Hollywood after watching Sanada,” he said.

Tourists at the castle also welcomed the record Emmy win.

“I think was the best TV show that I’ve seen this year,” said Zara Ferjani, a visitor from London.

“I thought it was amazing… The direction was beautiful, and I really enjoyed watching something that wasn’t in English as well,” the 33-year-old said.

She said she had planned to watch “Shogun” after returning home from Japan.

“But one of my friends strongly advised me to watch it beforehand, just to appreciate the culture more and definitely Osaka Castle more,” she added.

Roopa Rao, known for her acclaimed film Gantumoote and her recent production Kenda directed by Sahadev Kelavadi, is making a return to direction with her new project, Gochara. The film has already piqued interest with its mysterious vibe and travel-themed hints in its poster.

The title Gochara sparked speculation about whether it could be a sequel to her earlier work. Although specific details are still under wraps, the film’s poster suggests a narrative centred around travel. Roopa Rao shared her excitement about the project on social media, stating,

“This is one the most challenging stories that has occurred to me so far. ‘Gochara’, the title also showed itself. Sharing this with my extended world here as a sign of my commitment to the universe, that we will make this film happen with complete surrender soon. ‘You can find only when you move’.”

While Gantumoote explored life’s baggage from a female perspective and Kenda tackled political satire with a crime twist, Gochara is expected to be given a fresh narrative. Kenda received praise and recognition at various film festivals.

Currently, the team has finalised the locations and the story, and they are in the process of casting the remaining roles. With Roopa Rao and Sahadev Kelavadi producing the film under Ameyukti Studios, Sahadev will also be a part of with Gochara as the cinematographer.

To each their own. When I took up this role initially, I was excited because it was something I had never done before. I was all bulked up at the time, and had to lose weight, muscles. I needed my veins to pop out. I was happily training to look thin and weak. That’s my way of approaching it, and I like what I am doing.

I had to don the loin cloth or a langot for the role. A lot of people would baulk or be apprehensive about it. On the first day of the shoot, we were all shy and we would be pulling the cloth down. But when we realised that everybody was dressed in a similar manner, it felt cool. When the director and the crew arrived on the sets with sunglasses and hats, we would feel they were overdressed. I love how I look in the film, and I really miss not being in that clothing right now (laughs).

The southern language versions of the film have set the box office ringing. Do you feel any pressure, now that the film is set to release in Hindi on OTT?

We want the film to reach every corner of India. It has a message, and it is something different that director Pa Ranjith has tried. We are glad that it has found acceptance with audiences in the south, and now we want the rest of the world to also see it.

How much do you fret over the box-office performance of your films?

The pressure of box-office success is always there.

I would be lying if I said no. But, I have always wanted to act since I was a child; it was my hobby. And when you make your hobby your profession, you don’t have to work. You enjoy doing it every day. So

I am not working; I am enjoying every single day doing what I love.

You are known as the Christian Bale of Tamil Cinema. How do you look at such comparisons?

He doesn’t know Tamil, so he’s got to work a little harder. Jokes apart, he’s an amazing actor, and I am honored to be compared to him.

What are your thoughts about social media as a way of promoting films?

It is a great medium, and I love it. In fact, I feel that if social media was as popular in the early 2000s, Aparachit would have performed so much better. Social media can really help a film. The moment it releases, people know what kind of a film it is, and helps them decide if they want to watch it.

Raghav Juyal had been in the public eye for nearly a decade, but never really managed to grab eyeballs. That is, until his latest film Kill. In Nikhil Nagesh Bhat’s grisly action-thriller, he transforms into the sinister dacoit Fani, who unleashes unimaginable horror. “Kill opened new doors for me. It was the perfect launch pad. Anurag Kashyap messaged me saying I have cracked it. That was the ultimate validation,” says the actor, who first appeared on television as a contestant on the reality show Dance India Dance in 2012.

Juyal has since been a television show host, while juggling bit roles in ensemble films such as ABCD 2, Street Dancer 3D and Kissi K Bhai Kissi Ki Jaan. With his performance in Kill, however, he has turned over a new leaf, setting the tone for the rest of his career. He has already bagged his next project—ZEE5’s new show Gyraah Gyraah, where he plays a detective.

The official remake of the hit South Korean time-travel thriller Signal, Gyraah Gyraah is the story of three cops who are caught in a time capsule as they investigate a series of cold cases. The actor says the show has been localised to make it relatable for the Indian audience. “It is a fresh take on the K-drama, making the adaptation unique, rooted and individualistic in its premise, leaving no similarities with the original.”

Juyal takes on the role of police officer Yug Arya, who is hounded by his past traumas and deep-seated insecurities. As he embarks on a mission to deliver the truth, he finds his fate intertwined with that of the victims. The dancer-turned-actor confesses that he thought an action drama would be a piece of cake after Kill. It was anything but. “Initially, I was perplexed. The character is quite contradictory. He is a cop, but also vulnerable. I remember wondering what tools I could employ to showcase his angst. Should I break my words? Speak fast? It was quite confusing.”

With Karan Johar’s Dharma and Guneet Sikhya backing both Kill and Gyraah Gyraah, Juyal says he weighs in on all aspects of a project before locking it. He holds the success stories of actors such as Vicky Kaushal, Vijay Varma and Jaideep Ahlawat as his benchmark. “The only way to make a mark for an actor is by choosing good scripts. Good writing is the key to the success of any project. You can be a great actor or a mega superstar, but if you don’t have a strong script backing you, it is a hopeless situation,” he says. While several actors have expressed feeling hard-pressed for choices, Juyal begs to differ. “One always has the choice to say No. I don’t want to be part of something for the sake of it. I am clear that

I need a good producer to back and promote a project. In the past, I have been part of good indie films, which got no audience, simply because there was no one to market them,” he adds.

Though he acknowledges he has to work twice as hard, and not give in to complacency, his biggest challenge is to avoid getting typecast. “The industry loves boxing you. They first gave me dancer roles, and now I am inundated with antagonist parts. Though in Yudhra (his next film) I play

a villain again, I will balance that with something lighter in the following project,” says Juyal, his hunter instinct for good roles, sharp and sound.

The film also makes space for some enjoyable musical sequences that flow well with the narrative, helping us exploring the protagonists a little more. The ingredients of a perfectly harmless rom-com are perfectly in place here.

Where the film falters is in weaving a legible, coherent narrative around this this singular plot-point. Two characters dealing with their contrasting sexualities probably does not sound like a one-liner meaty enough, so the writer-director forcefits a variety of devices and tropes, often at Radha’s cost. The narrative of Bhale Unnade unfolds as a narration to a fellow hospital patient named Darabont (VTV Ganesh), an aspiring fimmaker who consistently mocks Radha for his ‘unmanliness.’ To make matters worse, there is an elaborate song as part of Darabont’s daydreaming, where Radha, dressed as a eunuch, breaks into a boisterous song and dance (just in case we couldn’t picture his horror.) Even during other emotional scenes, like an on-stage bonding moment between a mother and a son, where Radha’s mother acknowledges him as her support system, we cut away to some random misogynistic quips by their petty neighbours. The director keeps confusing us by placing homophobic jokes amidst some refreshingly nonchalant moments of women talking about their sexuality.

The second half of Bhale Unaade is all over the place, trying to find a sweet spot between comedy, drama and morality, failing miserably, before it opts for a cop-out trope, where the idea of an ideal man boils down to his capacity as a protector. One can still make peace with the completely unrelated comedy sequences about a sexual functioning pill overdose, or the impending marriage of an ageing bachelor, but what doesn’t work is the film resorting to the cliched sexual assault trope to elevate the protagonist — it is out of a place in a story like this that is all about the inner conflicts and complexes of people.

Manisha Kandkur, playing Krishna, has great screen presence and pulls off both comedy and dramatic moments effectively. However, Krishna is forced to be the protagonist, because Bhale Unnade is not courageous enough to deal with its own themes with honesty. Early on in the film, it’s established that Radha is somewhat afraid of physical intimacy. The same element also becomes a point of main conflict around the interval point. However, we are never told why until the last half an hour. Even there, the film makes space for an elaborate flashback about Radha’s mother, and yet doesn’t provide justifiable reasons for why Radha is the way he is. To his credit, Raj Tarun plays the ‘effeminate’ moments with just the right amount of softness, without falling back upon exaggerated body language. In other portions, though, the actor lacks the required intensity and emotion in his performance.

At the end, with its mishmash of sloppy ideas and execution, Bhale Unnade remains a lost opportunity.

BHALE UNNADE

Cast: Raj Tarun, Manisha

Kandkur, Leela Samson, Abhirami, VTV Ganesh

Director: Siva Sai Vardhan

In a recent interview, Asif Ali and one of his notable co-stars in the film Jagadish, perhaps jokingly, mentioned that the film’s initial title was The Curious Case of Appu Pillai. This title seems fitting, given that the entire film revolves around him and his missing gun, setting off a chain of events that leads to the unravelling of secrets buried deep within memories.

Vijayaraghavan delivers one of his finest performances to date in Kishkindha Kaandam, portraying a character with a complex blend of idiosyncrasies. The veteran actor masterfully captures the subtle switches in behaviour that come with the character’s unforeseen trajectory.

His portrayal of Appu Pillai, whose eccentricities are both intriguing and unnerving, is rendered with meticulous attention to both physicality and the internal dynamics of a man grappling with his past. The nuanced modulation in his voice and the sharpness of his expressions surpass even his State Award-winning performance in Pookkaalam (2023).

Ajayan in Kishkindha Kaandam is among Asif’s most accomplished performances, marked by a masterful display of vulnerability and restraint. The actor embodies a character accustomed to the unpredictable ways of his demanding father, who is adept at getting on anyone’s nerves. Asif conveys this dynamic with a subtle, nonchalant demeanour that speaks volumes. It is in the film’s third act that his acting truly shines. Here, Ajayan must delicately balance his own concealed secrets while still fulfilling his role as a dutiful son, and Asif delivers this complexity with remarkable nuance.

As the third lead, Aparna delivers a compelling performance as a character who is both doggedly inquisitive and assertive. As a new member of the household, her character’s relentless pursuit of understanding her father-in-law’s secretive behaviour fuels significant conflicts with both Ajayan and Appu Pillai. The way her character is written ensures that she is far from a passive figure. She possesses a strong sense of agency that is effectively conveyed through Aparna’s performance as well. One might question her character’s reaction to the film’s final resolution, but this is a minor gripe in an otherwise well-constructed narrative.

At its core, Kishkindha Kaandam is a powerful drama about the secrets we choose to forget—reminiscent of films like Ullozhukku and Aarkkariyam (2021). What makes Dinjith’s film unique as a beast of its own is its ability to blend this poignant drama with a carefully crafted mystery that does not follow the typical conventions of a whodunit, while still keeping us on the edge with a steady stream of surprises.

Kishkindha Kaandam also features a backdrop that becomes an integral character in itself. Just as a dense forest can be a maze of unpredictability, where every step has the potential to reveal a new shadowy layer, the secrets surrounding Appu Pillai run deep, waiting to be unearthed. The characters are not what they initially seem as we gradually get to know them.

Bahul’s work behind the camera is fabulous in conveying the shifting inner psyche of the characters. The visuals are not only pleasing to the eye, thanks to the captivating landscape, but they also create a sense of foreboding with Bahul’s screenplay consistently exceeding expectations. Mujeeb Majeed’s intense background score adds another layer of intrigue to the narrative, although it sometimes becomes louder than necessary, particularly in the film’s latter hour.

As the film ultimately delivers a payoff that is profoundly worth the wait, it is reasonable to affirm that Kishkindha Kaandam is a commendable addition to the ranks of the finest mystery thrillers produced in Malayalam cinema, alongside classics such as Utharam (1989) and Kariyilakkattu Pole (1986).

Film: Kishkindha Kaandam

Director: Dinjith Ayyathan

Cast: Asif Ali, Vijayaraghavan, Aparna Balamurali, Jagadish, Ashokan

Rating : 4/5

THIRUVANANTHAPURAM: B Unnikrishnan, general secretary of Film Employees Federation of Kerala (FEFKA) has resigned from the panel formed by the state government to formulate the film policy of Kerala. He had tendered his resignation on September 8 to the Cultural department.

Unnikrishnan’s resignation came in the wake of the demand from director Vinayan (TG Vinaya Kumar) to remove him from the panel for his alleged unethical practices in the field of cinema. On Thursday, Vinayan also approached Kerala High Court challenging the inclusion of him in the panel as it violated the neutrality of the panel.

However, B Unnikrishnan told TNIE that he had submitted the letter requesting the government to remove him from the panel on September 8, the day after the last sitting of the panel was held in Kochi.

“The panel has entrusted an agency to draft the film policy and data collection. The next sitting is scheduled to be held with FEFKA. When I reported this to the steering committee of the FEFKA, they had asked me to represent the organisation. There is a move to place the film industry under an Entertainment Regulatory Act. However, we as a trade union are fighting all the cases in labour courts since most of the cases are related to labour problems. Hence, we have to present very serious issues to the panel and I also thought that I have to represent FEFKA and bring before them these issues”, he said.

Director Vinayan has also sought his removal from the committee on the basis of the Competition Commission of India order finding Unnikrishnan and other film organisation office bearers responsible for ‘banning’ Vinayan and some actors.

The film follows the classic arc of an aspiring hero who, despite his best intentions, becomes enmeshed in the chaos of the criminal underworld. As Ronny’s story unfolds, he encounters key characters who offer brief moments of solace in his otherwise tumultuous life. The mix of gangster action and melodrama leads to a resolution that, while predictable, delivers its thrills and emotional highs with consistent flair. Characters like Dharmanna Kadur, as Ronny’s friend, and Anil Yadav, as Bala, briefly highlight their roles as supporting and antagonistic forces, respectively.

In its attempt to provide a fresh perspective on the genre, accompanied by Manikanth Kadri’s music, Sachin Basrur’s background score, and Raghavendra B Kolar’s cinematography, Ronny offers a compelling glimpse into how an aspiring individual transitions into the world of crime. While it doesn’t break new ground, it presents a respectable portrayal of ambition and the harsh realities of gangster life.

Kiran Raj invests deeply in his role, delivering a heartfelt and intense performance, particularly when exploring Raghava’s struggles and ambitions to be an actor. His transition to Ronny is marked by mass appeal, though these moments are often overshadowed by the film’s exaggerated action sequences, which, while entertaining, dilute its deeper thematic undertones.

Ronny is physically a gangster but, at heart, remains Raghava; his declaration—’I am here for art, not the bloodstains of violence, and my goal is to wear makeup’—expresses his desire to escape the brutal world of gangsterism and find solace in artistic expression.

This duality—between his search for creative dreams and the entanglement in a violent world—forms the emotional core of the film. Ronny is a whirlwind of intense action and deeply personal drama, steering through the complex terrain of redemption and self-realisation amidst a backdrop of cinematic excess. Its success lies in balancing these elements, even if the overall execution falters on occasion.

Ronny

Director: Gurutej Shetty

Cast: Kiran Raj, Radhya, Sameeksha, Apurva, Ravi Shankar P, Ugramm Manju and Yash Shetty

Rating : 2.5/5

Kannanjaru is building significant momentum ahead of its scheduled November release. The film’s title and motion poster have already garnered widespread attention, and the teaser has accumulated over 1.6 million views in just six days. Promotional efforts are in full swing, with the latest romantic track “Prema Shringara” by Harshvardhan Raj quickly crossing a million views.

The film is directed and produced by R Balachandra, who also stars in the lead role. Kannanjaru has been praised for its nostalgic tone, evoking memories of Ravi Chandran’s classic style. Apoorva, who previously co-starred with Ravichandran in the film Apoorva, is featured in a key role in Kannanjaru.

Expressing her enthusiasm, Apoorva shares, “Since the release of the teaser and the song, there has been a lot of positive buzz around the film, and I feel more confident and optimistic about how Kannanjaru will be received by the audience.”

Balachandra, who wears the hats of actor, director, and producer, says, “The early reactions to the first look, teaser, and song have been phenomenal. ‘Prema Shringara’ has struck a chord with the audience, garnering millions of views, which is a great morale boost for our team.”

Produced under the RP Film banner, Kannanjaru features music by Shashank Seshagiri, editing by Venky Udvi, and cinematography by Manjunath Hegde.

The film is about the generational gap. How do you see it in your personal life? What, in your opinion, can two different generations learn from each other?

I think it is important to accept that the younger generation knows better. The previous generation should try to gain from their knowledge and maybe offer their wisdom. When I strive to learn from the new generation, it makes it easier for me to work with them.

And what do you learn from the new generation of actors?

The best thing about today’s actors is that they come to the set well-prepared. I have had experiences before where a co-star hasn’t prepped. The actors I work with today have read the script, have worked on the scene and they have in-depth discussions about their characters with the director.

You have been a part of many films which formed the Parallel Cinema movement. There was a time when there was a divide between content-driven cinema and commercial films. Now, it feels like every film has to have a commercial viability. There are fewer films now with the essence of Parallel Cinema. What is your take on this?

I don’t think Parallel Cinema is dead. It has just changed its form. The makers have now adapted ways in which their content can be better consumed by the audiences and they can also recover costs. Similarly, when it comes to mainstream cinema, we have come past the time when formulaic films were the only ones being made. Now ‘content’ has become a part of mass-market films as well.

This is a great thing that both kinds of cinema – content-driven and mass-appealing – are learning from each other and can now co-exist. Another boost that has been given to Parallel Cinema films is the rise of OTT platforms. Now, these films, which are decades old, can be seen and appreciated by the viewers and will hopefully make them want to see more such films.

Since we are on the topic of OTT, when streaming services started in India, it seemed like there would be a boost in content-driven cinema. However, in the past few years, it seems like even OTT has been taken over by big production houses and only series and films with A-list actors are being greenlit….

This is nothing new. It is something that happens the world over and it will continue to happen. What sells is what is made. Producers will put in money from where they can recover it. Moreover, OTT platforms started off by creating an identity for themselves and now they are encashing it. I think what they are striving for is a balance. They want some films to cater to one section of the audience and others to another section.

Back in 2001, you led the popular satirical TV series Office Office. It was a show which was not just funny but exposed the rot in the bureaucratic system. Don’t you feel we have stopped doing satire in cinema? Is it because people have become less tolerant of opposing opinions and are very quick to express their disagreement on social media?

I am not on social media. But I guess you have yourself analysed the question and presented an answer. But, all of this is just a phase. It was not like satire was always there in cinema. It sprung for some time and then faded away.

Today, larger-than-life films are being sought after. It’s their time. Maybe, sometime later, all of this will go away and something new will come up.

NEW DELHI: Aarti Ravi, wife of “Ponniyin Selvan” star Jayam Ravi, on Wednesday said her husband made the announcement of their split without her knowledge or consent, leaving the entire family “blindsided”.

Ravi, a prominent face in Tamil cinema, on Monday said he is proceeding with the dissolution of his marriage with Aarti, his wife of 15 years, due to “personal reasons”.

Aarti, who is the daughter of noted television producer Sujatha Vijayakumar, and Ravi tied the knot in 2009.

In a statement shared on Instagram, Aarti said: “I was deeply shocked and saddened by the recent public announcement regarding our marriage, which was made without my knowledge or consent. After 18 years of shared history, I believe that such a significant matter should be handled with the grace, respect, and privacy that it deserves.”

“For some time, I have sought several opportunities to speak directly with my husband, hoping to have an open dialogue in a manner that honours the commitment we made to one another and to our family. Sadly, that opportunity was not afforded to me, leaving both my children and me completely blindsided by this announcement. The decision to walk out of our marriage is purely one sided and does not benefit our family.”

NEW DELHI: International rock band Green Day and American singer-songwriter Shawn Mendes are set to perform at the third edition of Lollapalooza India, set to be held in Mumbai in March 2025, the organisers announced on Tuesday.

The organisers have unveiled the line-up of renowned artists from around the globe and India for the festival that will take place on March 8 and 9.

The music gala will also feature gigs by former One Director member Louis Tomlinson, Glass Animals of “Heat Waves” fame, EDM powerhouse Zedd, American DJ John Summit, rock band Nothing But Thieves and Big Boi, one-half of legendary rap duo Outkast.

From India, artists like Hanumankind, Raftaar x Kr$na, legendary sitarist Niladri Kumar, Lisa Mishra, Raman Negi, Sid Vashi, Raghav Meattle, Sudan and Tawliinder will perform at the festival.

BookMyShow Live, the live entertainment experiential division of BookMyShow, is spearheading Lollapalooza India as the promoter and co-producer for the festival’s Indian edition along with global producers, Perry Farrell and C3 Presents.

According to the organisers, the festival has become a showcase for live music, featuring an array of global and local artists across genres like pop, rock, hip-hop, EDM and techno.

“Attendees can expect over 20 hours of foot-tapping music across 4 captivating stages, with high-energy beats, awe-inspiring art installations, trendy merchandise to mark your memories and the unmissable Lolla Food Park set to evoke all your senses,” it added.

Rohini has been encouraging people who have faced issues in the industry to come forward and register their complaints with the committee.

In a recent association meeting, she stated that people should first file a complaint with the committee if they have faced sexual harassment instead of approaching the media.

At the 68th meeting of the association, Rohini assured that the committee will support victims of violence by providing legal aid and establishing communication channels to address their grievances. She added that all complaints will be forwarded to the cyber police and offenders proven guilty of sexual assault will be banned from the industry for 5 years.

“If you were an actor or aspired to be an actor, if you pounded the pavement in these streets looking for jobs, one of the standards we always had was to be a James Earl Jones,” Samuel L. Jackson once said.

Some of his other films include “Dr. Strangelove,” “The Greatest” (with Muhammad Ali), “Conan the Barbarian,” “Three Fugitives” and playing an admiral in three blockbuster Tom Clancy adaptations — “The Hunt for Red October,” “Patriot Games” and “Clear and Present Danger.” In a rare romantic comedy, “Claudine,” Jones had an onscreen love affair with Diahann Carroll.

LeVar Burton, who starred alongside Jones in the TV movie “Guyana Tragedy: The Story of Jim Jones,” paid tribute on X, writing, “There will never be another of his particular combination of graces.”

Jones made his Broadway debut in 1958’s “Sunrise At Campobello” and would win his two Tony Awards for “The Great White Hope” (1969) and “Fences” (1987). He also was nominated for “On Golden Pond” (2005) and “Gore Vidal’s The Best Man” (2012). He was celebrated for his command of Shakespeare and Athol Fugard alike. More recent Broadway appearances include “Cat on a Hot Tin Roof,” “Driving Miss Daisy,” “The Iceman Cometh,” and “You Can’t Take It With You.”

As a rising stage and television actor, he performed with the New York Shakespeare Festival Theater in “Othello,” “Macbeth” and “King Lear” and in off-Broadway plays.

Jones was born by the light of an oil lamp in a shack in Arkabutla, Mississippi, on Jan. 17, 1931. His father, Robert Earl Jones, had deserted his wife before the baby’s arrival to pursue life as a boxer and, later, an actor.

When Jones was 6, his mother took him to her parents’ farm near Manistee, Michigan. His grandparents adopted the boy and raised him.

“A world ended for me, the safe world of childhood,” Jones wrote in his autobiography, “Voices and Silences.” “The move from Mississippi to Michigan was supposed to be a glorious event. For me it was a heartbreak, and not long after, I began to stutter.”

Too embarrassed to speak, he remained virtually mute for years, communicating with teachers and fellow students with handwritten notes. A sympathetic high school teacher, Donald Crouch, learned that the boy wrote poetry, and demanded that Jones read one of his poems aloud in class. He did so faultlessly.

Teacher and student worked together to restore the boy’s normal speech. “I could not get enough of speaking, debating, orating — acting,” he recalled in his book.

At the University of Michigan, he failed a pre-med exam and switched to drama, also playing four seasons of basketball. He served in the Army from 1953 to 1955.

In New York, he moved in with his father and enrolled with the American Theater Wing program for young actors. Father and son waxed floors to support themselves while looking for acting jobs.

True stardom came suddenly in 1970 with “The Great White Hope.” Howard Sackler’s Pulitzer Prize-winning Broadway play depicted the struggles of Jack Johnson, the first Black heavyweight boxing champion, amid the racism of early 20th-century America. In 1972, Jones repeated his role in the movie version and was nominated for an Academy Award as best actor.

Jones’ two wives were also actors. He married Julienne Marie Hendricks in 1967. After their divorce, he married Cecilia Hart, best known for her role as Stacey Erickson in the CBS police drama “Paris,” in 1982. (She died in 2016.) They had a son, Flynn Earl, born in 1983.

In 2022, the Cort Theatre on Broadway was renamed after Jones, with a ceremony that included Norm Lewis singing “Go the Distance,” Brian Stokes Mitchell singing “Make Them Hear You” and words from Mayor Eric Adams, Samuel L. Jackson and LaTanya Richardson Jackson.

“You can’t think of an artist that has served America more,” director Kenny Leon told the AP. “It’s like it seems like a small act, but it’s a huge action. It’s something we can look up and see that’s tangible.”

Citing his stutter as one of the reasons he wasn’t a political activist, Jones nonetheless hoped his art could change minds.

“I realized early on, from people like Athol Fugard, that you cannot change anybody’s mind, no matter what you do,” he told the AP. “As a preacher, as a scholar, you cannot change their mind. But you can change the way they feel.”

Actor Jayam Ravi took to his social media handles to announce that he and his wife Aarti have decided to part ways. He posted a statement saying that he has “proceeded with the dissolution” of his marriage.

The news comes after months of rumours and speculations about a rift in their marriage. Earlier, Aarti had deleted pictures of herself with her husband from her social media handles.

In a long post on social media, Jayam Ravi shared that while this decision was a painful one for him and Aarti, the duo took it only after much consideration. While he did not unveil the exact reason for such a step, he mentioned that it was only based on the best interests of everyone associated with them.

He also requested everyone to respect his privacy and refrain from making any “assumptions, rumours or allegations in this regard.”

Jewish American film director Sarah Friedland used her acceptance speech at the Venice Film Festival’s awards ceremony on Saturday to strongly criticize Israel’s ongoing military actions in Gaza, calling them as genocide, media reports said.

Sarah Friedland, who won the Luigi de Laurentiis prize for best first film for Familiar Touch, declared, “I’m accepting this award on the 336th day of Israel’s genocide in Gaza and 76th year of occupation.”

In addition to winning the best first film award, Friedland also secured the best director prize for her work in the Horizons section. Kathleen Chalfant, who earned best actress for her role in Familiar Touch, also addressed Israel’s war on Gaza in her speech, Maktoob Media reported.

Both Sarah Friedland and Chalfant emphasized the responsibility of filmmakers to speak out against injustice. “I believe it is our responsibility as filmmakers to use the institutional platforms through which we work to redress Israel’s impunity on the global stage. I stand in solidarity with the people of Palestine and their struggle for liberation,” Friedland said.

The awards ceremony featured several filmmakers expressing solidarity with the Palestinian people.

Israel’s genocidal war over Gaza has now reached nearly a year, beginning on October 7, 2023. Despite efforts from multiple countries to negotiate peace, no resolution has been reached. Over 40,000 civilians have been killed, and more than 100,000 injured in Gaza. The bombardment has also left 80% of Gaza’s buildings in ruins.

Bollywood stars Deepika Padukone and Ranveer Singh have welcomed their first child, a baby girl on Sunday according to multiple news reports.

The arrival of the baby comes just days after the new parents were spotted seeking blessings at Siddhivinayak Temple in Mumbai on Friday. 

The temple visit was a heartfelt gesture to ensure a smooth and blessed delivery, and photos of Deepika in a green saree with her baby bump went viral on social media.

The ecstatic couple is yet take to social media to share the big news with their fans, expressing their overwhelming happiness and gratitude for this new chapter in their lives. 

They had announced their pregnancy in February this year with photos from their maternity photoshoot posted on Instagram, where Deepika was seen happily flaunting her baby bump with Ranveer by her side.

On the workline, it is reported that Deepika plans on resuming work in 2025 and would like to dedicate the next few months to her newborn. She will be seen in Rohit Shetty’s ensemble cop drama Singham Again, which also stars Ranveer.

KOCHI: Call it the Hema committee effect. Cinema halls in Kerala will be devoid of any usual big Malayalam releases this Onam. Though Tovino Thomas’ Ajayante Randam Moshanam, Antony Varghese’s Kondal, and KishKindha Kaandam, starring Asif Ali and Aparna Balamurali, will be released during the festival, the release of Barozz, actor Mohanlal’s directorial debut that was to hit screens this month, has been postponed to October, perhaps because the producers decided not to take any chances following the committee report and the subsequent allegations.

“Films for Onam are not as expected this time. There aren’t any big movies in the line-up. Usually, at least four or five films are released every Onam. Though Barozz was set to be released this Friday, the date has been pushed to October for some reasons,” said Liberty Basheer, a Kochi-based theatre owner.

As for the films gearing up for release, industry expert Siyad Kokker opined that the movies fall in different genres and can attract audiences to the theatre. “Though there are only three films, those fall in different genres. So the experience will also be different. Also, Tovino’s Ajayante Randam Moshanam and Pepe’s (Antony Varghese) Kondal are two big-budget films. Hope these films would bring more audiences to theatres,” he said, adding that four or five films are enough for a festive season. “In this weak economic situation, people are not going to watch several movies during the festival season. Four or five films are enough. The success or fate of a film is decided by its quality. We need quality films,” Kokker said.

Basheer said Vijay’s GOAT (Greatest of All Time) was a much-anticipated film, but it did not meet expectations.

“GOAT was a much-anticipated film. Films released in the first half of the year were successful and brought audiences, especially families, back to theatres. However, in the last two months, films have failed to perform. Vijay’s GOAT is also not receiving good response,” he said.

What was it like collaborating with director Anubhav Sinha? You had also shared how being on the same credit roll as Naseerudin Shah and Pankaj Kapur was a proud moment for you.

Anubhav disarmed me with his charm and wit. I figured he did not like the idea of the director-actor relationship. He enjoys being a friend, who is open to suggestions. Though I don’t have any scenes with Pankaj Sir and Naseer Saab, I just can’t get over the fact that there is a poster with my face alongside theirs. They are such powerful actors, who have been a reference point for my generation of actors.

You too have managed to create your own space—from She to Darlings, Mirzapur and Murder Mubarak. Has it become easier for you to navigate the film industry now?

This is something that I could not have planned. A lot of people who have given up on so-called Bollywood say that they watch my stuff because it is something new and original, which is motivating. Although I was never happy with the Bollywood tag—the name itself is derivative—what I am doing is also kind of Bollywood. The industry is easy to navigate, as long as you know what you want. You need a thinking brain, head on your shoulders and feet on the ground. After I started working actively, I realised people want to work with those actors who are adding to their life between action and cut.

Your next, Matka King, is a period crime series, set against the backdrop of the matka gambling phenomenon of the 1960s. Tell us more.

It is a dream collaboration for me. I have been a great admirer of Nagraj Manjule’s work. He is a potent filmmaker, and I felt he could challenge me in the best possible way. We are currently shooting, and I am in love with the 60s’ fashion, the bell bottoms, the kitsch haircut, and all that jazz.

The makers of Only Murders in the Building, the mystery-comedy series, have renewed it for a fifth season.

Season 4 of the show is currently airing weekly on Hulu and Disney+ Hotstar following its premiere on August 27. With a total of ten episodes, the finale is set to be released on October 29.

In the current season, following the murder of Sazz Pataki (Jane Lynch), the body double of Charles (Steve Martin), the podcast-making, murder-mystery-solving trio takes it upon themselves to unravel the new mystery.

Meanwhile, they are invited to Hollywood for a film adaptation of their podcast, with Eva Longoria playing Mabel (Selena Gomez), Eugene Levy portraying Charles (Steve Martin), and Zach Galifianakis cast as Oliver (Martin Short).

The fourth season features several new cast members, including Kumail Nanjiani, Molly Shannon, Melissa McCarthy, Desmin Borges, Siena Werber, Lilian Rebelo, Richard Kind, Daphne Rubin-Vega, Catherine Cohen, and Jin Ha.

Alongside the series regulars, Meryl Streep, Da’Vine Joy Randolph, Michael Cyril Creighton, and Tina Fey are also part of the ongoing season.

Created by Steve Martin and John Hoffman, Only Murders in the Building is produced by 20th Television.

The show’s third season received 21 Emmy nominations, the highest for the series to date.

Actor Sheela, as you mentioned, has made a welcome statement. In contrast, committee member and veteran actor Sharada made some comments that were termed regressive. However, that could also be seen as a collective voice of many from that generation. Could you share your thoughts on this?

Jolly: Sheela is also from that generation, so the two people of that generation could have different opinions about how they want to address their workspace personally. It is disheartening that a committee member gave such a statement. She is not denying the issue, but opines that there is no need to discuss the topic openly. This comes from an old way of thinking. I see it as a concern of mothers at home, who think that it is wrong for women to talk about such things in public. It is regrettable that a person with such a mindset was included in the committee.

Divya: I personally feel that when we read the committee report, we can understand the views of these three people (Justice Hema, Sharada and former bureaucrat K B Valsalakumari]. People are not giving the mic to the other two; they are only seeking her [Sarada’s] opinion.

Jolly: People will look for the comments to validate the one that is most prominent in public opinion. In this committee report, there is no conclusion or suggestion that all three people have studied and made together. Women are blamed for many things, like their dressing or behavior. I would say such remarks show the lack of one’s personal development. The conditioning has not changed; some are in the patriarchal value system.

Divya: What we seek is structural changes in the industry…

Jolly: When the industry undergoes structural changes, society’s attitude will change as well. This profession should be open to everyone, creating a belief that anyone can enter it. Also, if we want positive outcomes, we need strong rules and regulations. Otherwise, if it is a namesake, the changes will not be sincere and there is a possibility that they will be brutally rejected. And we may not have this much of a voice tomorrow.

Did you ever feel any pressure like that?

Jolly: It’s not exactly pressure, but we often lose work without explanation. Our names will be on the list, schedules are set, and then suddenly, we are dropped from the project. If we ask why, they just say, ‘It’s cinema…’ Even when the director or writer wants us, we can still be removed. This has been happening for a long time.

Divya: Personally, my workflow took a hit. We understand it clearly, which is why we are speaking up. But it’s fine. We have started talking about it, and now, work will come, and more women will join in.

Jolly: In other industries like Tamil and Hindi, women are creating projects centered on women’s stories. Men should be able to do this, too. But, with the current power structure, many struggle to make films, and producers face a lot of pressure. Directors and producers alike suffer due to power games. If more people were gender-sensitive, we could see more stories like that. If women had the power to produce, write scripts, and make films, the industry’s view of women would change — they would not be seen only as actresses, but placed differently. Unfortunately, this is still lacking in our industry.

You are speaking very openly now. Do you worry that this might affect your work?

Jolly: I have never had such fears. My positive and negative sides are that I don’t respect structural hierarchy. I believe in giving equal respect to everyone. I’m not part of any religion, political party, or group. Despite the risks, my greatest comfort is my freedom to express my opinion without looking around. I am not going to live for 500 years, and I don’t view life as human-centric. With that conviction, I have no fear. We all have to die eventually, so I choose to die peacefully.

Divya: When I first started speaking out, I was scared. But there is a push from within – that it’s not just about me. For instance, I decided to speak out against the actor who misbehaved with me after realising that it was not a mistake or a one-off incident – the person had behaved in a similar manner with some other artistes too.

In this profession, many people don’t even realise the issues, and some believe it’s their duty to perpetuate them. We often don’t fully grasp the impact of speaking out until it affects us personally. Despite this, we continue to speak up. It’s tough when there is no work because we are not just activists; we are trying to make a difference from within our field. In 10 years, people might wonder where these women are.

Jolly: We are the ones who drove P K Rosy away. In the 96-year history of our industry, we know what happened to that Dalit girl. Our struggle is never easy. No matter how much progress we make, there will always be challenges for some people. I depend entirely on this work, with no other job or income source, so there are fears. But living with fear is not useful; it’s better to live with hope.

Divya: In the last five years, people began inquiring about us only after the Hema Committee report. I am in my 26th year, and I have struggled to find jobs that I love. We have personal lives beyond our profession. It’s crucial to understand and change this situation. Malayalam cinema is celebrated worldwide for its creativity and it should also be celebrated for its professional and systematic structure.

Jolly: Not only that, our industry is small, but we have managed to create such a big movement, which is a major achievement for us. One of our strengths is our high level of democratic awareness. The notion that the industry might be destroyed is baseless because art, especially cinema, is essential and cannot be eliminated from society. Cinema is an integral part of our existence.

However, the truth is, the film lasts a long time, a really long time, beyond these portions as we shift from past to present. As the truth about Gandhi’s son, Jeevan/Sanjay, becomes evident to us, the film seems rather unsure about treating this very serious situation… seriously. This isn’t about Vijay playing the character in a bit of an unhinged way; it just feels like the film doesn’t quite make up its mind on what it wants to do with Sanjay. Given that the film establishes the Gandhi-Anu household with as much warmth and seriousness, it seems strange then that their reunion with Sanjay is as urgently dealt with.

This is particularly rankling given the truth we learn about Sanjay’s childhood. The premise is full of emotional promise, and yet, the film feels strangely detached and cold. The ideas are there, but the exploration isn’t. And for lack of this, Mohan’s Rajiv Menon—despite having a story that’s about vengeance and manipulation spanning much personal sacrifice—never really gets humanised. And he isn’t particularly entertaining either. 

Meanwhile, the references to old cinema keep piling up. Something about Okkadu. Something about a couple of songs, including ‘Unakenna’ from Attagasam. Meanwhile, despite a rather moving back story, Sanjay gets treated by the film as a psychopath—and yet, the film, in the middle of all the action, forces him into not one but two songs whose placements remind you of old cinema too, and not in a good way.

These seem like decisions taken not in favour of the story or characters, but to momentarily capture the modern moviegoer, who’s trained by Instagram, it seems to expect constant dopamine hits. Perhaps story and character-loyalty in the reels generation is, to borrow Sanjay’s words to Gandhi, “a cringe expectation from a boomer”, but calls to nostalgia, like in the first half, are rewarding only when treated as flavour, not when they come at you in a disharmonious parade.

Every film, ultimately, is an exercise in storytelling, and in GOAT, that takes a backseat once the Thalapathy-Ilayathalapathy premise gets set up. Vijay is great as both characters (and I particularly enjoyed the young energy he brings to the role of Sanjay). Though there was much talk about the VFX potentially being a problem ahead of the film’s release, I had no real issues.

The problem—the more serious one to me—is the film lacking a moral centre. Sure, you could argue that Mankatha did too (and many other films too), and you’d be right, but there, the whole film is structured and executed as hyenas out to outwit each other. Here though, we are encouraged to see Gandhi as a good man; we are expected to empathise with him—and yet, there’s no hint that either of the parents had even a fleeting conversation with Sanjay about his childhood. Gandhi’s friends seem to matter for a while, but then, the purpose ascribed to Prabhudheva’s Kalyan feels forced, while Prashanth’s Sunil doesn’t quite get humanised in the face of a personal tragedy.

Meanwhile, Rajiv Menon may be a bad guy, but what of the innocent lives the ‘good’ guys take from him? Even that end, treated to work as wholesome entertainment, doesn’t exactly feel like it, given the icky resolution. The typical response to such concerns is that there isn’t much time in which to accomplish such emotional objectives. The retort then can be, if a film has the time for two ill-fitted duets, surely, primary storytelling concerns warrant more attention? 

The ‘attractions’ meanwhile keep coming. Unexpectedly, a heroine joins a song. Unexpectedly, a star arrives at the end and is given a metaphorical responsibility. Someone suddenly sings, “Madurai veeran thaane…”

The film, which begins with a rather unrelated homage to Vijayakanth, seems to want to appease almost every fanbase. Why else would you have Sanjay suddenly going, “Adhayum thaandi punidhamaanadhu”? Are you not entertained?

Perhaps worried that we may not be all hopped up on these dizzying references, the film, in its last leg, throws at us the ultimate cheering machine: CSK and Dhoni and Chepauk. Not a recreation of the ‘Halamathi’ step, not a strange ‘Father of the Nation’ punchline, not even Dhoni being shown to execute last over heroics, seems to help fix the malaise. That’s because what the film suffers from isn’t a superficial wound. It’s a fracture—fractured emotions, fractured characters, fractured storytelling. And no number of bandaids—of dopamine hits—is going to cover that successfully…not for me, anyway.

This review was originally published on cinemaexpress.com

CHENNAI: Popular actor Sowmya accused a Tamil director, whose identity has been withheld, of horrific mental, physical, and sexual assault. The actor spoke about being “groomed as a sex slave” by the director in an emotional interview with NDTV.

The #MeToo movement, following the release of the Hema Committee Report, set ablaze the Malayalam film industry. The heat has been felt in the Tamil film industry as well.

Sowmya said the man approached her with his wife when she was just 18 years old. She said he inflicted mental torture by claiming her as his “daughter” and declaring he wanted a child with her; he also sexually assaulted her, at times inserting a rod into her genitals as “entertainment.”

She said she would reveal the man’s identity to the special police team formed by the Kerala government, which is investigating multiple cases of alleged sexual assault in Mollywood.

“I was 18 and in my first year of college … I came from a very sheltered background and my parents knew nothing about movies. This opportunity (to act in a Tamil film) came through my college theatre contact. As a child I was enamoured by the actor Revathy, who lived near my house at that time…I was in a fantasy world. So I went for a screen test with this couple…”

“I was a child, I didn’t know much,” Sowmya told NDTV.

She indicated her family had been arm-twisted into allowing her to act, saying the director told her father they had spent large amounts of money on her screen test. This was after Sowmya recognised red flags; “I said I wasn’t comfortable with the man. I said this at my first meeting.”

However, Sowmya told NDTV she felt “obligated” to act in that movie.

“During the first outdoor shoots he didn’t speak to me. The agreement was that his wife would be the director but that was on paper… in reality he was directing the whole movie.”

“And so I was under his control … and he gave me the ‘angry silent treatment’ like a lot of men are used to doing. And because of our conditioning in patriarchy … about authority figures, particularly intimidating men who express anger very easily, I was very scared,” she said.

Sowmya, fighting to keep her emotions in check, then outlined how she was “groomed” by the man who claimed her as his daughter. His own daughter had left, accusing him of rape.

“But they told me she (the couple’s daughter) was lying. So they brought me into their home. I was a teenager who was rebellious at home and suddenly this couple was nice to me, bribing me with good food and milkshakes, and telling me good things. That was the grooming process … he knew fully well what he was doing,” she said firmly.

And then, Sowmya told NDTV, the sexual assault and rape took place.

“One fine day, when his wife wasn’t around, this man, while calling me his daughter, kissed me. I completely froze. I was so desperate to tell my friends but couldn’t; I was ashamed, thinking I had done something wrong and that I was obligated to be nice to this man.”

“So I continued going for practice, for dance rehearsals … every day I went back and gradually, step by step, this man completely used my body to his advantage. At some point he forced himself on me … so he raped me. This went on for close to a year while I was in college.”

During this time Sowmya said the man repeatedly called her his “daughter” while expressing his desire to have a child with her.

“He messed with my brain,” she said, the anger palpable.

The sexual abuse continued in the Malayalam film industry as well; Sowmya did three films that were hits back in the ’90s. 

“A co-star who sexually abused me has now been named in the Hema Committee report” she said, “directors, actors, and technicians abused me. There were also rights violations. One person spat pan on me.”

When asked if there was consent, she said “No.”

“It took 30 years for me to heal and recover from this sense of ‘shame.’ I encourage survivors to report all such abuse.”

Filmmaker Kiran Rao’s critically acclaimed 2024 film ‘Laapataa Ladies’ is going places and quite literally. The film has gained significant popularity since its debut on Netflix, becoming a fan favourite amongst cinephiles. Now, it is all set set to release in Japan!

Rao announced this on Instagram while sharing a trailer of the film in Japanese. Along with the video, she wrote, “Laapataa Ladies will be found in Japan from October 4, 2024! We are so excited for our theatrical release in Japan by Shochiku, Japan – arigato gozaimasu!”

Starring Nitanshi Goel, Pratibha Ranta and Sparsh Shrivastava, the film is set in rural India and revolves around two new brides who get swapped during a train journey, leading to a complex yet funny situation.

The comedy-drama challenges patriarchy while using satire as a narrative tool. It also opened to largely positive reviews from film critics.

The film has been co-produced under the banner of Aamir Khan Productions and Kindling Productions.

Earlier, the 2024 film was screened at the Supreme Court. The screening was held as part of a gender sensitization program and was attended by judges of the apex court.

NEW DELHI: Actor Kangana Ranaut on Wednesday said she has become “everyone’s favourite target” and she is paying the price for awakening a “sleeping nation” as the release of her controversial film “Emergency” continues to be in limbo in the wake of Madhya Pradesh High Court order.

The political period drama, also directed, written and co-produced by Ranaut, didn’t get any relief from the Bombay High Court which refused to pass any order in the wake of a directive by the Madhya Pradesh HC directing the Central Board of Film Certification (CBFC) to consider objections to the movie before certifying it.

“Emergency”, which stars Ranaut in the role of former prime minister Indira Gandhi, was scheduled for a September 6 release after multiple delays but is yet to get a clearance from the CBFC.

The actor and BJP MP from Mandi reacted to the HC order in an X post.

“Today I have become everyone’s favourite target, this is the price you pay for awakening this sleeping nation, they don’t know what I am talking about they have no clue why I am so concerned, because they want peace, they don’t want to take sides (sic)” she wrote.

KOCHI: As the skeletons keep tumbling out of Mollywood’s cupboard after the release of the Hema Committee report, the fact remains that stories of exploitation and harassment are not new in the industry. Hidden in the woodwork of Mollywood are many dark secrets. In the past, going back to the ‘70s and the ‘80s, many such stories have come out against those wielding power in the industry.

However, with no support or avenue for the victims to reveal their tales of harassment and exploitation, many young and promising actors resorted to suicide, overcome by depression and humiliation.

It is alleged that Vijayasree, who worked in the Malayalam film industry in the ‘70s, was the first casualty of the exploitation. She was known as the Marilyn Monroe of the Malayalam film industry. However, she ended her life at the age of 21 in 1974. The allegation is that she might have taken the extreme step after being blackmailed and pestered for sexual favours by a leading producer and director of that time.

It is also alleged that an incident of a wardrobe malfunction that led to her being filmed nude during the shooting of a film, and the eventual inclusion of the scene in the movie even after Vijayasree urged the director to delete it, humiliated her. The 2011 film Nayika, directed by Jayaraj, which ends with the heroine suffering a wardrobe malfunction, is said to be loosely based on Vijayasree’s life.

Another name that pops up is that of actor Shobha. She died by suicide, and the reasons that led her to it — at the age of 17 — remain a mystery. A popular version attributes her death to her relationship with a leading director.

Ironically, the very industry that is now weathering the brunt of the ‘MeToo’ allegations had in 1983 highlighted the same through K G George’s film Lekhayude Maranam Oru Flashback, which was loosely based on the life and death of actress Shobha.

It is also ironic that the film Thirakatha, which is based on the tragic life of actor Srividya, who was exploited by many, was directed by Ranjith who now stands accused of sexual harassment.

KOCHI: The Kerala Police on Tuesday booked popular Malayalam actor Nivin Pauly, producer AK Sunil, and four others under Section 376 (rape) and other relevant sections following a woman’s complaint alleging sexual assault.

The accusations come as the Malayalam film industry grapples with numerous sexual harassment allegations following the release of the Hema Committee report, which exposed widespread sexual misconduct in the industry.

A case was registered at the Oonnukal police station in Ernakualm based on a complaint from a resident who alleged that she had been harassed by the actor and colleagues in Dubai.

The complainant alleged that she was raped under the pretense of being offered a role in a film. She added that the incident involved multiple individuals, including Nivin, whom she described as part of a group responsible for the assault.

“The case was registered after the Special Investigation Team (SIT) forwarded the complaint following the collection of statements from the complainant to the district police chief, who then passed it on to the Oonnukal police station. We subsequently registered a case under charges of rape and assault with intent to outrage a woman’s modesty,” said KP Vinod, the Station House Officer of Oonnukal police station.

There are six accused in the case, with Nivin Pauly being named as the sixth accused, he added.

Meanwhile, Nivin Pauly responded to allegations via social media, calling them “entirely untrue” and “baseless.”

“I have come across a false news report accusing me of abusing a girl. Please know that this is entirely untrue. I’m determined to go to any extent to prove these allegations are baseless and will take all necessary steps to bring those responsible to light. Thank you for your concern. The rest will be handled legally,” the actor posted on X.

MUMBAI: Shots were reportedly fired outside the house of Punjabi singer A.P. Dhillon in Victoria Island in Canada’s Vancouver.

As per sources, the incident occurred on Sunday following which a persons named Rohit Godara, a member of the Lawrence Bishnoi gang, reportedly took responsibility for the shooting incident.

A video capturing the shooting has now emerged which is under the scrutiny of the security agencies.

The incident has drawn significant media attention due to Dhillon’s prominent status in the music industry, and the potential implications of the attack.

Authorities are actively looking into the incident to ascertain the motive behind the shooting and to ensure the safety of Dhillon and his neighbours in Vancouver.

Dhillon is known for blending the 80s style synth-pop with Punjabi music. His rise on the global canvas has been meteoric owing to songs like ‘Brown Munde’, ‘Excuses’, ‘Summer High’, and ‘Insane’, among others.

Kamya also goes on to say how some actors are womanisers but if you stop it, if you make it very clear, such things do not happen.

“Nobody is being forced to do this. Aisa nahi hai ke aapko haath lagaya jaaega aur aap uncomfortable feel karoge. If you tell them, ‘Hello, I don’t like it’, you will not be touched.”

“We have seen actors who get crazy for girls but nobody forces nobody. I know of some people who say that such things have happened to them. But again, if a girl does not want, it will not happen. It does not happen in the television industry. I don’t know about films or OTT but it does not happen in TV,” she added.

On the work front, Kamya Panjabi has been featured in daily soaps such as Banoo Main Teri Dulhann, Parvarrish – Kuchh Khattee Kuchh Meethi and Maryada: Lekin Kab Tak? She was also a contestant on Bigg Boss season seven.

Two sexual harassment cases were registered against the actor last week by the special investigation team. According to one complainant, the incident happened in 2008 during the shooting of Dhe Ingottu Nokkiye.

The actor also stated that his family including him is in the US. “Due to my personal commitments, my family and I have been in America for the past month and during this time two false allegations on the grounds of sexual harassment were made against me.

Quite naturally, it has shattered me, my family and everyone who has held me close. I will be back as soon as I finish my work here. All the legal proceedings to prove my innocence will continue. I have complete faith in our judicial system,” he added.

Mammootty stated that he wholeheartedly welcomes and supports the instructions and solutions provided in the report.

He added that this is the time for all of the film fraternity to come together to welcome the suggestions made by the report and help with the implementation of it.

“The investigation into the allegations is being properly carried out by the police,” Mammootty wrote, adding that the full report is in front of the court.

In the last line of his Facebook post he wrote “Ultimately, cinema should survive.”

Both Mohanlal and Mammootty, two of the biggest names in Malayalam cinema had come under scrutiny for not responding to the allegations against the Malayalam film industry put forward by the report. Even after the big M’s broke their silence, none of their responses seemed to have touched the core of the issue.

The release of the Hema Committee report has triggered something similar to the #Metoo movement with several women coming out and raising serious allegations of sexual abuse against noted filmmakers and actors in the Malayalam cinema.

As many as 18 cases have been registered so far against prominent actors and filmmakers including actor and CPIM MLA Mukesh, actor-director and former chairman of Kerala Chalachitra Academy Ranjith, actor and former general secretary of AMMA Siddique and actor Jayasurya.

KOCHI/KOZHIKODE : Police on Saturday registered a case against director Sreekumar Menon for molesting a junior artist at a hotel in the city. The police will also register a case against actor Baburaj soon as the junior artist has named him in her complaint. The case was registered at Maradu police station under IPC Section 354 (outraging the modesty of a woman).

After registering the FIR, the investigation was handed over to the Special Investigation Team (SIT) formed to probe the MeToo allegations. Earlier, the police team contacted the victim who sent her complaint via email on Friday. Later, police recorded the statement of the victim online. The victim, a resident of Kottayam, is currently out of station. Her detailed statement will be recorded later.

In Kozhikode, Kasaba police registered a case under Section 377 of IPC against director B Ranjith based on a complaint filed by a Kozhikode resident on Friday. It was the second police case against director Ranjith after the release of the Hema Committee report.

Similarly, Nadakkavu police registered two cases under Section 354(a) of the IPC against actors Edavela Babu and Sudheesh on a complaint filed by a junior artist from Kozhikode.

The complaints of two persons who gave a confidential statement before the SIT have now been proceeded by the police by adding serious offences.

As the #MeToo movement in Mollywood gathers steam after the release of the Hema Committee report, filmmaker and actor Revathy has denied allegations that director Ranjith sent her nude photos of a man who approached him for a role.

Speaking to the Times of India, Revathy clarified by saying, “I am aware of the news circulating in the media regarding Ranjith and me. I have not received any photos. So there is no need for me to comment on this.”

These allegations came out a few days ago when Sajeer, hailing from Mankavu in Kozhikode, lodged a sexual harassment complaint against Ranjith.

Sajeer accused Ranjith of subjecting him to unnatural sex in 2012 when he approached him for offers in films.

The youth recounted that upon entering the hotel room where Ranjith was staying, he found the director heavily intoxicated. Ranjith allegedly offered him liquor, which he accepted, unaware of the consequences. Sajeer, who stated that this was his first time drinking alcohol, claimed that Ranjith then coerced him into undressing and subjected him to sexual abuse throughout the night.

Sajeer further alleged that Ranjith took his nude photos, purportedly to show them to the director’s girlfriend who was none other than Revathy to his surprise. Believing that this was part of an acting opportunity or a character Ranjith saw in him, Sajeer complied.

The next morning, according to Sajeer, Ranjith coldly dismissed him, asking him to return to his hometown, leaving him deeply traumatised. Sajeer also revealed that he had confided in actor Edavela Babu about the incident, only to be met with further misconduct.

In an interview with TNIE, Sajeer said that he had received more than four calls from different people attempting to persuade him to withdraw the case. Despite these attempts at intimidation, he stood firm in his decision to seek justice.

Ranjith had resigned from his post as chairman of Kerala Chalachitra Academy after allegations of sexual harassment were raised against him by Bengali actor Sreelekha Mitra. The Kerala Police subsequently filed an FIR against the filmmaker.

KOCHI: Film director Ashiq Abu on Friday quit the membership of Film Employees Federation of Kerala (Fefka) within days after he criticised the delayed response to the Justice Hema Committee report and the way the federation is run.

Aashiq Abu had condemned the ‘hypocritical’ stand of Fefka general secretary B Unnikrishnan after the federation welcomed the Hema Committee report, urging the authorities to release the remaining pages of the report as well.

“FEFKA will take the responsibility to empower female members to approach the special investigation team constituted by the state government,” according to the statement. The association general secretary was also entrusted with the task of coordinating with the subgroups to discuss and come to a common stand on the Hema committee report.

Criticising the statement, Aashiq said that the statement by FEFKA, issued on Wednesday, was done without consulting other members.

NEW DELHI: Shiromani Akali Dal (SAD) here has sent a legal notice to the Central Board of Film Certification (CBFC) seeking to prevent the release of Kangana Ranaut’s upcoming film ‘Emergency’, claiming it may “incite communal tensions” and “spread misinformation”.

It alleged the trailer of the film depicted “erroneous historical facts that not only misrepresent the Sikh community but also promote hatred and social discord.”

“Such depictions are not only misleading but also deeply offensive and damaging to the social fabric of Punjab and the entire nation.

It is apparent that Ranaut has chosen the subject of the Emergency not to make a genuine political or historical statement against Congress, but rather to target the Sikh community,” the notice sent on August 27 claimed.

Lyricist-screenwriter Javed Akhtar and his filmmaker daughter Zoya Akhtar graced the latest session of Expresso held on Thursday in Mumbai. The duo, known for their thought-provoking insights and candid opinions, shared a heartfelt conversation about their love for literature, cinema, and each other.

Zoya, who recently directed The Archies adaptation for Netflix and produced the coming-of-age drama Kho Gaye Hum Kahan, opened up about the lack of censorship on OTT and whether its limiting or liberating her as a director.

She dismissed the argument that sublimation makes better art than explicitness, arguing against censorship in the portrayal of physical intimacy.  

“It is very important to showcase consensual intimacy on screen. I grew up at a time where women were bullied, beaten up, harassed and sexually assaulted on screen. All these were allowed, but you couldn’t see a kiss. People should be allowed to see love, tenderness, physical intimacy between two adults,” said Zoya, earning a warm round of applause from the audience.

Acknowledging the risks of a no-holds-barred approach, Zoya emphasised the importance of artistic choice. “Every film has a tone, and every filmmaker tells a story in a particular way. As opposed to Ramesh Sippy’s Sholay, where the choices of showcasing violence were ahead of its time, the violence in Tarantino’s films is operatic. It is all about what you are trying to evoke in the audience,” she explained.

Zoya also highlighted cultural differences in the portrayal of intimacy, noting, “The French are more open with male nudity compared to the Americans. It depends on how comfortable you are with yourself, how you view sex, how you view your body.”

Adding to the filmmaker’s points her father, the legendary writer acknowledged the significance of  intention. “If you are showing a love scene to titillate, that is different. If you want to evoke genuine romance and empathy, then it is different,” he said.

Reflecting on his own experiences, he remarked, “Even in my worst anger, I don’t use four-letter cuss words. But when I saw it being uttered on screen in Bandit Queen, I didn’t mind because the intention wasn’t to shock or titillate. Therefore, intention is very important.”

“When I did the script narration, I was told that once the film is released there could be parallel readings of it with whatever is happening in the society. Which is fair, even though we didn’t intend that, once a film is done they can read it the way they want. This crime isn’t only limited to the industry anyway, even though it’s related,” he continued.

When asked how to make film sets safer for women, the debutant filmmaker said the production house needs to take some measures to bring about systemic changes. “There’s a lot of systemic problems. Most films are a result of people coming together, who you don’t know. You don’t know their background or mindset, you’re there for a temporary period.

“If there’s a panel on every film, then there will be a responsible behaviour by people, you’d know that there is somebody watching out. That’s an important thing that should be brought to action as soon as possible. This panel—be it one person or two people—should be with them throughout the production of the movie,” he added.

Aattam, which was widely recognised and beloved by cinephiles for its take on sexual violence at workplaces had won three accolades at the 70th National Film Awards. The film stars Zarin Shihab, Vijay Forrt and Kalabhavan Shajohn, in prominent roles and is currently streaming on Prime Video.

Minor tremors lead to major explosions; Pandemonium sets in

What began as minor ripples went on to lead to a major explosion. A good five days later, chaos ensued, that too on the very day AMMA chose to publicly respond to the Hema report.

A Bengali actress accused senior director-actor and chairman of the State Chalachithra Academy, Ranjith, of sexual misconduct, while she was auditioning for his 2009 film Paleri Manikyam. After dilly-dallying for a day, while the Left leadership clearly distanced itself from him, he chose to step down.

A double-dhamaka followed, as senior actor and general secretary of AMMA, Siddique, too chose to step down after a young actress accused him of sexual assault — an allegation that she had made public in 2019 about a 2016 incident. As the industry grappled with the two high-profile resignations, a floodgate of revelations was opened, akin to the MeToo movement in the Hollywood.

A slew of actors and filmmakers including actor-turned-politician M Mukesh, Jayasurya, Maniyampilla Raju, Baburaj, Edavela Babu, Sudheesh, VK Prakash and Sreekumar Menon came under the shadow of suspicion, after allegations of misconduct were levelled against them. In a span of hours, an array of junior artistes and young actresses had levelled a series of accusations of sexual violations and exploitations. What’s more, on August 27, the whole AMMA executive led by president veteran actor Mohanlal dramatically resigned.

Differing voices in actors’ outfit

The mass resignation of the powerful actors’ body happened after a few open revolts spilled out into the public eye. The resentment within the outfit was amply felt, after few senior actors including its vice president and senior character actor, Jagadeesh, openly dismissing the organisation’s official position and calling for an immediate probe into all allegations.

If an actress had given a statement that someone had persistently knocked on the door of her room at night with wrong intent, it ought to be investigated, said Jagadeesh, referring to remarks in the Hema report about a persistent issue cited by many actresses — the dreaded knocking on doors at night.

Close on the heels, followed superstar Prithviraj who openly admitted of lapses on the part of AMMA, and demanded action on the Hema report. Popular actor Tovino Thomas too expressed his opinion in favour of looking into complaints.

A confused government – the political angle!

The whole Hema report fiasco in fact exposes the kind of confusion within the government when it comes to dealing with sexual crimes of such a high-profile nature. The CPM-led government, which has a declared stance of zero tolerance towards anti-women crimes, is finding it increasingly difficult to deal with the after-effects of the Hema report.

While demands came from various corners to initiate legal actions against those named, the government chose to insist that it cannot do so, unless the aggrieved come forward and file fresh complaints, setting the backdrop for a political slug-fest. The chaotic mess that followed forced the Kerala High Court to intervene, asking how the authorities could ignore the recommendations!

The government did form a Special Investigation Team (SIT) to probe all the revelations that kept tumbling out of the closet. Ironically, the carefully worded statement didn’t make any mention of the Hema panel and its content. The SIT got on to the job immediately, as a few artistes approached the team with complaints, including one against actor turned CPM MLA M Mukesh. With persistent calls, even from within the Left, for Mukesh’s resignation, the CPM chose, as usual, to drag its feet over the whole issue.

NEW DELHI: Western cinema, as British actor Daniel Caltagirone sees it, is “dying”, and Indians films are on the verge of supplanting Hollywood, which seems to have lost its way in the surge of streamers.

The actor plays the antagonist Lord Clement in Pa Ranjith’s Tamil period drama “Thangalaan”, fronted by Vikram in the title role. Caltagirone, whose Hollywood film credits include the Oscar winning title “The Pianist”, “Legionnaire”, “Lara Croft: Tomb Raider—The Cradle of Life”, and “The Fall”, said he feels “privileged” to make his Indian cinema debut at a time when stars like Deepika Padukone are presenting at the Academy Awards.

“There is a shift Western cinema is dying, I don’t know what it is. I don’t know if it is because of streaming, but I urge people to not abandon cinema. Indian cinema is exciting, colourful, fun, and passionate. There is amazing old-school storytelling. It just throws you in whereas we have lost something in the West. It’s become dull, it’s become sort of too self-reflective. Indian filmmaking, you are one step away, you are so close to superseding Hollywood. Big Indian stars like Deepika are now presenting at the Oscars. This is unreal,” he told PTI in an interview.

This is not his first time working with an Indian filmmaker. He previously worked with filmmaker Shekhar Kapur in 2002’s “The Four Feathers” and India-born American director Tarsem Singh in 2006’s “The Fall”. Calling Ranjith, known for hard-hitting social dramas like “Madras”, “Kaala” and “Sarpatta Parambarai”, a social commentator, Caltagirone said his education about Indian cinema is “just starting”.

When asked if there was any Indian director he would like to work with, the actor said he wouldn’t mind working with “RRR” filmmaker SS Rajamouli. “If S S Rajamouli decides he is going to do something different in terms of the British representation ” he said, referring to the cliched bad guy roles for the British characters in “RRR”.

When it comes to potential co-stars, Caltagirone said he would like to reunite with his “Thangalaan” colleague Vikram,”We had this crazy understanding (on set). He could be 200 meters away and he would look at me like that and I would know what to do. He is one of the few actors in my life who I can trust. I know how exactly he is going to go when he is going to swing a punch at me. We had this trust with each other,” he added.

After its worldwide release on August 15, “Thangalaan” is set for its North Indian premiere in Hindi on September 6. It also stars Malavika Mohanan and Parvathy Thiruvothu.

KOLLAM: Actor and Kollam MLA M. Mukesh is now facing fresh allegations of inappropriate behavior from junior artists. Sandiya, a junior artist, has accused Mukesh for his misconduct toward her friend’s mother at their home.

According to Sandiya, Mukesh visited her friend’s house and allegedly misbehaved with her mother, leading him being asked to leave.

Actress Minu Muneer made a public statement on Monday, claiming that Mukesh demanded sexual favors in exchange for membership in the Association of Malayalam Movie Artists (AMMA). She announced that she plans to file a formal complaint on Tuesday.

With the release of the Justice Hema Committee report followed by many women actors including artists coming out publicly with their traumatic experiences, conversations and uproar is seen globally. In an exclusive interview with NDTV, Bollywood director Gauri Shinde known for her films like English Vinglish and Dear Zindagi shared her thoughts on the report.

When asked about the workplace harassment faced by women across various industries in India, Gauri said, “My thoughts are exactly what anyone would and should have. Women’s safety is a non-negotiable basic right. And if there is any sign of harm to that sanctity, it has to be dealt with a firm hand and strict rules, no doubt.”

KOCHI: Backing her media allegations against filmmaker Ranjith, Bengali actor Sreelekha Mitra filed a complaint with the Kochi city police commissioner on Monday. The complainant alleged sexual misbehaviour by the former Kerala Chalachitra Academy chairman in 2009 at a Kochi apartment. 

In her complaint via email, the actor detailed that the incident occurred at DD Flats, Kadavanthra, Kochi, when she was invited to act in the film 2009 movie ‘Paleri Manikyam: Oru Pathirakolapathakathinte Katha’, directed by Ranjith.

During a film discussion at the flat in Kochi’s Kaloor-Kadavanthra where Ranjith was staying, he allegedly grabbed her hand and attempted to touch other parts of her body with sexual intent. Realizing his intentions were inappropriate, she managed to escape and return to her hotel. Sreelekha also mentioned that she shared this distressing experience with scriptwriter Joshy Joseph during that day itself.

The shock waves that followed after the release of the Hema Committee report continue to echo as more women in Mollywood have come forward revealing their bad experiences with male colleagues.

Singer Chinmayi Sripada recently commented on the Hema Committee report and the sexual abuse complaints in the film industry. In an exclusive interview with IndiaToday and NDTV, she spoke at length about the work conditions of this specific industry and how it’s difficult to punish perpetrators due to their political connections, wealthy backgrounds, etc.

In the interview, Chinmayi further appreciated the hard work of the team behind the Hema Committee as well as the members of the Women in Cinema Collective (WCC) for setting a prime example.

“The most important thing I want to mention here is that hats off to WCC. They have persevered and came together to do something important. It has not been done in any other industry so far. All of these are open secrets and everybody knows about it. We are talking about sexual abuse and sexual harassment, and the abuse of power in other multiple industries,” she said.

The singer also added that sexual harassment is believed to be “common and normal” in the film industry. “I am really grateful for the amount of work that the women and WCC have put together. The Hema Committee report wouldn’t have come through in the absence of their push and perseverance,” stressed Chinmayi.

The issues raised by women in cinema have made people in the industry accountable and answerable, according to G P Ramachandran, a film critic. “The film industry does not have an agreement, contract, or any kind of licensing like any other workplace. These men, who have the support of the system, a huge fan base, and power, continued to exploit women and weak sections in the industry. Now, they have to respond to the issues raised. This happened when the Women in Cinema Collective and the survivors decided to fight back against the system,” he said, adding that it has encouraged many women to come out and speak up.

Jolly Chirayath, a film and theatre artist, believes that it is only the beginning, and more women will come out. “For several years, women were not considered humans. There was also rape culture. Now women are able to acknowledge the issues and are willing to fight back against the system that considers them secondary citizens. These women are supported by some men who have a progressive mentality as well,” she said, adding that it is an outcome of the efforts of the Women in Cinema Collective (WCC), the survivor, and the release of the Hema Committee report. 

“These issues are not specific to the Malayalam film industry. We have seen the Me Too movement in Hollywood as well. Now, Mollywood is undergoing a purification process, which is the need of the hour. These incidents show that the people in the industry and the audience are willing to accept the change,” said Ramachandran.

He added that there was a fear factor about job security, safety, and even morals earlier, and with the release of the report and the revelations of a few women, the survivors have become courageous enough to break the silence.

Zomato’s CEO, Deepinder Goyal, has announced the return of the Zomato Feeding India Concert (ZFIC), with global pop sensation Dua Lipa headlining the event. Goyal took to X (formerly Twitter) to share his excitement, writing, “ZFIC is back! Headlining this year’s event is my favourite global pop icon Dua Lipa, an inspiration to millions worldwide!”

The concert, scheduled for November 30, 2024, in Mumbai, marks a significant milestone in Zomato’s ongoing mission to combat hunger and malnutrition across India. Although the exact venue is yet to be announced, tickets will go on sale starting August 27.

The Zomato Feeding India Concert is more than just a musical event; it serves as a powerful catalyst for community mobilisation. By uniting artists, philanthropists, and the public, the concert aims to create a hunger-free India. Proceeds from ticket sales and donations will directly support Zomato’s Feeding India initiative, which has been instrumental in addressing critical food security issues in the country.

Dua Lipa’s involvement is expected to elevate the concert’s profile, drawing international attention to the cause. The ZFIC has a history of featuring prominent global artists, making it a key event in the fight against hunger. Through the concert, Zomato continues to leverage the influence of popular culture to drive meaningful change and impact the lives of those in need.