After thirty-two long years, cinema is returning to Kashmir valley. The first multiplex is opening in Srinagar City to provide entertainment to the youth of Kashmir. Cinema halls in the valley were closed in the early 90s after terrorism found its roots in the region.

India: Cinema returns to Kashmir after 32 years of intermission

Indian and its film industry have evolved and grown parallelly. Cinema has been an integral part of every Indian life much before we got Independence.

India@75: From silent to OTT cinema - the ever-evolving film industry

Cinema Paradiso has kicked off in the Louvre Museum. A selection of documentaries will be shown. 2500 spectators are expected to visit the cinema festival in Paris.

Cinema Paradiso kicks off in the Louvre Museum: Selection of documentaries to be shown

Several cinemas in the UK have banned younger moviegoers from wearing suits to the screenings of 'Minions: The Rise of Gru', reported the BBC.

Teenagers clad in suits, calling themselves The Gentleminions, have been reported indulging in rowdy behaviour in theatres, thus inviting the bans.&nbsp;

Videos featuring the so-called Gentleminions, which emerged from the popular video-sharing site TikTok (banned in India), are being circulated on all major social media sites.

Also Read:&nbsp;<a href="https://www.wionews.com/entertainment/hollywood/news-why-disney-could-lose-the-rights-to-mickey-mouse-494564">Why Disney could lose the rights to Mickey Mouse</a>

However, the studio behind the film and the franchise, Univeral Pictures, seems to side with the The Gentleminions. On Twitter, its official handle wrote, "to everyone showing up to @Minions in suits: we see you and we love you."

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'Minions: The Rise of Gru' is the sequel to 2015's 'Minions', itself a spinoff of the 'Despicable Me' franchise. Directed by Kyle Balda and written by Matthew Fogel, the film is based on the the fictional titular childish creatures with unintelligible and amusing language in the 'Despicable Me' franchise.&nbsp;

Said to have existed since the beginning of life on earth, they seek out the most terrible of villains and if they cannot find somebody suitable, they get depressed.&nbsp;

'Minions: The Rise of Gru' has received mostly positive reviews. On the review aggregation site Rotten Tomatoes, the movie has scored a respectable 72 per cent, meaning most of its reviews are favourable. The critical consensus reads, "The Minions' antic shenanigans are beginning to grate despite this sequel's injection of retro chic, although this loony marathon of gags will still delight young children."

Several cinemas in the UK have banned younger moviegoers from wearing suits to the screenings of 'Minions: The Rise of Gru', reported the BBC. Teenagers clad in suits, calling themselves The Gentleminions, have been reported indulging in rowdy behaviour in theatres, thus inviting the bans.

Several cinemas in the UK have banned younger moviegoers from wearing suits to the screenings of 'Minions: The Rise of Gru', reported the BBC. Teenagers clad in suits, calling themselves The Gentleminions, have been reported indulging in rowdy behaviour in theatres, thus inviting the bans. Videos featuring the so-called Gentleminions, which emerged from the popular video-sharing site TikTok (banned in India), are being circulated on all major social media sites. Also Read: Why Disney could lose the rights to Mickey Mouse However, the studio behind the film and the franchise, Univeral Pictures, seems to side with the The Gentleminions. On Twitter, its official handle wrote, "to everyone showing up to @Minions in suits: we see you and we love you." 'Minions: The Rise of Gru' is the sequel to 2015's 'Minions', itself a spinoff of the 'Despicable Me' franchise. Directed by Kyle Balda and written by Matthew Fogel, the film is based on the the fictional titular childish creatures with unintelligible and amusing language in the 'Despicable Me' franchise. Said to have existed since the beginning of life on earth, they seek out the most terrible of villains and if they cannot find somebody suitable, they get depressed. 'Minions: The Rise of Gru' has received mostly positive reviews. On the review aggregation site Rotten Tomatoes, the movie has scored a respectable 72 per cent, meaning most of its reviews are favourable. The critical consensus reads, "The Minions' antic shenanigans are beginning to grate despite this sequel's injection of retro chic, although this loony marathon of gags will still delight young children."

UK cinemas ban suit-clad teens from 'Minions: The Rise of Gru' screenings after rowdy behaviour

For decades, the historic Ariana cinema entertained Afghans. But it has been closed for months now. Like the rest of the country, the Ariana is in limbo, waiting to see how the Taliban will rule. On South Asia Diary, Mariam Wardak brings you the story of Ariana cinema.

South Asia Diary | Ariana cinema's fate hangs in limbo, will Taliban allows movies in Afghanistan?

When dabbling in the ever-evolving topic of middle-aged women in films, a funny response by Halle Berry on Jimmy Kimmel’s ‘Mean Tweets Live’ segment crops up in my head. It was 2015 and someone had tweeted about her then 49 YO breasts that went like this – “Halle Berrie’s boobs are lopsided (sic)” – to which, the actress had replied, quite nonchalant by the public attack on her supposedly sagging bosom, “Well, when they’re real, that happens.” Six years on, that is precisely the case. Female actors are, thankfully, no longer put on a pedestal when they are young and thriving and unceremoniously escorted out the back door, when they are not. The new-age ‘old’ women in cinema are fierce, unabashedly accepting of their bodies and the inevitable transition they must endure over time. They are not their lip jobs and liposuctions; they are here to render one career-defining performance after another.

Perhaps it is this newfound confidence in embracing what was (once) generationally considered wrath of nature that led Academy Award-winning actress Kate Winslet to say no to digital tummy tucks for her monster hit ‘Mare of Easttown’. Crow’s feet? Laugh lines? Stretched bellies from birthing kids? No problem.

Winslet’s contemporaries, too, are defying the age barrier that’s been rampant in films with sheer talent. Take ‘Noctural Animals’ actress Amy Adams for instance. True, her ambitious project ‘The Woman in the Window’ faced harsh criticism for, well, being a bad film but with Disney’s ‘Disenchanted’ lead Giselle in tow and the high school drama ‘Dear Evan Hansen’ in the pipeline, who’s to say if 2022 will mark her seventh Oscar nomination. Interestingly, Adams’ first nomination for ‘JuneBag’ was back in 2005 and she was only 31 years of age: the pink of her health, ageists may say. And although time has turned her into a raddled version (according to conventionalists) of her once pretty self, there is not an iota of doubt that 46 YO Adams is tailor-made for an Academy honor, the question is when.

Talking of 2021 releases, it is safe to say that Rosamund Pike’s sharp bob, pantsuits and sass made quite the entrance in this year’s Netflix sleeper hit ‘I Care A Lot’. The actress – then in her 30s – had become the poster child of troubled prettiness with her distinct act as Amy Dunne in the 2014 release ‘Gone Girl’ and exudes ghastly charm and gravitas with the same intensity in her latest outing as she had seven years ago. If anything, Pike is carving a niche for herself in this genre that few dare to tread along.

Agreed, clicking pictures with best friend Penelope Cruz – another stunning actor who refuses to slow down with age like it’s a nonexistent phenomenon – is second nature to Salma Hayek, but when she is in front of the camera for whatever role is offered to her… Boy is she on fire! Her pairing with Owen Wilson in this year’s ‘Bliss’ may have been an odd artistic choice but Hayek as a kooky crack head was a delight to watch, to say the least. &nbsp;If her thick Spanish accent, like ‘Modern family’ alumna Sofia Vergara’s, could not jeopardize her career in Hollywood, age certainly stands no chance.

‘The Crown’ royalty Olivia Colman may not be distractingly beautiful like Cruz or Hayek but what she is, is mind-bogglingly talented. There are very few actresses in Hollywood, or any other parts of the world for that matter, who can stand shoulder-to-shoulder in acting prowess with the legendary Anthony Hopkins but Olivia Colman is no plain Jane—in that regard—and she does what comes naturally to her: acting. Greys or not.

Similarly, the Streeps, McDormands, Mirrens, Portmans and Blanchetts of showbiz are far too busy touching the zenith of their respective careers to care about nagging remarks about stepping away from milestone acting jobs, and what for. In an industry notorious for massaging the male ego and where pay parity is an open joke, it is refreshing to see women break free from the shackles of ageism and pave the path for themselves and the younger school of actresses to come.

BOLLYWOOD’S NOT BEHIND

Historically, the Indian film industry has struggled with the PYT syndrome for as long as I can remember—Pretty Young Thing, that is. In recent years, however, it has started to separate raw talent from preconceived notions of beauty. In modern India, quite recently, a heavyset woman well in her 40s like Vidya Balan shoulders a big-budgeted film ironically about capturing a tigress, titled ‘Sherni’. It is almost hilarious that Balan, who was once mocked and rebuked for gaining weight, is now regarded as a national (art) treasure.

Or a Neena Gupta—who had left the whole nation gasping in unison when she had announced her pregnancy out of wedlock, back in the 80s—do what they couldn’t do when the ‘age’ was right: land a lead role. In her OTT show with daughter Masaba Gupta in 2020-21, named ‘Masaba Masaba’, Gupta echoes her suppressed emotions about not being able to make it as ‘a heroine’ in her prime and how she was reduced to a mere prop, aka ‘heroine ki saheli’. At 62, Gupta realized a fraction of that dream in a series that was otherwise meant to be her designer daughter’s acting launch pad. Times are truly ‘a changin’.

Despite the organized commotion that is the cinema industry and the plethora of issues it nurtures, encounters and fights back, a cluster of women have dared to defy age and land acting jobs strictly on their acting expertise. Thus, reiterating the fact that if the youth is your moolah, then you will be spent.&nbsp;

(Disclaimer: The views of the writer do not represent the views of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.)

When dabbling in the ever-evolving topic of middle-aged women in films, a funny response by Halle Berry on Jimmy Kimmel’s ‘Mean Tweets Live’ segment crops up in my head.

When dabbling in the ever-evolving topic of middle-aged women in films, a funny response by Halle Berry on Jimmy Kimmel’s ‘Mean Tweets Live’ segment crops up in my head. It was 2015 and someone had tweeted about her then 49 YO breasts that went like this – “Halle Berrie’s boobs are lopsided (sic)” – to which, the actress had replied, quite nonchalant by the public attack on her supposedly sagging bosom, “Well, when they’re real, that happens.” Six years on, that is precisely the case. Female actors are, thankfully, no longer put on a pedestal when they are young and thriving and unceremoniously escorted out the back door, when they are not. The new-age ‘old’ women in cinema are fierce, unabashedly accepting of their bodies and the inevitable transition they must endure over time. They are not their lip jobs and liposuctions; they are here to render one career-defining performance after another. Perhaps it is this newfound confidence in embracing what was (once) generationally considered wrath of nature that led Academy Award-winning actress Kate Winslet to say no to digital tummy tucks for her monster hit ‘Mare of Easttown’. Crow’s feet? Laugh lines? Stretched bellies from birthing kids? No problem. Winslet’s contemporaries, too, are defying the age barrier that’s been rampant in films with sheer talent. Take ‘Noctural Animals’ actress Amy Adams for instance. True, her ambitious project ‘The Woman in the Window’ faced harsh criticism for, well, being a bad film but with Disney’s ‘Disenchanted’ lead Giselle in tow and the high school drama ‘Dear Evan Hansen’ in the pipeline, who’s to say if 2022 will mark her seventh Oscar nomination. Interestingly, Adams’ first nomination for ‘JuneBag’ was back in 2005 and she was only 31 years of age: the pink of her health, ageists may say. And although time has turned her into a raddled version (according to conventionalists) of her once pretty self, there is not an iota of doubt that 46 YO Adams is tailor-made for an Academy honor, the question is when. Talking of 2021 releases, it is safe to say that Rosamund Pike’s sharp bob, pantsuits and sass made quite the entrance in this year’s Netflix sleeper hit ‘I Care A Lot’. The actress – then in her 30s – had become the poster child of troubled prettiness with her distinct act as Amy Dunne in the 2014 release ‘Gone Girl’ and exudes ghastly charm and gravitas with the same intensity in her latest outing as she had seven years ago. If anything, Pike is carving a niche for herself in this genre that few dare to tread along. Agreed, clicking pictures with best friend Penelope Cruz – another stunning actor who refuses to slow down with age like it’s a nonexistent phenomenon – is second nature to Salma Hayek, but when she is in front of the camera for whatever role is offered to her… Boy is she on fire! Her pairing with Owen Wilson in this year’s ‘Bliss’ may have been an odd artistic choice but Hayek as a kooky crack head was a delight to watch, to say the least. If her thick Spanish accent, like ‘Modern family’ alumna Sofia Vergara’s, could not jeopardize her career in Hollywood, age certainly stands no chance. ‘The Crown’ royalty Olivia Colman may not be distractingly beautiful like Cruz or Hayek but what she is, is mind-bogglingly talented. There are very few actresses in Hollywood, or any other parts of the world for that matter, who can stand shoulder-to-shoulder in acting prowess with the legendary Anthony Hopkins but Olivia Colman is no plain Jane—in that regard—and she does what comes naturally to her: acting. Greys or not. Similarly, the Streeps, McDormands, Mirrens, Portmans and Blanchetts of showbiz are far too busy touching the zenith of their respective careers to care about nagging remarks about stepping away from milestone acting jobs, and what for. In an industry notorious for massaging the male ego and where pay parity is an open joke, it is refreshing to see women break free from the shackles of ageism and pave the path for themselves and the younger school of actresses to come. BOLLYWOOD’S NOT BEHIND Historically, the Indian film industry has struggled with the PYT syndrome for as long as I can remember—Pretty Young Thing, that is. In recent years, however, it has started to separate raw talent from preconceived notions of beauty. In modern India, quite recently, a heavyset woman well in her 40s like Vidya Balan shoulders a big-budgeted film ironically about capturing a tigress, titled ‘Sherni’. It is almost hilarious that Balan, who was once mocked and rebuked for gaining weight, is now regarded as a national (art) treasure. Or a Neena Gupta—who had left the whole nation gasping in unison when she had announced her pregnancy out of wedlock, back in the 80s—do what they couldn’t do when the ‘age’ was right: land a lead role. In her OTT show with daughter Masaba Gupta in 2020-21, named ‘Masaba Masaba’, Gupta echoes her suppressed emotions about not being able to make it as ‘a heroine’ in her prime and how she was reduced to a mere prop, aka ‘heroine ki saheli’. At 62, Gupta realized a fraction of that dream in a series that was otherwise meant to be her designer daughter’s acting launch pad. Times are truly ‘a changin’. Despite the organized commotion that is the cinema industry and the plethora of issues it nurtures, encounters and fights back, a cluster of women have dared to defy age and land acting jobs strictly on their acting expertise. Thus, reiterating the fact that if the youth is your moolah, then you will be spent. (Disclaimer: The views of the writer do not represent the views of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.)

Opinion | Kate Winslet, Salma Hayek, Vidya Balan: Sexy is the new middle age!

The&nbsp;Cannes&nbsp;Film&nbsp;Festival&nbsp;returns&nbsp;next week, promising to bury the long months of darkness and solitude under an avalanche of celebrity, champagne and chin-stroking arthouse&nbsp;cinema.&nbsp;

It is billed as nothing less than a resurrection. "Cinema&nbsp;is not dead!" festival supremo Thierry Fremaux declared last month.&nbsp;

It is the first major fully-fledged&nbsp;film&nbsp;festival&nbsp;since the pandemic, and a truckload of Hollywood stars -- from Timothee Chalamet to Nicole Kidman to Matt Damon -- are expected on the Croisette between July 6 and 17.

It's not quite a return to normal, of course, even if France's Covid numbers have been steadily improving and most restrictions lifted.&nbsp;

There will be no "bises" -- the French-style peck on the cheeks -- at the top of the fabled steps to the Palais des Festivals.&nbsp;

And some of the&nbsp;glitz&nbsp;will be toned down, with many after-parties cancelled and the big galas cutting their invite lists in half to meet social distancing guidelines.&nbsp;

Organisers are also slowly waking up to the fact that the sight of celebrities and moguls arriving on private jets and mega-yachts doesn't seem so chic in an age of impending climate disaster.

So this year: no plastic, lots of electric cars, and most symbolic of all: a red carpet that is half the size and made from recycled material.&nbsp;

Stargazing&nbsp;

But our collective need to gawp at megastars on the Cote d'Azur will not be denied.&nbsp;

One&nbsp;film&nbsp;in this year's competition accounts for an outsize share of the celeb-count: Wes Anderson's "The French Dispatch" includes Chalamet, Benicio del Toro, Bill Murray and many more.&nbsp;

Two other stars of that&nbsp;film&nbsp;-- Tilda Swinton and Lea Seydoux -- will be near-ubiquitous on the Croisette, with appearances in a remarkable eight movies between them.

Damon is in town for the premiere of his latest thriller, the Marseilles-set "Stillwater".

But&nbsp;Cannes&nbsp;is all about the filmmakers, and after last year's edition was cancelled due to the pandemic, a particularly rich crop of festival alumni is competing for the Palme d'Or.&nbsp;

Among those submitting themselves to the famously blunt audiences of&nbsp;Cannes&nbsp;are several past winners: Italy's Nanni Moretti with his new&nbsp;film&nbsp;"Tre Piani", France's Jacques Audiard ("Les Olympiades") and Thailand's master of the slow-burn Apichatpong Weerasethakul with his English-language debut ("Memoria").&nbsp;

The opening night&nbsp;film&nbsp;is also a first in English for France's Leo Carax, directing Adam Driver and Marion Cotillard in what is certain to be a bizarre and visually arresting musical about a celebrity couple and their mysterious child, "Annette".

Dutch shockmeister Paul Verhoeven, who made his name with Hollywood megahits like "Robocop" and "Basic Instinct", continues his late run of (slightly) more subtle European fare with "Benedetta" about lesbian nuns in 17th century Italy.&nbsp;

Sean Penn will also be hoping for a personal resurrection after his catastrophic&nbsp;Cannes&nbsp;appearance in 2016, when his Africa-based humanitarian love story "The Last Face" was mercilessly booed.&nbsp;

He is aiming for a warmer reception to "Flag Day", starring himself and his daughter Dylan.

<a href="https://www.wionews.com/world/us-calls-report-of-china-building-more-than-100-nuclear-missile-silos-concerning-395234">Also Read |&nbsp;US calls report of China building more than 100 nuclear missile silos 'concerning'</a>

Also in the competition are Iran's two-time Oscar winner Asghar Farhadi, who&nbsp;returns&nbsp;with "A Hero", and Russia's Kirill Serebrennikov, who is unable to attend due to an embezzlement conviction that is widely seen as punishment for criticising Vladimir Putin.

Gender imbalance&nbsp;

The panel judging the 24 entries is headed by US director Spike Lee -- the first time a black man has led the jury -- and includes "The Serpent" star Tahar Rahim and US actress Maggie Gyllenhaal.&nbsp;

With just four female directors in the competition, the festival's tendency to pick the usual (male) suspects of the arthouse elite is once again under scrutiny.&nbsp;

Only one woman has won the top Palme d'Or prize in 73 editions of the festival: Jane Campion for "The Piano" in 1993.

The selection is more balanced in the other sections, however, with over half the entries in the independent Directors' Fortnight and International Critics Week coming from women directors.&nbsp;

US actor-director Jodie Foster will likely field questions on the subject as she picks up an honorary Palme.&nbsp;

There is plenty happening outside the competitions, including a first showing of Oliver Stone's new documentary about the JFK assassination, updating his feature-length conspiracy theory from 1991.&nbsp;

That will play in the new&nbsp;Cannes&nbsp;Premiere section, along with other intriguing documentaries: one about troubled star Val Kilmer ("Val") and Charlotte Gainsbourg's ode to her mother Jane Birkin ("Jane").

The Cannes Film Festival returns next week, promising to bury the long months of darkness and solitude under an avalanche of celebrity, champagne and chin-stroking arthouse cinema.

The Cannes Film Festival returns next week, promising to bury the long months of darkness and solitude under an avalanche of celebrity, champagne and chin-stroking arthouse cinema. It is billed as nothing less than a resurrection. "Cinema is not dead!" festival supremo Thierry Fremaux declared last month. It is the first major fully-fledged film festival since the pandemic, and a truckload of Hollywood stars -- from Timothee Chalamet to Nicole Kidman to Matt Damon -- are expected on the Croisette between July 6 and 17. It's not quite a return to normal, of course, even if France's Covid numbers have been steadily improving and most restrictions lifted. There will be no "bises" -- the French-style peck on the cheeks -- at the top of the fabled steps to the Palais des Festivals. And some of the glitz will be toned down, with many after-parties cancelled and the big galas cutting their invite lists in half to meet social distancing guidelines. Organisers are also slowly waking up to the fact that the sight of celebrities and moguls arriving on private jets and mega-yachts doesn't seem so chic in an age of impending climate disaster. So this year: no plastic, lots of electric cars, and most symbolic of all: a red carpet that is half the size and made from recycled material. Stargazing But our collective need to gawp at megastars on the Cote d'Azur will not be denied. One film in this year's competition accounts for an outsize share of the celeb-count: Wes Anderson's "The French Dispatch" includes Chalamet, Benicio del Toro, Bill Murray and many more. Two other stars of that film -- Tilda Swinton and Lea Seydoux -- will be near-ubiquitous on the Croisette, with appearances in a remarkable eight movies between them. Damon is in town for the premiere of his latest thriller, the Marseilles-set "Stillwater". But Cannes is all about the filmmakers, and after last year's edition was cancelled due to the pandemic, a particularly rich crop of festival alumni is competing for the Palme d'Or. Among those submitting themselves to the famously blunt audiences of Cannes are several past winners: Italy's Nanni Moretti with his new film "Tre Piani", France's Jacques Audiard ("Les Olympiades") and Thailand's master of the slow-burn Apichatpong Weerasethakul with his English-language debut ("Memoria"). The opening night film is also a first in English for France's Leo Carax, directing Adam Driver and Marion Cotillard in what is certain to be a bizarre and visually arresting musical about a celebrity couple and their mysterious child, "Annette". Dutch shockmeister Paul Verhoeven, who made his name with Hollywood megahits like "Robocop" and "Basic Instinct", continues his late run of (slightly) more subtle European fare with "Benedetta" about lesbian nuns in 17th century Italy. Sean Penn will also be hoping for a personal resurrection after his catastrophic Cannes appearance in 2016, when his Africa-based humanitarian love story "The Last Face" was mercilessly booed. He is aiming for a warmer reception to "Flag Day", starring himself and his daughter Dylan. Also Read | US calls report of China building more than 100 nuclear missile silos 'concerning' Also in the competition are Iran's two-time Oscar winner Asghar Farhadi, who returns with "A Hero", and Russia's Kirill Serebrennikov, who is unable to attend due to an embezzlement conviction that is widely seen as punishment for criticising Vladimir Putin. Gender imbalance The panel judging the 24 entries is headed by US director Spike Lee -- the first time a black man has led the jury -- and includes "The Serpent" star Tahar Rahim and US actress Maggie Gyllenhaal. With just four female directors in the competition, the festival's tendency to pick the usual (male) suspects of the arthouse elite is once again under scrutiny. Only one woman has won the top Palme d'Or prize in 73 editions of the festival: Jane Campion for "The Piano" in 1993. The selection is more balanced in the other sections, however, with over half the entries in the independent Directors' Fortnight and International Critics Week coming from women directors. US actor-director Jodie Foster will likely field questions on the subject as she picks up an honorary Palme. There is plenty happening outside the competitions, including a first showing of Oliver Stone's new documentary about the JFK assassination, updating his feature-length conspiracy theory from 1991. That will play in the new Cannes Premiere section, along with other intriguing documentaries: one about troubled star Val Kilmer ("Val") and Charlotte Gainsbourg's ode to her mother Jane Birkin ("Jane").

Cinema glitz returns with a reborn Cannes

It was a good, grounded and witty friend who, one fine day, brought up this topic.&nbsp;

“You are a Bong living in the so-called Culture-capital, so tell me – why is there always a funny smile, a tragic sigh, a soulful nodding of the head, raising of the eyebrows and sentences starting with a fatigued ... How can you bear to enjoy those films? &nbsp;I can’t sit through them for more than 5 minutes! This is mostly followed by speeches on the masters, ending invariably, in hushed tones, about Cahier Du Cinema? Do enlighten a lesser mortal, residing in Versova, the heart of Masalaville!”&nbsp;

After I laughed loud, hard and long, I consoled him by admitting that I fully agreed with his observation. There indeed exists one hugely hyper section of people who can effortlessly provide you with discomfort &amp; complex if you aren’t in love with Fellini, Kieslowski, Kurosawa, Antonioni &amp; Bergman and make you feel like a moron lacking in the proper cultural pedigree; a 7-star dumbo in the speak-converse-debate-enlighten department. &nbsp;

After I gave him a little brief on Cahier Du Cinema, its importance and significance, he re-entered the conversation with all guns blazing. &nbsp;

“Thanks for your Cahier yak, but what’s the big deal about a 50s museum piece, French new-wave mag making such a hoo-haa with a bunch of about-to-pop-it antiquated bozos? This is 2021 for chrissake! Even the Pandemic appears to be on the way out. We are not historians, academics or critics, yaar. Dump the paralysis through analysis crap and get a vaccine for these kill-joys! As the super song in 3 Idiots went ... Give me some sunshine ...”

Also Read | <a href="https://www.wionews.com/opinions-blogs/opinion-is-2021-the-year-of-actor-vs-star-showdown-360345">Opinion: Is 2021 the year of Actor vs Star showdown?</a>

While I disagreed with his sweeping and flamboyant dismissal of anything beyond the Bollywood entertainer, I totally rocked with his pulling the trigger on the species who have a cardiac if you haven’t heard or seen Battleship Potemkin! Or [snored through?] many of the revered gems showcased in the film festivals, raved about by people, most of whom are totally clueless about why exactly they are feeling so viagrised on seeing unfamiliar, grim, esoteric and metaphysical content exploring the human condition. Its hysterically funny checking out their response when asked about their opinion, post the screening ... A confusing, bewildered, ashened smile!

The answer to this million-buck question lies in the fact there are three kinds of audiences that hit this territory. &nbsp;

One, a minority who genuinely wants to see, enjoy or be initiated into this alternate space and believes that with time, patience &amp; discussions will get the true meaning of these gems &amp; begin to connect with them.&nbsp;

Two, people who are curious &amp; open about this genre and want to check out these soul-uplifting masterpieces raved about by their arty friends.

Also Read | <a href="https://www.wionews.com/entertainment/michael-b-jordan-celebrates-late-chadwick-bosemans-historic-sag-nomination-361946">Michael B Jordan celebrates late Chadwick Boseman's historic SAG nomination</a>&nbsp;

Three – and this is the section in question – the cultural wanna-bees desperate to hit the “respectability &amp; fitting in” button. Ordinary people who can’t be accused of sensibilities or interests beyond the entertaining blockbusters, but suddenly crazily anxious not to be perceived as someone who is frivolous or views movies as time-pass BUT as sensitive connoisseurs who look at Cinema as an agent of change, truth 24 times a second, artistic exploration of linear truths that reside in the human soul. &nbsp;

This – they believe – will give them a special aura, status and will allow them to enter the charmed circle where their book-jacket-inspired comments &amp; coffee-table wit will be applauded by the like-minded frat!

To each his own, but the problem with this attitude is the hi-decibel inflicting and imposing of opinion on the unguarded &amp; un-interested guy’s throat with aggressive force! &nbsp;The 'My way or the highway' thing, frequently followed by the [yawn!] gyaan of how masala films have ruined the taste buds of the nation, how compulsory film education must be kicked in ASAP blah, blah, blah.&nbsp;

While the intent may be admirable, it is this fierce, non-negotiable thrust that demands enquiry. The lack of tolerance, the condescending look and tone of the wild-eyed art-wallah at anyone who stoops to sample anything beyond the gems could get a weak-kneed bloke to start writing his will, or seriously considering which exact spot is ideal to leap from his 16th floor balcony.&nbsp;

Fact is, taste for the more refined and the desire to want to be challenged [not spoon-fed or catered to] depends mostly on the environment in which one has grown up and influences that have shaped &amp; formed one’s sensibilities.&nbsp;

Sometimes, it is also acquired through the company one keeps and at other times [very rare, though] – it is instinctive. These are factors to be considered before flaunting cultural superiority because the recipients are creatures of a lesser god. &nbsp;

They are therefore unable to connect with complex or thought-provoking content that demands solid participation while viewing a film. &nbsp;To the everyday audience, movies still spell entertainment, a blessed out escapist trip to the never-never-land-of-happy-ever-after!&nbsp;

Their instant retort is: Why should I pay and think? It’s your job to think how best you can entertain me and you better get it right, or else ...! Fly me to the moon and let me play among the stars ...

Ultimately, it really boils down to live and let live. Forget the obsession of playing Masterji &amp; evangelist and trying to convert every non-art house soul to a disciple. Most will either ponder how you’ve been actually certified sane, vanish from sight every time you enter their frame or wonder what terrible things one did in one’s last life to suffer these OMG moments.&nbsp;

It also reflects poorly on these self-styled brand ambassadors of this genre because it shows them off as uncivilized people, pompous and self-righteous, the definitive, argumentative Indian who must prove his point, come what may. It doesn’t strike them that beyond bad manners, the lesser mortals are not obliged to listen, do cartwheels or go down on bended knees with gratitude for these pearls of wisdom. Labelled Mr. Bak-Bak and boring, they are likely to head their drop-dead list of creatures the world should quickly forget!

At a personal level, the two amazing exponents of the inclusive, pluralistic, accommodating and reach-out school have been my late dad-in-law, Mr. Chidananda Das Gupta &amp; filmmaker Shyam Benegal. Both were curious, interested, attentive and listened intently to your raves about Bollywood films, eager to pick up any new insights they may have missed. &nbsp;

Das Gupta, while not really into the mainstream commercial, was always enthusiastic and eager to remain updated about trends in masala land &amp; I remember how excited he was, years ago, when I explained to him the Angry Young Man phenomenon gripping Bollywood &amp; the masses. Benegal was of course completely in tune with the times and so, whether it was Kieslowski or the Khans, his takes were always engaging &amp; fascinatingly insightful. &nbsp;

Neither of these eminent personalities ever offered gyaan or flung hard-to-pronounce names of world cinema with affected flourish. &nbsp;Nor were they humouring or indulging you. They simply and interestingly decoded the best of the alternate cinema &amp; suggested – along with the masala stuff – checking out some of their material. &nbsp;It was always done in a warm, friendly and seductively un-threatening manner &amp; always with a good word for the commercial cinema because they genuinely saw lots of good things in many Bollywood films.

In a world filled with Guru-giri or posturing, it is hugely gratifying to follow the itinerary of sane, imaginative and cultured minds, showcasing civilised discourse, drawing readers &amp; people into a space where even the most complex film-makers &amp; films become intimate companions. &nbsp;Theirs is the art of de-mystifying cinema without making confusion, more confounded! &nbsp;Clearly there is a lesson somewhere for both, the learned Gurus of Cinema or the one’s posturing as devotees of Cahier Du Cinema ... will they pay heed?

(Disclaimer: The views of the writer do not represent the views of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.)

It was a good, grounded and witty friend who, one fine day, brought up this topic. “You are a Bong living in the so-called Culture-capital, so tell me – why is there always a funny smile, a tragic sigh, a soulful nodding of the head, raising of the eyebrows and sentences starting with a fatigued .

It was a good, grounded and witty friend who, one fine day, brought up this topic. “You are a Bong living in the so-called Culture-capital, so tell me – why is there always a funny smile, a tragic sigh, a soulful nodding of the head, raising of the eyebrows and sentences starting with a fatigued ... How can you bear to enjoy those films? I can’t sit through them for more than 5 minutes! This is mostly followed by speeches on the masters, ending invariably, in hushed tones, about Cahier Du Cinema? Do enlighten a lesser mortal, residing in Versova, the heart of Masalaville!” After I laughed loud, hard and long, I consoled him by admitting that I fully agreed with his observation. There indeed exists one hugely hyper section of people who can effortlessly provide you with discomfort & complex if you aren’t in love with Fellini, Kieslowski, Kurosawa, Antonioni & Bergman and make you feel like a moron lacking in the proper cultural pedigree; a 7-star dumbo in the speak-converse-debate-enlighten department. After I gave him a little brief on Cahier Du Cinema, its importance and significance, he re-entered the conversation with all guns blazing. “Thanks for your Cahier yak, but what’s the big deal about a 50s museum piece, French new-wave mag making such a hoo-haa with a bunch of about-to-pop-it antiquated bozos? This is 2021 for chrissake! Even the Pandemic appears to be on the way out. We are not historians, academics or critics, yaar. Dump the paralysis through analysis crap and get a vaccine for these kill-joys! As the super song in 3 Idiots went ... Give me some sunshine ...” Also Read | Opinion: Is 2021 the year of Actor vs Star showdown? While I disagreed with his sweeping and flamboyant dismissal of anything beyond the Bollywood entertainer, I totally rocked with his pulling the trigger on the species who have a cardiac if you haven’t heard or seen Battleship Potemkin! Or [snored through?] many of the revered gems showcased in the film festivals, raved about by people, most of whom are totally clueless about why exactly they are feeling so viagrised on seeing unfamiliar, grim, esoteric and metaphysical content exploring the human condition. Its hysterically funny checking out their response when asked about their opinion, post the screening ... A confusing, bewildered, ashened smile! The answer to this million-buck question lies in the fact there are three kinds of audiences that hit this territory. One, a minority who genuinely wants to see, enjoy or be initiated into this alternate space and believes that with time, patience & discussions will get the true meaning of these gems & begin to connect with them. Two, people who are curious & open about this genre and want to check out these soul-uplifting masterpieces raved about by their arty friends. Also Read | Michael B Jordan celebrates late Chadwick Boseman's historic SAG nomination Three – and this is the section in question – the cultural wanna-bees desperate to hit the “respectability & fitting in” button. Ordinary people who can’t be accused of sensibilities or interests beyond the entertaining blockbusters, but suddenly crazily anxious not to be perceived as someone who is frivolous or views movies as time-pass BUT as sensitive connoisseurs who look at Cinema as an agent of change, truth 24 times a second, artistic exploration of linear truths that reside in the human soul. This – they believe – will give them a special aura, status and will allow them to enter the charmed circle where their book-jacket-inspired comments & coffee-table wit will be applauded by the like-minded frat! To each his own, but the problem with this attitude is the hi-decibel inflicting and imposing of opinion on the unguarded & un-interested guy’s throat with aggressive force! The 'My way or the highway' thing, frequently followed by the [yawn!] gyaan of how masala films have ruined the taste buds of the nation, how compulsory film education must be kicked in ASAP blah, blah, blah. While the intent may be admirable, it is this fierce, non-negotiable thrust that demands enquiry. The lack of tolerance, the condescending look and tone of the wild-eyed art-wallah at anyone who stoops to sample anything beyond the gems could get a weak-kneed bloke to start writing his will, or seriously considering which exact spot is ideal to leap from his 16th floor balcony. Fact is, taste for the more refined and the desire to want to be challenged [not spoon-fed or catered to] depends mostly on the environment in which one has grown up and influences that have shaped & formed one’s sensibilities. Sometimes, it is also acquired through the company one keeps and at other times [very rare, though] – it is instinctive. These are factors to be considered before flaunting cultural superiority because the recipients are creatures of a lesser god. They are therefore unable to connect with complex or thought-provoking content that demands solid participation while viewing a film. To the everyday audience, movies still spell entertainment, a blessed out escapist trip to the never-never-land-of-happy-ever-after! Their instant retort is: Why should I pay and think? It’s your job to think how best you can entertain me and you better get it right, or else ...! Fly me to the moon and let me play among the stars ... Ultimately, it really boils down to live and let live. Forget the obsession of playing Masterji & evangelist and trying to convert every non-art house soul to a disciple. Most will either ponder how you’ve been actually certified sane, vanish from sight every time you enter their frame or wonder what terrible things one did in one’s last life to suffer these OMG moments. It also reflects poorly on these self-styled brand ambassadors of this genre because it shows them off as uncivilized people, pompous and self-righteous, the definitive, argumentative Indian who must prove his point, come what may. It doesn’t strike them that beyond bad manners, the lesser mortals are not obliged to listen, do cartwheels or go down on bended knees with gratitude for these pearls of wisdom. Labelled Mr. Bak-Bak and boring, they are likely to head their drop-dead list of creatures the world should quickly forget! At a personal level, the two amazing exponents of the inclusive, pluralistic, accommodating and reach-out school have been my late dad-in-law, Mr. Chidananda Das Gupta & filmmaker Shyam Benegal. Both were curious, interested, attentive and listened intently to your raves about Bollywood films, eager to pick up any new insights they may have missed. Das Gupta, while not really into the mainstream commercial, was always enthusiastic and eager to remain updated about trends in masala land & I remember how excited he was, years ago, when I explained to him the Angry Young Man phenomenon gripping Bollywood & the masses. Benegal was of course completely in tune with the times and so, whether it was Kieslowski or the Khans, his takes were always engaging & fascinatingly insightful. Neither of these eminent personalities ever offered gyaan or flung hard-to-pronounce names of world cinema with affected flourish. Nor were they humouring or indulging you. They simply and interestingly decoded the best of the alternate cinema & suggested – along with the masala stuff – checking out some of their material. It was always done in a warm, friendly and seductively un-threatening manner & always with a good word for the commercial cinema because they genuinely saw lots of good things in many Bollywood films. In a world filled with Guru-giri or posturing, it is hugely gratifying to follow the itinerary of sane, imaginative and cultured minds, showcasing civilised discourse, drawing readers & people into a space where even the most complex film-makers & films become intimate companions. Theirs is the art of de-mystifying cinema without making confusion, more confounded! Clearly there is a lesson somewhere for both, the learned Gurus of Cinema or the one’s posturing as devotees of Cahier Du Cinema ... will they pay heed? (Disclaimer: The views of the writer do not represent the views of WION or ZMCL. Nor does WION or ZMCL endorse the views of the writer.)

Opinion: Ok you watch arthouse films, but does it make you superior?

Sitting in gondolas, moviegoers in the Philippine capital are enjoying films while keeping safe amid the coronavirus pandemic. The Venice Grand Canal set up a screen in an outdoor "canal" of the upscale mall earlier in December and started showing films for those who miss the big screen as theatres have been closed since mid-March to stop the spread of the virus.

Philippines: Float-in cinema helps Manila moviegoers with social distancing

Hollywood star Tom Hanks has weighed in on the discussion surrounding the future of cinema halls post COVID-19 pandemic. 
 
The actor feels the shift to the streaming world is a due change and says that movie theatres will survive the pandemic. 
 
In an interview with Collider, Hanks spoke&nbsp;about the impact of the pandemic on the entertainment business, and the shift of many films&nbsp;on streaming services. 
 
"A sea change was due, anyway. It was coming, "Hanks said, sharing that the streaming platforms have allowed viewers to watch movies from their homes. 
 
"Will movie theatres still exist? Absolutely, they will. In some ways, I think the exhibitors -- once they`re up and open -- are going to have the freedom of choice of what movies they`re going to play," Hanks shared. 
 
Hanks believes theatres will remain to be the go-to release option for big-budget franchises. 
 
<a href="https://www.wionews.com/entertainment/hollywood/news-tom-hanks-saddles-up-for-first-western-in-news-of-the-world-351691">Also read: Tom Hanks saddles up for first Western in 'News of the World'</a> 
 
He said: "Big event motion pictures are going to rule the day at the cinemas. `News of the World` might be the last adult movie about people saying interesting things that are going to play on a big screen somewhere, because after this, in order to guarantee that people show up again, we`re going to have the Marvel Universe and all sorts of franchises." 
 
<a href="https://www.wionews.com/photos/famous-people-who-tested-positive-for-coronavirus-286352">Also see: Famous people who tested positive for coronavirus</a> 
 
Hanks continued: "You want to see them (franchise films) writ large because watching them at home on your couch actually might diminish them somehow in their visual punch. But the sea change that has been brought by Covid-19 has been a slow train coming. I think there will be an awful lot of movies that will only be streamed, and I think it will be fine to see them that way because they will actually be built and made and constructed for somebody`s pretty good widescreen TV at their home."

Hollywood star Tom Hanks has weighed in on the discussion surrounding the future of cinema halls post COVID-19 pandemic. The actor feels the shift to the streaming world is a due change and says that movie theatres will survive the pandemic.

Hollywood star Tom Hanks has weighed in on the discussion surrounding the future of cinema halls post COVID-19 pandemic. The actor feels the shift to the streaming world is a due change and says that movie theatres will survive the pandemic. In an interview with Collider, Hanks spoke about the impact of the pandemic on the entertainment business, and the shift of many films on streaming services. "A sea change was due, anyway. It was coming, "Hanks said, sharing that the streaming platforms have allowed viewers to watch movies from their homes. "Will movie theatres still exist? Absolutely, they will. In some ways, I think the exhibitors -- once they`re up and open -- are going to have the freedom of choice of what movies they`re going to play," Hanks shared. Hanks believes theatres will remain to be the go-to release option for big-budget franchises. Also read: Tom Hanks saddles up for first Western in 'News of the World' He said: "Big event motion pictures are going to rule the day at the cinemas. `News of the World` might be the last adult movie about people saying interesting things that are going to play on a big screen somewhere, because after this, in order to guarantee that people show up again, we`re going to have the Marvel Universe and all sorts of franchises." Also see: Famous people who tested positive for coronavirus Hanks continued: "You want to see them (franchise films) writ large because watching them at home on your couch actually might diminish them somehow in their visual punch. But the sea change that has been brought by Covid-19 has been a slow train coming. I think there will be an awful lot of movies that will only be streamed, and I think it will be fine to see them that way because they will actually be built and made and constructed for somebody`s pretty good widescreen TV at their home."

Tom Hanks feels theatres will survive COVID-19 pandemic

Hollywood sold you the American dream. James Bond marketed the Great Britain. What did Bollywood do? Celebrated relocating to the west, and reduced India to a land of entertainer! Who is responsible? Watch Gravitas Plus with Palki Sharma.

Gravitas Plus: How India can harness the soft power of Bollywood

A German cinema operator is putting all his hopes for financial survival during the coronavirus crisis into director Christopher Nolan's new thriller "Tenet" which premiered on Wednesday night (August 26) in Bonn and 70 countries around the world.

Christopher Nolan's Tenet finally arrives in German cinemas after lengthy coronavirus delay

Starry affair: Paris to Israel- Cinema lovers opt for 'sail-in' experiences in 'new normal'

Movie-goers boarded boats floating on the shimmering waters of a Tel Aviv lake on Thursday (August 20) for a test screening at Israel's first "sail-in" cinema.

'Sail-in' cinema pops up in Tel Aviv, with indoor flicks off-limits

The world of cinema is having to adapt to new rules set by the pandemic but some are more creative than others. In Paris, you can now watch your favourite movie while enjoying a boat ride on the Seine river.

The magic of movies on water: Movie goers hire boats to enjoy french comedy

While the cinema drive-in may have gotten a boost as lockdowns gradually come to an end amid the COVID-19 outbreak, in Paris film fans can now munch on their popcorn watching a movie from a boat on the river Seine. 
 
As part of Paris Plages, the yearly transformation of sections of the Seine into man-made beaches, moviegoers on Saturday were able to board 38 electric boats for a free showing of the 2018 French comedy 'Le Grand Bain'. 
 
"I really enjoy open-air cinema. It marks the beginning of the summer, and even if we already are in mid-July, for me it marks the beginning of the Parisian summer adventures," said 25-year-old Eloise Blomme. 
 
"I really enjoy the idea of the boats - associating the Seine with a movie on water, I didn`t want to miss this." 
Each boat can seat up to six people who know each other. 
 
Organisers hope to hold similar showings during the six-week Paris Plages festivities. Others watch from deck chairs as the screen floats over the Seine. 
 
Cinemas have reopened in France, but occupancy levels remain very low. While the virus has been under control with fatalities and the number of people in intensive care falling, daily cases have increased ahead of the summer holiday season.&nbsp; 
 
The disease has killed more than 30,000 people in France. The artificial beaches on the banks of the Seine in central Paris and the Bassin de la Villette, a man-made lake in the northeast of the city, have been a roaring success since they were launched by Paris Mayor Bertrand Delanoe in 2002. 
 
As well as sand and views of central Paris’ architecture, Paris Plage offers sporting opportunities such as fencing, giant table-football, and open-air gyms looking out over the Seine, although this year the tighter health restrictions have limited some of the activities.

While the cinema drive-in may have gotten a boost as lockdowns gradually come to an end amid the COVID-19 outbreak, in Paris film fans can now munch on their popcorn watching a movie from a boat on the river Seine.

While the cinema drive-in may have gotten a boost as lockdowns gradually come to an end amid the COVID-19 outbreak, in Paris film fans can now munch on their popcorn watching a movie from a boat on the river Seine. As part of Paris Plages, the yearly transformation of sections of the Seine into man-made beaches, moviegoers on Saturday were able to board 38 electric boats for a free showing of the 2018 French comedy 'Le Grand Bain'. "I really enjoy open-air cinema. It marks the beginning of the summer, and even if we already are in mid-July, for me it marks the beginning of the Parisian summer adventures," said 25-year-old Eloise Blomme. "I really enjoy the idea of the boats - associating the Seine with a movie on water, I didn`t want to miss this." Each boat can seat up to six people who know each other. Organisers hope to hold similar showings during the six-week Paris Plages festivities. Others watch from deck chairs as the screen floats over the Seine. Cinemas have reopened in France, but occupancy levels remain very low. While the virus has been under control with fatalities and the number of people in intensive care falling, daily cases have increased ahead of the summer holiday season. The disease has killed more than 30,000 people in France. The artificial beaches on the banks of the Seine in central Paris and the Bassin de la Villette, a man-made lake in the northeast of the city, have been a roaring success since they were launched by Paris Mayor Bertrand Delanoe in 2002. As well as sand and views of central Paris’ architecture, Paris Plage offers sporting opportunities such as fencing, giant table-football, and open-air gyms looking out over the Seine, although this year the tighter health restrictions have limited some of the activities.

Movie magic as Paris turns the Seine into open-air cinema

The novel coronavirus pandemic has led to theatres across the world to remain shut leading to losses incurred on a daily basis for the entertainment industries. Now, the Multiplex Association of India (MAI) has expressed disappointment as cinemas continue to remain shut even though other entertainment outlets have been allowed to resume work.&nbsp;

In a statement, MAI said, “As compared to unorganised retail shops that have opened up, multiplexes and cinema are part of the organised sector, playing hosts to ‘revenue paying’ customers only and hence, in a better position to limit crowds unlike marketplaces and deploy all the mechanisms and guidelines for crowd control and social distancing.”

“The livelihoods of more than a million people – right from spot boys to make-up artistes, musicians, designers, technicians and engineers to cinema employees to directors and actors – hinges on the survival of Indian cinema,” the statement further said.

<a href="https://www.wionews.com/entertainment/ace-bollywood-choreographer-saroj-khan-dies-of-cardiac-arrest-310331">Also read:&nbsp;Ace choreographer Saroj Khan dies of cardiac arrest</a>

The association also pointed out that the multiplex industry alone employs more than 200,000 people directly and that it accounts for nearly 60 per cent of film business revenues.

MAI has urged for an early decision to allow cinemas to open up which will help mobilization of resources in the film industry’s ecosystem and would lead to gradual resurrection.

Also read:&nbsp;<a href="https://www.wionews.com/entertainment/sadak-2-poster-complaint-filed-against-alia-mahesh-bhatt-for-hurting-hindu-sentiments-310425" hreflang="en">'Sadak 2' poster: Complaint filed against Alia, Mahesh Bhatt for hurting Hindu sentiments</a>

“In fact, even after opening up, we anticipate at least 3-6 months before things return anywhere close to normal,” MAI said.

The novel coronavirus pandemic has led to theatres across the world to remain shut leading to losses incurred on a daily basis for the entertainment industries. Now, the Multiplex Association of India (MAI) has expressed disappointment as cinemas continue to remain shut even though other entertainment outlets have been allowed to resume work.

The novel coronavirus pandemic has led to theatres across the world to remain shut leading to losses incurred on a daily basis for the entertainment industries. Now, the Multiplex Association of India (MAI) has expressed disappointment as cinemas continue to remain shut even though other entertainment outlets have been allowed to resume work. In a statement, MAI said, “As compared to unorganised retail shops that have opened up, multiplexes and cinema are part of the organised sector, playing hosts to ‘revenue paying’ customers only and hence, in a better position to limit crowds unlike marketplaces and deploy all the mechanisms and guidelines for crowd control and social distancing.” “The livelihoods of more than a million people – right from spot boys to make-up artistes, musicians, designers, technicians and engineers to cinema employees to directors and actors – hinges on the survival of Indian cinema,” the statement further said. Also read: Ace choreographer Saroj Khan dies of cardiac arrest The association also pointed out that the multiplex industry alone employs more than 200,000 people directly and that it accounts for nearly 60 per cent of film business revenues. MAI has urged for an early decision to allow cinemas to open up which will help mobilization of resources in the film industry’s ecosystem and would lead to gradual resurrection. Also read: 'Sadak 2' poster: Complaint filed against Alia, Mahesh Bhatt for hurting Hindu sentiments “In fact, even after opening up, we anticipate at least 3-6 months before things return anywhere close to normal,” MAI said.

Multiplex Association of India urges government to let cinemas reopen

Tired of being stuck inside, Portugal's movie-lovers are eager to grab some popcorn, sit back, relax and enjoy the show but many venues remain shut - so tickets quickly sold out when a pop-up drive-in cinema launched on Monday (June 1) evening.

Movie-lovers sit back, enjoy the show as drive-in cinema launches near Lisbon

As a result of the coronavirus pandemic, cinemas across Iran have closed but film fans in Tehran are now able to enjoy screenings at a drive-in cinema.

Tehran opens drive-in cinema as coronavirus restrictions are eased

With movie theatres across the world shut during lockdowns, movie-goers have found alternative ways to keep their love for cinema alive.

Gravitas: Where are you going for movies?

In the dilapidated offices of Afghanistan's state-run film board, where old movie reels are stacked in rusting canisters, Sahraa Karimi heads the all-male team she hopes will help drag the nation's cinema from the lingering shadow of Taliban rule.

"It is a very difficult position to be in, because I came to an office that had almost nothing, destroyed, so I need to build it again," said Karimi, a 36-year-old movie director whose female-led picture "Hava, Maryam, Ayesha" premiered this month at the Venice Film Festival.

During its 1970s heyday, Afghanistan's film industry was vibrant: a slew of movies&nbsp;including the hit "Mardha Ra Qawl Ast" (Men keep their promises) dealt with themes of love, romance and power relations.

But all that ended after the Soviet invasion of 1979, as filmmakers were pushed into propaganda, and the arrival of the Taliban&nbsp;who banned film and music under their savage rule of 1996-2001.

The Islamist hardliners systematically destroyed movie reels and music tapes, smashed television sets, and anyone caught watching films faced harsh punishments including flogging.

After the Taliban's ouster, the formerly prestigious Afghan Film board was resurrected but it has long languished, largely neglected, with a string of directors and leaders accused of incompetence.

At its Kabul offices, vital documents have been tossed in the trash and its all-male staff&nbsp;some of whom once hid precious movie reels from the Taliban&nbsp;now appear to lack motivation.

"It is very challenging, but I am a person who welcomes challenges," Karimi said of the role she began in May at Afghan Film, becoming the first woman at the helm of the national film agency.

Since then, she has pushed projects aiming to bring Afghanistan's once-dynamic film industry back to life.

First film festival

Among them was a 10-day film festival where about 100 feature and documentary movies were screened at four venues across Kabul, including at Afghan Film.

The films exposed hundreds of Afghans to some of their country's cinema classics, with many seeing films for the first time.

"The film festival is a great idea because for a long time, cinemas were closed and no good movies were made," said 21-year-old festival-goer Atefa Essari.

"We didn't know our filmmakers because most of them were abroad. It is a great idea to see Afghan movies inside Afghanistan again."

Afghan Film has also recently digitised hundreds of hours of footage that includes movies and documentaries of Afghanistan before it was ravaged by violence.

Karimi, who has a doctorate in film, told AFP that the film board's staff must also take the lead in cinema's revival in Afghanistan.

"I told them that you don't need to stay in your office from 8:00 am to 4:00pm, you should go outside, you should sit under trees, you should talk to each other about everything and generate ideas," she said.

The director, who opened a cafe in the building's courtyard so they would have a place to brainstorm, leads by example.

Her film at Venice&nbsp;which has been endorsed by Angelina Jolie&nbsp;chronicles the lives of three Afghan women from various social backgrounds and the tough choices they face.

But many Afghans are still afraid the newfound freedoms people in cities like Kabul often enjoy could be taken away.

Taliban and US negotiators were until recently on the brink of a deal that would have seen the US military cut its troop presence in return for various Taliban commitments.

Despite a breakdown in talks, many Afghans are convinced the Taliban will come roaring back into power.

"They will come but we are not going to give up and we will fight," Karimi said.

In the dilapidated offices of Afghanistan's state-run film board, where old movie reels are stacked in rusting canisters, Sahraa Karimi heads the all-male team she hopes will help drag the nation's cinema from the lingering shadow of Taliban rule.

In the dilapidated offices of Afghanistan's state-run film board, where old movie reels are stacked in rusting canisters, Sahraa Karimi heads the all-male team she hopes will help drag the nation's cinema from the lingering shadow of Taliban rule. "It is a very difficult position to be in, because I came to an office that had almost nothing, destroyed, so I need to build it again," said Karimi, a 36-year-old movie director whose female-led picture "Hava, Maryam, Ayesha" premiered this month at the Venice Film Festival. During its 1970s heyday, Afghanistan's film industry was vibrant: a slew of movies including the hit "Mardha Ra Qawl Ast" (Men keep their promises) dealt with themes of love, romance and power relations. But all that ended after the Soviet invasion of 1979, as filmmakers were pushed into propaganda, and the arrival of the Taliban who banned film and music under their savage rule of 1996-2001. The Islamist hardliners systematically destroyed movie reels and music tapes, smashed television sets, and anyone caught watching films faced harsh punishments including flogging. After the Taliban's ouster, the formerly prestigious Afghan Film board was resurrected but it has long languished, largely neglected, with a string of directors and leaders accused of incompetence. At its Kabul offices, vital documents have been tossed in the trash and its all-male staff some of whom once hid precious movie reels from the Taliban now appear to lack motivation. "It is very challenging, but I am a person who welcomes challenges," Karimi said of the role she began in May at Afghan Film, becoming the first woman at the helm of the national film agency. Since then, she has pushed projects aiming to bring Afghanistan's once-dynamic film industry back to life. First film festival Among them was a 10-day film festival where about 100 feature and documentary movies were screened at four venues across Kabul, including at Afghan Film. The films exposed hundreds of Afghans to some of their country's cinema classics, with many seeing films for the first time. "The film festival is a great idea because for a long time, cinemas were closed and no good movies were made," said 21-year-old festival-goer Atefa Essari. "We didn't know our filmmakers because most of them were abroad. It is a great idea to see Afghan movies inside Afghanistan again." Afghan Film has also recently digitised hundreds of hours of footage that includes movies and documentaries of Afghanistan before it was ravaged by violence. Karimi, who has a doctorate in film, told AFP that the film board's staff must also take the lead in cinema's revival in Afghanistan. "I told them that you don't need to stay in your office from 8:00 am to 4:00pm, you should go outside, you should sit under trees, you should talk to each other about everything and generate ideas," she said. The director, who opened a cafe in the building's courtyard so they would have a place to brainstorm, leads by example. Her film at Venice which has been endorsed by Angelina Jolie chronicles the lives of three Afghan women from various social backgrounds and the tough choices they face. But many Afghans are still afraid the newfound freedoms people in cities like Kabul often enjoy could be taken away. Taliban and US negotiators were until recently on the brink of a deal that would have seen the US military cut its troop presence in return for various Taliban commitments. Despite a breakdown in talks, many Afghans are convinced the Taliban will come roaring back into power. "They will come but we are not going to give up and we will fight," Karimi said.

Director's cut: The Afghan woman making waves at all-male film board

Mobile cinema brings movie magic to Syria Kurd children

Amitabh Bachchan recently took to his blog to update fans that he had a discussion on cinema and content with his director and his co-star from 'Brahmastra'.

The megastar spoke with Ranbir Kapoor and Ayan Mukerji on Sunday at his Mumbai home.

Big B shared the details from their meeting on his official blog and wrote, "Time spent with Ayan and Ranbir to talk about Brahmastra and to discuss film, content and cinema. The young have some very special gifts and thoughts."

He further added, "..it is always a delight to be in their company .. to listen to drift in their modern outlooks and to be able to put across the point of 50 years in the Industry, its time changes and its development into the most powerful tools of influence..."

Brahmastra, a three-part fantasy series, will see Amitabh Bachchan and Ranbir Kapoor alongside Alia Bhatt and Mouni Roy.

Big B also said, "so much to learn so much to accomplish so much to observe so much to self educate .. and the paucity of that ever timeless time machine."

This will be the first time Amitabh Bachchan will be sharing screen space with Ranbir and Alia together.&nbsp; 
&nbsp;

Amitabh Bachchan recently took to his blog to update fans that he had a discussion on cinema and content with his director and his co-star from 'Brahmastra'. The megastar spoke with Ranbir Kapoor and Ayan Mukerji on Sunday at his Mumbai home.

Amitabh Bachchan recently took to his blog to update fans that he had a discussion on cinema and content with his director and his co-star from 'Brahmastra'. The megastar spoke with Ranbir Kapoor and Ayan Mukerji on Sunday at his Mumbai home. Big B shared the details from their meeting on his official blog and wrote, "Time spent with Ayan and Ranbir to talk about Brahmastra and to discuss film, content and cinema. The young have some very special gifts and thoughts." He further added, "..it is always a delight to be in their company .. to listen to drift in their modern outlooks and to be able to put across the point of 50 years in the Industry, its time changes and its development into the most powerful tools of influence..." Brahmastra, a three-part fantasy series, will see Amitabh Bachchan and Ranbir Kapoor alongside Alia Bhatt and Mouni Roy. Big B also said, "so much to learn so much to accomplish so much to observe so much to self educate .. and the paucity of that ever timeless time machine." This will be the first time Amitabh Bachchan will be sharing screen space with Ranbir and Alia together.

Here is what Amitabh Bachchan discussed with Ranbir Kapoor and Ayan Mukerji

Filmmaker Prakash Jha, who essayed the role of a cop in 'Jai Gangaajal'&nbsp;and now playing the lead in the short film 'Justaju - The Longing', says professionally he does not identify as an actor.

Jha, known for making socio-political films like 'Gangaajal', 'Apaharan', 'Raajneeti', is enjoying being in front of the camera.&nbsp;

"I am not professionally an actor but there are people who now do think of me and there are roles offered to me. I am looking it as a new form of expression that I would like to bring into my life. I really want to do characters which I enjoy. That is the criteria," Jha told PTI.

The director is happy that his performance in the short film, that released recently on YouTube, has been appreciated. Jha won the best actor award for the same in the short film category of the first edition of New Jersey Indian International Film Festival.

Directed by Mudassir Mashalkar, 'Justaju'&nbsp;chronicles a day in the life of Valmiki, whose wife expired 15 years ago.

Jha, who made his acting debut with his 2016 directorial venture 'Jai Gangaajal', says he is happy with the different kind of roles being offered to him.

"I was really surprised they thought of me as I am nothing like Valmiki but he (director) was quite convinced. I thought it would be a great learning experience, trying to find that character so it was fun."

Jha says the director in him does not interfere with his acting process.

"As an actor, I do discuss things with my director. I follow my director's vision. But I never interfere," he adds.&nbsp;

Though he loves exploring the actor side of him, he equally enjoys directing films, which, the filmmaker says, is an "exhilarating" experience for him.&nbsp;

"Even if I am behind the camera, writing a script or shooting in front of thousands of people, it has always been enjoyable. It has been exhilarating and extremely enriching, learning process," Jha adds.

Filmmaker Prakash Jha, who essayed the role of a cop in 'Jai Gangaajal' and now playing the lead in the short film 'Justaju - The Longing', says professionally he does not identify as an actor.

Filmmaker Prakash Jha, who essayed the role of a cop in 'Jai Gangaajal' and now playing the lead in the short film 'Justaju - The Longing', says professionally he does not identify as an actor. Jha, known for making socio-political films like 'Gangaajal', 'Apaharan', 'Raajneeti', is enjoying being in front of the camera. "I am not professionally an actor but there are people who now do think of me and there are roles offered to me. I am looking it as a new form of expression that I would like to bring into my life. I really want to do characters which I enjoy. That is the criteria," Jha told PTI. The director is happy that his performance in the short film, that released recently on YouTube, has been appreciated. Jha won the best actor award for the same in the short film category of the first edition of New Jersey Indian International Film Festival. Directed by Mudassir Mashalkar, 'Justaju' chronicles a day in the life of Valmiki, whose wife expired 15 years ago. Jha, who made his acting debut with his 2016 directorial venture 'Jai Gangaajal', says he is happy with the different kind of roles being offered to him. "I was really surprised they thought of me as I am nothing like Valmiki but he (director) was quite convinced. I thought it would be a great learning experience, trying to find that character so it was fun." Jha says the director in him does not interfere with his acting process. "As an actor, I do discuss things with my director. I follow my director's vision. But I never interfere," he adds. Though he loves exploring the actor side of him, he equally enjoys directing films, which, the filmmaker says, is an "exhilarating" experience for him. "Even if I am behind the camera, writing a script or shooting in front of thousands of people, it has always been enjoyable. It has been exhilarating and extremely enriching, learning process," Jha adds.

I am not professionally an actor, says Prakash Jha

Actor Kareena Kapoor believes the secret to her longevity in the film industry is striking a balance between commercial and alternative cinema.

Kareena says that one should never get stuck to any one genre as that gets boring and there is the added risk of getting typecast. Her aim is to cater to all sorts of audience.

"I am always proud of my glamorous image. One has to enjoy some commercial success. If I have done an 'Udta Punjab', then I have also done the 'Golmaal' series. I have always tried to balance things out.&nbsp;

"To sustain in the film industry for 18 years one has to keep doing exciting work. I do films that suit my personality, my time limit. I do films that I like," Kareena told PTI.

The actor says she has been a risk-taker right from the beginning of her career despite being a commercial heroine.

"When I was 22-year-old, I did 'Chameli' and people thought I would not do it. For me, it is all about having the right balance of things - commercial and being part of different kind of movies."

Citing the example films such as 'Udta Punjab', 'Ki and Ka', 'Chameli'&nbsp;and 'Omkara', Kareena insists that she has always picked up stories that "no mainstream commercial heroine" would do.

"I just see - is this film entertaining, is the script good? Can I see myself in it and do I have a good part? When all these things fall into place I tick a film and I am on board."

For her, there is a difference between being an actor and a star and she says she has always looked at herself first as an actor and then as a star.

"I don't think anyone joins the industry thinking, 'I want to become a star'. You join it because you like acting, you like movies, you are passionate about cinema. I enjoy acting and people like me, my work and that is why I am a star."&nbsp;

She also credits a loyal fan-base for standing by her in her successes and failures.&nbsp;

"I have a loyal fan following and I feel lucky to be one of those few actors to have the support of fans. I am a fan-built star as I have had successes and failures and nothing has deterred my fans. My fans have stood by me every time."

But there is a change in her priorities after the birth of son Taimur

"It is interesting when directors write roles for you, but maybe I can't do all kind of roles. Now I look at how much time a film would take. I have a limited amount of time because I have to give a lot of time to family and my son. So I will do one film a year because now I can't do three films."&nbsp;

Her next release is 'Veere Di Wedding', a story about four female friends played by- Kareena, Sonam Kapoor, Swara Bhasker and Shikha Talsania, and their trials and tribulations in the society.

"It is a fun film and people are talking about women empowerment and feminism. The story is about four girls. The director came up with this concept. So what is wrong (in that) as there was a 'Dil Chahta Hai' and 'Zindagi Na Milegi Dobara'. This story is from the female point of view...That's it!," Kareena says.

The four protagonists in the film use cuss words but Kareena says she fails to understand why there is so much focus on that.

"Saif Ali Khan was the villain in 'Omkara' and he was bad mouthing. He won a lot of awards for the film. It is required in the film, so it is there. Nobody is doing it just for the sake of it.

"This film's language and the platform is different. The audience we are catering to is also different. We are not forcingly saying anything, the tonality is such."

Kareena Kapoor says that one should never get stuck to any one genre as that gets boring

Actor Kareena Kapoor believes the secret to her longevity in the film industry is striking a balance between commercial and alternative cinema. Kareena says that one should never get stuck to any one genre as that gets boring and there is the added risk of getting typecast. Her aim is to cater to all sorts of audience. "I am always proud of my glamorous image. One has to enjoy some commercial success. If I have done an 'Udta Punjab', then I have also done the 'Golmaal' series. I have always tried to balance things out. "To sustain in the film industry for 18 years one has to keep doing exciting work. I do films that suit my personality, my time limit. I do films that I like," Kareena told PTI. The actor says she has been a risk-taker right from the beginning of her career despite being a commercial heroine. "When I was 22-year-old, I did 'Chameli' and people thought I would not do it. For me, it is all about having the right balance of things - commercial and being part of different kind of movies." Citing the example films such as 'Udta Punjab', 'Ki and Ka', 'Chameli' and 'Omkara', Kareena insists that she has always picked up stories that "no mainstream commercial heroine" would do. "I just see - is this film entertaining, is the script good? Can I see myself in it and do I have a good part? When all these things fall into place I tick a film and I am on board." For her, there is a difference between being an actor and a star and she says she has always looked at herself first as an actor and then as a star. "I don't think anyone joins the industry thinking, 'I want to become a star'. You join it because you like acting, you like movies, you are passionate about cinema. I enjoy acting and people like me, my work and that is why I am a star." She also credits a loyal fan-base for standing by her in her successes and failures. "I have a loyal fan following and I feel lucky to be one of those few actors to have the support of fans. I am a fan-built star as I have had successes and failures and nothing has deterred my fans. My fans have stood by me every time." But there is a change in her priorities after the birth of son Taimur "It is interesting when directors write roles for you, but maybe I can't do all kind of roles. Now I look at how much time a film would take. I have a limited amount of time because I have to give a lot of time to family and my son. So I will do one film a year because now I can't do three films." Her next release is 'Veere Di Wedding', a story about four female friends played by- Kareena, Sonam Kapoor, Swara Bhasker and Shikha Talsania, and their trials and tribulations in the society. "It is a fun film and people are talking about women empowerment and feminism. The story is about four girls. The director came up with this concept. So what is wrong (in that) as there was a 'Dil Chahta Hai' and 'Zindagi Na Milegi Dobara'. This story is from the female point of view...That's it!," Kareena says. The four protagonists in the film use cuss words but Kareena says she fails to understand why there is so much focus on that. "Saif Ali Khan was the villain in 'Omkara' and he was bad mouthing. He won a lot of awards for the film. It is required in the film, so it is there. Nobody is doing it just for the sake of it. "This film's language and the platform is different. The audience we are catering to is also different. We are not forcingly saying anything, the tonality is such."

I am proud of my glamorous image: Kareena Kapoor

A filmmaker who used to consider life as the biggest inspiration for his films, it is Satyajit Ray’s 97th birth anniversary today.

Born in Calcutta, Ray had interest in films and what went behind making them since he was a child. He went on to direct 36 films, including feature films, documentaries and shorts.

Ray was also a fiction writer, publisher, illustrator, calligrapher, music composer, graphic designer and film critic. He authored several short stories and novels, meant primarily for young children and teenagers.

On his birth anniversary today, we take a look at some of his best works:

Charulata (The Lonely Wife) (1964)

The film, more popularly known as "The Lonely Wife" embodies the transition that Bengal went through towards the later part of the nineteenth century.&nbsp;

The Apu Trilogy (Pather Panchali, Aparajito & Apur Sansar) (Song of the Little Road, The Unvanquished & The World of Apu) (1955, 1956 & 1959)

While “Pather Panchali” is the most well-known work in the trilogy, it is important to see the whole trilogy to understand the filmmaker’s vision. Universally applauded, “The Apu Trilogy” established Ray as the most potent force of Indian cinema.

Jalsaghar (The Music Room) (1958)

The film depicts the gradual decline of the feudal system in Bengal. Nuanced, layered and thematically rich; the movie chronicles the story of a Zamindar (landlord) who loves to dwell in the past and pass his time idly listening to Indian classical music.

Devi (The Goddess) (1960)

Adapted from a short story by renowned Bengali author Provatkumar Mukhopadhyay, “Devi” is a profound piece of work that explores the preeminence of superstition in 19th-century Bengal through a magnifying lens.

Aranyer Din Ratri (Days and Nights in the Forest) (1970)

A film that explores the themes of fidelity, narcissism, love and loss through a lot of other elements, the film is disturbing as it is moving.

 
Ray received many major awards in his career, including 32 Indian National Film Awards, a Golden Lion, a Golden Bear, 2 Silver Bears, a number of additional awards at international film festivals and award ceremonies, and an Academy Honorary Award in 1992. The Government of India awarded him the Bharat Ratna, the highest civilian award, in 1992.

&nbsp;

The legendary filmmaker was awarded with 32 Indian National Film Awards, along with several international awards and Bharat Ratna in 1992.

A filmmaker who used to consider life as the biggest inspiration for his films, it is Satyajit Ray’s 97th birth anniversary today. Born in Calcutta, Ray had interest in films and what went behind making them since he was a child. He went on to direct 36 films, including feature films, documentaries and shorts. Ray was also a fiction writer, publisher, illustrator, calligrapher, music composer, graphic designer and film critic. He authored several short stories and novels, meant primarily for young children and teenagers. On his birth anniversary today, we take a look at some of his best works: Charulata (The Lonely Wife) (1964) The film, more popularly known as "The Lonely Wife" embodies the transition that Bengal went through towards the later part of the nineteenth century. The Apu Trilogy (Pather Panchali, Aparajito & Apur Sansar) (Song of the Little Road, The Unvanquished & The World of Apu) (1955, 1956 & 1959) While “Pather Panchali” is the most well-known work in the trilogy, it is important to see the whole trilogy to understand the filmmaker’s vision. Universally applauded, “The Apu Trilogy” established Ray as the most potent force of Indian cinema. Jalsaghar (The Music Room) (1958) The film depicts the gradual decline of the feudal system in Bengal. Nuanced, layered and thematically rich; the movie chronicles the story of a Zamindar (landlord) who loves to dwell in the past and pass his time idly listening to Indian classical music. Devi (The Goddess) (1960) Adapted from a short story by renowned Bengali author Provatkumar Mukhopadhyay, “Devi” is a profound piece of work that explores the preeminence of superstition in 19th-century Bengal through a magnifying lens. Aranyer Din Ratri (Days and Nights in the Forest) (1970) A film that explores the themes of fidelity, narcissism, love and loss through a lot of other elements, the film is disturbing as it is moving. Ray received many major awards in his career, including 32 Indian National Film Awards, a Golden Lion, a Golden Bear, 2 Silver Bears, a number of additional awards at international film festivals and award ceremonies, and an Academy Honorary Award in 1992. The Government of India awarded him the Bharat Ratna, the highest civilian award, in 1992.

Remembering iconic filmmaker Satyajit Ray on his 97th birth anniversary

The magic of Baahubali is not just limited to India but has spread far and wide. Baahubali: The Conclusion may have released in April, but its impact can be seen even now.&nbsp; 
 
Recently, a group of Indian teenagers performed during the halftime of an NBA game in Orlando to the title song of Baahubali. The result was epic as audience loudly cheered the young dancers as they took over the court.&nbsp; 
 
The video was shared on NBA&#39;s official Facebook page as well as Baahubali&#39;s official twitter handle.&nbsp; 
&nbsp;

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The performance started with Baahubali title track and ended with the Ghoomar&nbsp;song from the film Padmavati.&nbsp; 
 
The footage has already got over 7.42 lakh views on Facebook. The young group has been identified as the winners of Bollywood Magic, Top Naach.&nbsp;

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Dressed in traditional outfits, the dancers not only won hearts at the stadium but also on the internet with people praising their performance.&nbsp;

The magic of Baahubali is not just limited to India but has spread far and wide

The magic of Baahubali is not just limited to India but has spread far and wide. Baahubali: The Conclusion may have released in April, but its impact can be seen even now. Recently, a group of Indian teenagers performed during the halftime of an NBA game in Orlando to the title song of Baahubali. The result was epic as audience loudly cheered the young dancers as they took over the court. The video was shared on NBA's official Facebook page as well as Baahubali's official twitter handle. × The performance started with Baahubali title track and ended with the Ghoomar song from the film Padmavati. The footage has already got over 7.42 lakh views on Facebook. The young group has been identified as the winners of Bollywood Magic, Top Naach. × Dressed in traditional outfits, the dancers not only won hearts at the stadium but also on the internet with people praising their performance.

Baahubali reaches NBA: Indian dancers present an epic performance on the title track at half-time

Tamil superstar Kamal&nbsp;Haasan has created a stir with his decision to join politics.&nbsp;On occasion of his 63rd birthday on Tuesday, the actor launched a unique app for whistleblowers.&nbsp;

While addressing the media, the actor said&nbsp;the app was being launched keeping in mind the welfare of the people.&nbsp;

In conversation with WION&#39;s Kartikeya Sharma, Kamal&nbsp;Haasan spoke about his decision to join politics,&nbsp;demonetisation, Hindutva, future of Tamil Nadu and more...&nbsp;&nbsp;

&nbsp;

Q: You are a successful artist. How and when you decided to join politics?

A: 35 years back MGR asked me to join politics. Even Karunanidhi had asked me to join politics years back. But didn&rsquo;t entertain the idea much but things changed 10 years back. My families too are averse to the idea of me joining politics. My family felt that people become corrupt after joining politics. Even in the film industry, I ensured that I don&rsquo;t touch black money. I even suffered financial loss because of it but never compromised.&nbsp; 
&nbsp; 
Q: Did anyone support you?

A: My daughters supported me but were afraid whether I will stop being an artist and I said how can that be possible? I said that I&rsquo;m an artist and that cannot be changed. I told that artist doesn&rsquo;t only mean becoming a protagonist in a film.&nbsp; 
&nbsp; 
Q: Is there any particular issue which made you finally take the call to join politics? 
&nbsp;

A: I have been running a welfare movement for 39 years. The idea of converting fan&nbsp;clubs for politics is not new in Tamil Nadu. I disbanded the fan clubs and turned them into welfare associations. Even then politics was an impediment to social service. We rubbed many people including the government the&nbsp;wrong way. We had to keep ourselves in good books to do our job. MGR and Karunanidhi allowed us to do the job but it changed during Jaya.&nbsp; 
&nbsp; 
Q: Why?

A: Jaya didn&rsquo;t appreciate it. She didn&rsquo;t like it. She was a powerful politician. It took me a&nbsp;long time to understand that it was emanating from her as she disliked such voices and by the time I realised it Vishwaroopam was already in trouble.&nbsp; 
&nbsp; 
Q: So, you were toying with the idea?

A: I had a great career going and I was thinking as to why I should rough it out.

In 2011-12, I decided to take the plunge and without hesitation, I decided to take on the government and that&nbsp;I believe was an act of politics. People say that I was silent when Jaya was present but I did sue the government. I did affect the government and went on to win the case against them. They again banned the film and we lost almost 60 crores by the time of release. &nbsp;But I still went ahead because I felt it was the right thing to do. Later my brother said, leave it, the battle is won but I said it has just started.&nbsp; 
&nbsp; 
Q: You are launching an app&nbsp;which will act as a device for whistleblowers? Are you saying that government has&nbsp;failed on corruption?

A: It is one part of the spectrum. It gives voice to the people. It is a platform for dialogue. It will have broad spectrum utility. It is a longwinded explanation which I will do in January. It is to get people together. It will have many versatile points of contact. 
&nbsp; 
Q: The detractors would say that it can lead to civic vigilantism?

A: It is about vigil. In real life, vigilantism is a pedestrian dream to be put in practice. That is only done in films. It is about boldly talking to the government. It is within the parameters of the law. 
&nbsp; 
Q: Election funding is the motherboard of corruption. How will you resolve this issue of funding? Will you also need funding?

A: Why should the fund be black. It can be neat and clean money.&nbsp; 
&nbsp; 
Q: There is also an inducement. Look at the politics of inducement in your state. Freebies before elections?

A: They are paid Rs 2000 rupees in cash apart from freebies as most of the freebies are broken and substandard. A lot of people would say prove it but it is a fact. My argument is that because you take Rs 2000 rupees you lose the moral authority to question politicians.

He can always look back at you and say what about Rs 2000 I gave you. In the process, five&nbsp;years of authority gets sold for 90 paisa per day. We need to restore people&rsquo;s authority and they need to participate in it.&nbsp; 
&nbsp; 
Q: What is your vision for Tamil Nadu and where does the malice lie?

A: Unemployment is the issue but it doesn&rsquo;t emerge from the government. People also need to understand. Everyone want&nbsp;their children to be engineers and doctors. This culture needs to end. That&rsquo;s the problem. Other areas should be explored. I think after satyagraha and khadi movement, a &quot;skill-set&quot;&nbsp;movement is very important. To make India strong, a &quot;skill-set&quot;&nbsp;movement has to be strong. I&rsquo;m already working on it. I want to expand it further when I go into politics.&nbsp; 
&nbsp; 
Q: Past 40 years, Tamil politics has been divided into&nbsp;two poles. Is Tamil Nadu ready for a third party?

A: It is not about space but it is about intent and productive plan for people. 
&nbsp; 
Q: Arvind Kejriwal met you lately. Did he ask you to join AAP?

A: He was a gentleman. He gave me three options including the choice to join them. I made it very clear as to what my intent was. It was very touching. I&rsquo;m already meeting other chief ministers to educate myself. He was only exploring the possibility. Our understanding was that our pursuit is the same and that is to build the nation and hence we are tied to a common ideology.&nbsp; 
&nbsp; 
Q: There is a debate on GST and demonetization taking place. What is your view on demonetisation?

A: The reason why I enthusiastically supported the idea was because I still feel that it is a workable idea. I don&rsquo;t know how it was planned but I&rsquo;m an enthusiast for the progress of the country. Like Satyamev Jayate is a beautiful idea. But how do you make satya win? It is not easy. There is a difference between an idea and its execution. 
&nbsp; 
Q: Is politics losing its sense of equanimity? Artists are getting arrested over cartoons films like Mersal faced political outrage?

A: Absolutely. I don&rsquo;t want to make BJP a whipping boy. The ear for dialogue is non-existent. Leave alone politician, lower level bureaucrats and policemen get affected and angry when asked questions. People abused Gandhi after the partition but he continued the dialogue. His didn&rsquo;t cancel his meetings. The worst form of criticism is assassination and that too happened to Mahatma Gandhi. 
&nbsp; 
Q. Culture, films and cinema are fused in Tamil Nadu. Does it make Tamil Nadu a unique state?

A: It exists in other states but maybe Tamil Nadu got the idea of using cinema as a propaganda tool from Germany. Germany proved to the world the power of propaganda and later the US also did a similar thing to counter Hitler. Tamil Nadu is unique and a forerunner.&nbsp; 
&nbsp; 
Q: You had said that you are not an atheist but a rationalist. Please elaborate?

A: It is a name given by aastiks. I have a mindset of being rational. It is not my primary focus. For me, I have no religion or any God. A rational man would ask for certain proofs. Atheism is a name I refuse. Rational is good enough. My larger purpose is not to say where is God. There are Gods whose stars are fading. Maybe a new God would come. Look at it historically. Where is Zeus?

Q: You have been talking about a middle path. Today politics is swinging between caste equations and Hindutva? Where do you see yourself?

A: Hindutva is different. Hinduism is an umbrella under which Saivism, Vaishvanism and other forms of worship were brought together by the British. Neither Tamil literature nor Vedas record Hinduism as a sect. It is a large umbrella. You have to go to its finer points. My elder brother calls himself an atheist. He doesn&rsquo;t believe in the concept. I would say that show me God. That is why I&rsquo;m a rationalist. He is an atheist as he doesn&rsquo;t wish for a God.&nbsp; 
&nbsp; 
Q: National anthem is being played in cinema halls. Does its playout before films make&nbsp;people more patriotic?

A: It is like a commitment towards the nation. It cannot be forced upon anyone. In my time&nbsp;in 70s, they played the anthem in theatres and I found people casual about it as they wanted to go home or catch a bus. Never take it there. Keep it for solemn occasions.&nbsp; 
&nbsp; 
Q: But current discourse has led to politicisation of patriotism?

A: You don&rsquo;t have to remind people of it everytime. I sing national anthem with my children. In&nbsp;August it used to rain and I would go out in the rains with my children and sing the&nbsp;national anthem.&nbsp; 
&nbsp; 
Q: Your recent remarks on Hindu terror generated a&nbsp;lot of controversy. What were you trying to imply?

A: It was a remark which was badly translated. I used words to describe extreme. I was talking about slow marshal and violent attitude creeping in the Hindu fold. We were a peaceful lot. I was being critical of it.&nbsp; 
&nbsp; 
Q: Are you saying that Hindus are being radicalized?

A: Yes, and it is being facilitated by rhetoric. That&rsquo;s what I was trying to criticise. To become a stronger country, we have to shun any form of violence.&nbsp; 
&nbsp; 
Q: The rhetoric has political acceptance?

A: It is there because there is a belief that it is another way to establish Hindu hegemony. But there are other ways of showing largeness. Let us begin by showing a large heart and accommodate and let&rsquo;s make it an inclusive society. I have nothing against the Hindu society. My elders believe in Sanatan Dharma. My daughters believe in God and I have to keep in mind that I don&rsquo;t hurt them when I write something on the subject.&nbsp; 
&nbsp; 
Q: Many people said that you failed to criticize someone like Zakir Naik while you were addressing the issues related to Hinduism?

A: I will criticise them also. They should not indulge in violence be it Christians or Muslims. No religion implies violence. All great books talk about love but we have become selective about them.&nbsp;

Q: Did the BJP ever approach you?

A: No. But PM selected me as the ambassador of Swachh Bharat and I accepted it because I&rsquo;m willing to do for any party who wants to contribute to nation building.&nbsp; 
&nbsp; 
Q: So, you are all set for a new chapter?

A: I want to change the culture of politics. I&rsquo;m not interested in taking anyone down. And people are ready too. New voters are coming of the age. I&rsquo;m focused on that demography. They want change and I want to be part of it.

In conversation with WION's Kartikeya Sharma, Kamal Haasan spoke about his decsion to join politics, his mobile app, demonitisation, the future of Tamil Nadu and much more. ?

Tamil superstar Kamal Haasan has created a stir with his decision to join politics. On occasion of his 63rd birthday on Tuesday, the actor launched a unique app for whistleblowers. While addressing the media, the actor said the app was being launched keeping in mind the welfare of the people. In conversation with WION's Kartikeya Sharma, Kamal Haasan spoke about his decision to join politics, demonetisation, Hindutva, future of Tamil Nadu and more... Q: You are a successful artist. How and when you decided to join politics? A: 35 years back MGR asked me to join politics. Even Karunanidhi had asked me to join politics years back. But didn’t entertain the idea much but things changed 10 years back. My families too are averse to the idea of me joining politics. My family felt that people become corrupt after joining politics. Even in the film industry, I ensured that I don’t touch black money. I even suffered financial loss because of it but never compromised. Q: Did anyone support you? A: My daughters supported me but were afraid whether I will stop being an artist and I said how can that be possible? I said that I’m an artist and that cannot be changed. I told that artist doesn’t only mean becoming a protagonist in a film. Q: Is there any particular issue which made you finally take the call to join politics? A: I have been running a welfare movement for 39 years. The idea of converting fan clubs for politics is not new in Tamil Nadu. I disbanded the fan clubs and turned them into welfare associations. Even then politics was an impediment to social service. We rubbed many people including the government the wrong way. We had to keep ourselves in good books to do our job. MGR and Karunanidhi allowed us to do the job but it changed during Jaya. Q: Why? A: Jaya didn’t appreciate it. She didn’t like it. She was a powerful politician. It took me a long time to understand that it was emanating from her as she disliked such voices and by the time I realised it Vishwaroopam was already in trouble. Q: So, you were toying with the idea? A: I had a great career going and I was thinking as to why I should rough it out. In 2011-12, I decided to take the plunge and without hesitation, I decided to take on the government and that I believe was an act of politics. People say that I was silent when Jaya was present but I did sue the government. I did affect the government and went on to win the case against them. They again banned the film and we lost almost 60 crores by the time of release. But I still went ahead because I felt it was the right thing to do. Later my brother said, leave it, the battle is won but I said it has just started. Q: You are launching an app which will act as a device for whistleblowers? Are you saying that government has failed on corruption? A: It is one part of the spectrum. It gives voice to the people. It is a platform for dialogue. It will have broad spectrum utility. It is a longwinded explanation which I will do in January. It is to get people together. It will have many versatile points of contact. Q: The detractors would say that it can lead to civic vigilantism? A: It is about vigil. In real life, vigilantism is a pedestrian dream to be put in practice. That is only done in films. It is about boldly talking to the government. It is within the parameters of the law. Q: Election funding is the motherboard of corruption. How will you resolve this issue of funding? Will you also need funding? A: Why should the fund be black. It can be neat and clean money. Q: There is also an inducement. Look at the politics of inducement in your state. Freebies before elections? A: They are paid Rs 2000 rupees in cash apart from freebies as most of the freebies are broken and substandard. A lot of people would say prove it but it is a fact. My argument is that because you take Rs 2000 rupees you lose the moral authority to question politicians. He can always look back at you and say what about Rs 2000 I gave you. In the process, five years of authority gets sold for 90 paisa per day. We need to restore people’s authority and they need to participate in it. Q: What is your vision for Tamil Nadu and where does the malice lie? A: Unemployment is the issue but it doesn’t emerge from the government. People also need to understand. Everyone want their children to be engineers and doctors. This culture needs to end. That’s the problem. Other areas should be explored. I think after satyagraha and khadi movement, a "skill-set" movement is very important. To make India strong, a "skill-set" movement has to be strong. I’m already working on it. I want to expand it further when I go into politics. Q: Past 40 years, Tamil politics has been divided into two poles. Is Tamil Nadu ready for a third party? A: It is not about space but it is about intent and productive plan for people. Q: Arvind Kejriwal met you lately. Did he ask you to join AAP? A: He was a gentleman. He gave me three options including the choice to join them. I made it very clear as to what my intent was. It was very touching. I’m already meeting other chief ministers to educate myself. He was only exploring the possibility. Our understanding was that our pursuit is the same and that is to build the nation and hence we are tied to a common ideology. Q: There is a debate on GST and demonetization taking place. What is your view on demonetisation? A: The reason why I enthusiastically supported the idea was because I still feel that it is a workable idea. I don’t know how it was planned but I’m an enthusiast for the progress of the country. Like Satyamev Jayate is a beautiful idea. But how do you make satya win? It is not easy. There is a difference between an idea and its execution. Q: Is politics losing its sense of equanimity? Artists are getting arrested over cartoons films like Mersal faced political outrage? A: Absolutely. I don’t want to make BJP a whipping boy. The ear for dialogue is non-existent. Leave alone politician, lower level bureaucrats and policemen get affected and angry when asked questions. People abused Gandhi after the partition but he continued the dialogue. His didn’t cancel his meetings. The worst form of criticism is assassination and that too happened to Mahatma Gandhi. Q. Culture, films and cinema are fused in Tamil Nadu. Does it make Tamil Nadu a unique state? A: It exists in other states but maybe Tamil Nadu got the idea of using cinema as a propaganda tool from Germany. Germany proved to the world the power of propaganda and later the US also did a similar thing to counter Hitler. Tamil Nadu is unique and a forerunner. Q: You had said that you are not an atheist but a rationalist. Please elaborate? A: It is a name given by aastiks. I have a mindset of being rational. It is not my primary focus. For me, I have no religion or any God. A rational man would ask for certain proofs. Atheism is a name I refuse. Rational is good enough. My larger purpose is not to say where is God. There are Gods whose stars are fading. Maybe a new God would come. Look at it historically. Where is Zeus? Q: You have been talking about a middle path. Today politics is swinging between caste equations and Hindutva? Where do you see yourself? A: Hindutva is different. Hinduism is an umbrella under which Saivism, Vaishvanism and other forms of worship were brought together by the British. Neither Tamil literature nor Vedas record Hinduism as a sect. It is a large umbrella. You have to go to its finer points. My elder brother calls himself an atheist. He doesn’t believe in the concept. I would say that show me God. That is why I’m a rationalist. He is an atheist as he doesn’t wish for a God. Q: National anthem is being played in cinema halls. Does its playout before films make people more patriotic? A: It is like a commitment towards the nation. It cannot be forced upon anyone. In my time in 70s, they played the anthem in theatres and I found people casual about it as they wanted to go home or catch a bus. Never take it there. Keep it for solemn occasions. Q: But current discourse has led to politicisation of patriotism? A: You don’t have to remind people of it everytime. I sing national anthem with my children. In August it used to rain and I would go out in the rains with my children and sing the national anthem. Q: Your recent remarks on Hindu terror generated a lot of controversy. What were you trying to imply? A: It was a remark which was badly translated. I used words to describe extreme. I was talking about slow marshal and violent attitude creeping in the Hindu fold. We were a peaceful lot. I was being critical of it. Q: Are you saying that Hindus are being radicalized? A: Yes, and it is being facilitated by rhetoric. That’s what I was trying to criticise. To become a stronger country, we have to shun any form of violence. Q: The rhetoric has political acceptance? A: It is there because there is a belief that it is another way to establish Hindu hegemony. But there are other ways of showing largeness. Let us begin by showing a large heart and accommodate and let’s make it an inclusive society. I have nothing against the Hindu society. My elders believe in Sanatan Dharma. My daughters believe in God and I have to keep in mind that I don’t hurt them when I write something on the subject. Q: Many people said that you failed to criticize someone like Zakir Naik while you were addressing the issues related to Hinduism? A: I will criticise them also. They should not indulge in violence be it Christians or Muslims. No religion implies violence. All great books talk about love but we have become selective about them. Q: Did the BJP ever approach you? A: No. But PM selected me as the ambassador of Swachh Bharat and I accepted it because I’m willing to do for any party who wants to contribute to nation building. Q: So, you are all set for a new chapter? A: I want to change the culture of politics. I’m not interested in taking anyone down. And people are ready too. New voters are coming of the age. I’m focused on that demography. They want change and I want to be part of it.

I want to change the culture of politics: Kamal Haasan

Netflix has announced to restore and release Orson Welles film titled &ldquo;The Other Side of the Wind&rdquo;, unfinished since the early 1970s. The company will finance the restoration of the movie, a 1970 film starring John Huston and Dennis Hopper.&nbsp;

Frank Marshall who also worked on the original film will be a part of the restoration project. As part of the official statement, he said, &ldquo;I can&rsquo;t quite believe it, but after 40 years of trying, I am so very grateful for the passion and perseverance from Netflix that has enabled us to, at long last, finally get into the cutting room to finish Orson&rsquo;s last picture.&rdquo;

The movie is a self-aware industry drama. Work on the original movie had started in 1970 but was left unfinished in 1976 owing to a couple of problems like finance, Oswell&rsquo;s ambitious editing process that involved making five different versions of the film simultaneously among others.&nbsp;

The plot of &ldquo;The Other Side of the Wind&rdquo; revolves around the life story of a veteran filmmaker struggling to complete his final film while competing with a crop of younger directors. It stars John Huston in the lead as the filmmaker. The movie also starred Dennis Hopper and Peter Bogdanovich, who are expected to consult on the restoration as well.&nbsp;

The movie was previously attempted to be released as part of a crowdfunding campaign backed by Clint Eastwood and JJ Abrams, but it failed to come together. More than $400,000 was raised in the process but issues around dispute of ownership of the negatives stalled it indefinitely.&nbsp;

In their official release, Ted Sarandos, the chief content officer at Netflix said, &ldquo;Like so many others who grew up worshipping the craft and vision of Orson Welles, this is a dream come true. The promise of being able to bring to the world this unfinished work of Welles with his true artistic intention intact, is a point of pride for me and for Netflix. Cinephiles and film enthusiasts around the world will experience the magic of Orson Welles once again or for the very first time.&rdquo;

Works of the legendary director-actor Orson Welles&rsquo; continues to survive in the form of classic movies like Citizen Kane, considered the greatest film of all time, by critics worldwide.&nbsp;

(WION)

Orson Welles film titled ?The Other Side of the Wind? has been unfinished since the early 1970s

Netflix has announced to restore and release Orson Welles film titled “The Other Side of the Wind”, unfinished since the early 1970s. The company will finance the restoration of the movie, a 1970 film starring John Huston and Dennis Hopper. Frank Marshall who also worked on the original film will be a part of the restoration project. As part of the official statement, he said, “I can’t quite believe it, but after 40 years of trying, I am so very grateful for the passion and perseverance from Netflix that has enabled us to, at long last, finally get into the cutting room to finish Orson’s last picture.” The movie is a self-aware industry drama. Work on the original movie had started in 1970 but was left unfinished in 1976 owing to a couple of problems like finance, Oswell’s ambitious editing process that involved making five different versions of the film simultaneously among others. The plot of “The Other Side of the Wind” revolves around the life story of a veteran filmmaker struggling to complete his final film while competing with a crop of younger directors. It stars John Huston in the lead as the filmmaker. The movie also starred Dennis Hopper and Peter Bogdanovich, who are expected to consult on the restoration as well. The movie was previously attempted to be released as part of a crowdfunding campaign backed by Clint Eastwood and JJ Abrams, but it failed to come together. More than $400,000 was raised in the process but issues around dispute of ownership of the negatives stalled it indefinitely. In their official release, Ted Sarandos, the chief content officer at Netflix said, “Like so many others who grew up worshipping the craft and vision of Orson Welles, this is a dream come true. The promise of being able to bring to the world this unfinished work of Welles with his true artistic intention intact, is a point of pride for me and for Netflix. Cinephiles and film enthusiasts around the world will experience the magic of Orson Welles once again or for the very first time.” Works of the legendary director-actor Orson Welles’ continues to survive in the form of classic movies like Citizen Kane, considered the greatest film of all time, by critics worldwide. (WION)

Netflix to restore and release unfinished Orson Welles film

In a first, Netflix has acquired the worldwide theatrical and streaming rights to Martin Scorsese&rsquo;s next film, The Irishman. The movie, a $100 million gangster film starring Robert De Niro and Al Pacino, is set to be the next Netflix Original.&nbsp;

Announced in 2008, The Irishman&nbsp;is an adaptation of&nbsp;Charles Brandt&#39;s 2014 book named I Heard You Paint Houses, which follows the life of mob hitman Frank Sheeren, who confessed to killing organised-crime leader Jimmy Hoffa. The script of the movie has been written by Steve Zaillian of&nbsp;Schindler&#39;s List&nbsp;and Gangs of New York&nbsp;fame.&nbsp;

The film was initially set up with Paramount for release which was handling the domestic distribution and STX Entertainment handling overseas rights. However,&nbsp;Scorsese and team have now opted to package the movie elsewhere according to IndieWire. &nbsp;

Paramount Pictures had released Martin&#39;s previous film Silence&nbsp;which cost them $46 million but earned only $7.1 million. With the previous movie not delivering&nbsp;results as expected and the exit of chief Brad Grey, the movie hit a few halts. As reported to IndieWire, &quot;The movie is a risky deal and Paramount is not in the position to take risks&quot;.

Martin Scorsese is recognised as one of the world&rsquo;s most famous directors, and with his movie exploring a different mode of distribution, it is expected to bring a shift in how movie makers will use technology to market their films in the future.&nbsp;

Netflix has&nbsp;not commented on the deal, but sources close to the project confirmed a report by IndieWire. Production on The Irishman&nbsp;is expected to start later this year.

(WION)

That Netflix acquired a movie by a director as famous as Scorsese may just indicate that some changes are afoot in the film industry

In a first, Netflix has acquired the worldwide theatrical and streaming rights to Martin Scorsese’s next film, The Irishman. The movie, a $100 million gangster film starring Robert De Niro and Al Pacino, is set to be the next Netflix Original. Announced in 2008, The Irishman is an adaptation of Charles Brandt's 2014 book named I Heard You Paint Houses, which follows the life of mob hitman Frank Sheeren, who confessed to killing organised-crime leader Jimmy Hoffa. The script of the movie has been written by Steve Zaillian of Schindler's List and Gangs of New York fame. The film was initially set up with Paramount for release which was handling the domestic distribution and STX Entertainment handling overseas rights. However, Scorsese and team have now opted to package the movie elsewhere according to IndieWire. Paramount Pictures had released Martin's previous film Silence which cost them $46 million but earned only $7.1 million. With the previous movie not delivering results as expected and the exit of chief Brad Grey, the movie hit a few halts. As reported to IndieWire, "The movie is a risky deal and Paramount is not in the position to take risks". Martin Scorsese is recognised as one of the world’s most famous directors, and with his movie exploring a different mode of distribution, it is expected to bring a shift in how movie makers will use technology to market their films in the future. Netflix has not commented on the deal, but sources close to the project confirmed a report by IndieWire. Production on The Irishman is expected to start later this year. (WION)

Martin Scorsese's upcoming movie 'The Irishman' will premier on Netflix

Salman Khan will launch his personal app on his 51st birthday,&nbsp;December 27, 2016.

He took to twitter to release this news to his fans.

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<a href="https://t.co/h03Vsu2grv">pic.twitter.com/h03Vsu2grv</a>
&mdash; Salman Khan (@BeingSalmanKhan) <a href="https://twitter.com/BeingSalmanKhan/status/810756681214914562">December 19, 2016</a></blockquote>
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Through this app, the actor will interact with his fans and will post details about his whereabouts as well as about his film projects.

Salman Khan is currently busy shooting for Kabir Khan&#39;s &#39;Tubelight&#39; which is set to release on Eid, next year.&nbsp;

The film also stars Chinese actress Zhu Zhu.

He will also be seen with his former girlfriend, Katrina Kaif in Ali Abbas Zafar&#39;s &#39;Tiger Zinda Hai&#39; which is a sequel to &#39;Ek Tha Tiger&#39;.

(WION)

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Let&#39;s take a look at the prolific life of Salman Khan and how he has become a household name in India today (WION)
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He will launch the app on his 51st birthday this month on 27th December.

Salman Khan will launch his personal app on his 51st birthday, December 27, 2016. He took to twitter to release this news to his fans. pic.twitter.com/h03Vsu2grv — Salman Khan (@BeingSalmanKhan) December 19, 2016 × Through this app, the actor will interact with his fans and will post details about his whereabouts as well as about his film projects. Salman Khan is currently busy shooting for Kabir Khan's 'Tubelight' which is set to release on Eid, next year. The film also stars Chinese actress Zhu Zhu. He will also be seen with his former girlfriend, Katrina Kaif in Ali Abbas Zafar's 'Tiger Zinda Hai' which is a sequel to 'Ek Tha Tiger'. (WION) Let's take a look at the prolific life of Salman Khan and how he has become a household name in India today (WION) ×

Salman Khan to launch his personal app on his birthday

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