Once in the mid-70’s, when both Bollywood’s mainstream movies and parallel cinema were booming, I happened to ask the late Manmohan Desai [Amar Akbar Anthony, Naseeb, Coolie, Mard] his views on the issue. &nbsp;The definitive super-hit masala film-maker’s response was as transparent, unapologetic and entertaining as his gems. &nbsp;

"Jab bhi critics aur pundits mera film ko tareef karta hai, ghabrahat hota hai. &nbsp;Mutlab, pucca flop! Jab bhi kass ke gaali deta high English mein, English akbaar aur magazine mein, main solid khush hota hoon ... mutlab, pucca super hit!!”&nbsp;

(Whenever critics and Pundits praise my film, I get scared because it's a sure sign of the film tanking at the box office. But when they pans my films in their write-ups in English newspapers and magazines, I feel overjoyed as it means that the film will do great in theatres)

Diametrically opposite was the view of Actor-Director Rahul Bose [English August, Mr. &amp; Mrs Iyer, 15 Park Avenue, The Japanese Wife, Jhankar Beats, Pyar Ka Side Effects].&nbsp;

“For me, critical appreciation is way more important than ra-ra from the masses and it reflects in the films I participate in. &nbsp;Appreciation certainly has its place, but hosannas from the evolved and thinking section makes my day. It allows me to explore newer frontiers of opportunity,” he said.

Cut to a reality check.&nbsp;In Bollywood-crazed India, not even the most [rare?] analytical and insightful reviews from film critics seem to make the slightest cut with the janata.&nbsp;

Why? Simply because conditioning is the key and unlike the critics gaze, these films do not represent their path to Xanadu; nor do they symbolise a space when massive changes have occurred and all bets are off &amp; definitely not the moment when everything has hit the ceiling &amp; all the old rules of the game have undergone a cataclysmic transformation furiously, fast &amp; forever.

Also Read | <a href="https://www.wionews.com/opinions-blogs/opinion-ok-you-watch-arthouse-films-but-does-it-make-you-superior-361949">Opinion: Ok you watch arthouse films, but does it make you superior?</a>

The masses have a clear idea of what they are looking for and what role a Bollywood film plays in their lives. Also, contrary to popular belief, big-ticket endorsement, testimonials or high praise from the most respected or celebrated names – be it Scorsese, Tarantino, Ray, Sen, Aparna, Benegal or Shabana &amp; Adoor – matters zilch. &nbsp;

Brand loyalty is big and movies that are slow, grim and celebrate Realism [art house?] are totally off their radar. &nbsp;They have little knowledge or interest in these products, secure and blissed-out as they are in their familiar world of glamorous, sexy heroines, macho, dashing heroes &amp; the accompanying hi-octane dramabaazi that goes with it.

In this scheme of things, does a critic have a hope in hell of breaking through and making a difference? &nbsp;Why not hit the basics and go back to an iconic film critic who defined their calling with rare honesty, passion &amp; purpose? &nbsp;Who better than the Big Mamma of film critics, hymned and celebrated as the finest voice of her generation, the late Pauline Kael

“The role of a critic is to help people see what is in the work, what is in it that shouldn’t be, what is not in it that could be. He is a good critic if he helps people understand more about the work than they could see for themselves. He is a great critic if by his understanding and feeling for the work, by his passion, he can excite people so that they want to experience more of the art that is there waiting to be seized. &nbsp;He is not necessarily a bad critic if he makes errors in judgement. &nbsp;He is a bad critic if he does not awaken the curiosity, enlarge the interest and understanding of his audience. &nbsp;The art of the critic, then, is to transmit his knowledge and enthusiasm for cinema to others.”

Admittedly, in a land like ours where entertainment is Bollywood and Bollywood means stars, it is a huge challenge BUT if we actually had a critic who was between being a snooty, high-brow type and a frivolous entertainer out to give you a good time, that would be perfect. &nbsp;

Someone like Kael who combined dazzling style that mesmerised readers, with deep knowledge, intelligence and genuine desire &amp; concern to connect with readers in a fashion that engages, entertains, enriches, enlightens, even empowers , it is a well known fact that Kael’s clout, reputation &amp; status was so huge and her reviews were so impactive that box office reports frequently swung with her opinions. &nbsp;

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>

Do we have a single reviewer of that class? &nbsp;The day that happens (and it will require a commitment along with a rare blend of marketing savvy &amp; scholarship) the fate of little gems like Masaan, Waiting, Aligarh, No Fathers in Kashmir, Manto, Omerta, Newton, City Lights ... will alter forever.&nbsp;

Like the recent OTT phenomenon, there will be a healthy co-existence and an equal opportunity/level playing field scene. After all Cinema, the youngest of the arts, lives on discussion, experiment, curiosity, variety, exchange of views and the comparison of standpoints.&nbsp;

If these critics discussed less art and more substance, more Sociology less aesthetics, all in an interesting reader-friendly manner, they would be making an immense contribution in smashing the gated community, advance the cause of cinema &amp; generally uplift content that needs exposure.

What better way to take this critical issue forward than re-visiting the memorable words of another iconic film critic, the late James Agee, when he took over as critic of The Nation, describing to readers his state as a “would-be-critic” with rare humility &amp; clarity he wrote, “I suspect that I am far more than not, in your own situation: deeply interested in moving pictures, considerably experienced from childhood in watching them, thinking and talking about them &amp; totally without experience or even much second hand knowledge of how they are made. &nbsp;

If I am broadly right in this assumption, we start on the same ground under the same handicaps and I qualify to be here – if at all – only by two means. It is my business to conduct one end of the conversation as an amateur critic among amateur critics and I will be of use &amp; interest only insofar as my amateur judgement is sound, stimulating &amp; illuminating.”

Contrary to popular belief, a real critic can and does de-code &amp; de-mystify both arthouse &amp; mainstream commercial in a way that hits the AIDA button – Attention, Interest, Desire, Action! &nbsp;The finest examples (Roger Ebert, Peter Travers, Kenneth Turan, Andrew Savis, John Simon, Chris Stuckman, Philip French, Scott Tobais) have demonstrated this with class. In the Indian film scene, alas, one mostly has the reviewers, the serious critics [of the zzzzzzz variety] or the exhibitionist who gives you less insight and more entertainment. &nbsp;

The day we have critics who are open, inclusive, pluralistic with a vision &amp; mission to break borders and build bridges by intelligently describing, analysing &amp; interpreting movies, without any baggage ... then both the breath of life &amp; kiss of death will fuse to present the ultimate surround-sound of tumultuous joy!

(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.)

Once in the mid-70’s, when both Bollywood’s mainstream movies and parallel cinema were booming, I happened to ask the late Manmohan Desai [Amar Akbar Anthony, Naseeb, Coolie, Mard] his views on the issue.

Once in the mid-70’s, when both Bollywood’s mainstream movies and parallel cinema were booming, I happened to ask the late Manmohan Desai [Amar Akbar Anthony, Naseeb, Coolie, Mard] his views on the issue. The definitive super-hit masala film-maker’s response was as transparent, unapologetic and entertaining as his gems. "Jab bhi critics aur pundits mera film ko tareef karta hai, ghabrahat hota hai. Mutlab, pucca flop! Jab bhi kass ke gaali deta high English mein, English akbaar aur magazine mein, main solid khush hota hoon ... mutlab, pucca super hit!!” (Whenever critics and Pundits praise my film, I get scared because it's a sure sign of the film tanking at the box office. But when they pans my films in their write-ups in English newspapers and magazines, I feel overjoyed as it means that the film will do great in theatres) Diametrically opposite was the view of Actor-Director Rahul Bose [English August, Mr. & Mrs Iyer, 15 Park Avenue, The Japanese Wife, Jhankar Beats, Pyar Ka Side Effects]. “For me, critical appreciation is way more important than ra-ra from the masses and it reflects in the films I participate in. Appreciation certainly has its place, but hosannas from the evolved and thinking section makes my day. It allows me to explore newer frontiers of opportunity,” he said. Cut to a reality check. In Bollywood-crazed India, not even the most [rare?] analytical and insightful reviews from film critics seem to make the slightest cut with the janata. Why? Simply because conditioning is the key and unlike the critics gaze, these films do not represent their path to Xanadu; nor do they symbolise a space when massive changes have occurred and all bets are off & definitely not the moment when everything has hit the ceiling & all the old rules of the game have undergone a cataclysmic transformation furiously, fast & forever. Also Read | Opinion: Ok you watch arthouse films, but does it make you superior? The masses have a clear idea of what they are looking for and what role a Bollywood film plays in their lives. Also, contrary to popular belief, big-ticket endorsement, testimonials or high praise from the most respected or celebrated names – be it Scorsese, Tarantino, Ray, Sen, Aparna, Benegal or Shabana & Adoor – matters zilch. Brand loyalty is big and movies that are slow, grim and celebrate Realism [art house?] are totally off their radar. They have little knowledge or interest in these products, secure and blissed-out as they are in their familiar world of glamorous, sexy heroines, macho, dashing heroes & the accompanying hi-octane dramabaazi that goes with it. In this scheme of things, does a critic have a hope in hell of breaking through and making a difference? Why not hit the basics and go back to an iconic film critic who defined their calling with rare honesty, passion & purpose? Who better than the Big Mamma of film critics, hymned and celebrated as the finest voice of her generation, the late Pauline Kael “The role of a critic is to help people see what is in the work, what is in it that shouldn’t be, what is not in it that could be. He is a good critic if he helps people understand more about the work than they could see for themselves. He is a great critic if by his understanding and feeling for the work, by his passion, he can excite people so that they want to experience more of the art that is there waiting to be seized. He is not necessarily a bad critic if he makes errors in judgement. He is a bad critic if he does not awaken the curiosity, enlarge the interest and understanding of his audience. The art of the critic, then, is to transmit his knowledge and enthusiasm for cinema to others.” Admittedly, in a land like ours where entertainment is Bollywood and Bollywood means stars, it is a huge challenge BUT if we actually had a critic who was between being a snooty, high-brow type and a frivolous entertainer out to give you a good time, that would be perfect. Someone like Kael who combined dazzling style that mesmerised readers, with deep knowledge, intelligence and genuine desire & concern to connect with readers in a fashion that engages, entertains, enriches, enlightens, even empowers , it is a well known fact that Kael’s clout, reputation & status was so huge and her reviews were so impactive that box office reports frequently swung with her opinions. Also Read | Opinion: Is 2021 the year of Actor vs Star showdown? Do we have a single reviewer of that class? The day that happens (and it will require a commitment along with a rare blend of marketing savvy & scholarship) the fate of little gems like Masaan, Waiting, Aligarh, No Fathers in Kashmir, Manto, Omerta, Newton, City Lights ... will alter forever. Like the recent OTT phenomenon, there will be a healthy co-existence and an equal opportunity/level playing field scene. After all Cinema, the youngest of the arts, lives on discussion, experiment, curiosity, variety, exchange of views and the comparison of standpoints. If these critics discussed less art and more substance, more Sociology less aesthetics, all in an interesting reader-friendly manner, they would be making an immense contribution in smashing the gated community, advance the cause of cinema & generally uplift content that needs exposure. What better way to take this critical issue forward than re-visiting the memorable words of another iconic film critic, the late James Agee, when he took over as critic of The Nation, describing to readers his state as a “would-be-critic” with rare humility & clarity he wrote, “I suspect that I am far more than not, in your own situation: deeply interested in moving pictures, considerably experienced from childhood in watching them, thinking and talking about them & totally without experience or even much second hand knowledge of how they are made. If I am broadly right in this assumption, we start on the same ground under the same handicaps and I qualify to be here – if at all – only by two means. It is my business to conduct one end of the conversation as an amateur critic among amateur critics and I will be of use & interest only insofar as my amateur judgement is sound, stimulating & illuminating.” Contrary to popular belief, a real critic can and does de-code & de-mystify both arthouse & mainstream commercial in a way that hits the AIDA button – Attention, Interest, Desire, Action! The finest examples (Roger Ebert, Peter Travers, Kenneth Turan, Andrew Savis, John Simon, Chris Stuckman, Philip French, Scott Tobais) have demonstrated this with class. In the Indian film scene, alas, one mostly has the reviewers, the serious critics [of the zzzzzzz variety] or the exhibitionist who gives you less insight and more entertainment. The day we have critics who are open, inclusive, pluralistic with a vision & mission to break borders and build bridges by intelligently describing, analysing & interpreting movies, without any baggage ... then both the breath of life & kiss of death will fuse to present the ultimate surround-sound of tumultuous joy! (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: Why film critics are breath of life but a kiss of death for the masses

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?

"Layered" and "truthful" are the words Jude Law and writer/director Sean Durkin are using to describe their new film, "The Nest." Law star alongside actress Carrie Coon in the drama set in England during the 1980s and follows a couple navigating a marriage rooted in lies.

Jude Law earns an acting nomination for his 'layered' performance in new film 'The Nest'

The Central government has brought online news portals and content providers under the Information and Broadcasting ministry. The development was announced in a gazette notification on November 9 declaring that the President has signed the order to include online films, digital news and current affairs content under the purview of the I&B Ministry headed by Union minister Prakash Javadekar.

India: Online news portals, films, content providers now under regulation of government

The Emmy-winning 'Star Wars' spin-off 'The Mandalorian' is back for a second season at the end of October on the Disney+ subscription streaming service.

The Mandalorian and Baby Yoda are back in trailer for second season of hit Star Wars TV show

A dream team of international stars headlines new espionage thriller "The 355", but no release date has been set yet by studio Universal Pictures.

'The 355' Trailer: International star team, but no release date yet

Katie Holmes hopes her new film, "The Secret: Dare to Dream" brings a message of hope during a time of unknowns.

'Hopeful and positive and magical' - Katie Holmes on new film 'The Secret'

With life returning to normalcy amid restrictions easing down, Bollywood celebrities are also getting back to work. The first actor resume work from the A-listers is our very own Akshay Kumar who has started work on six different TV commercials. Soon after that, Akshay will be leaving for Scotland to start shooting for his forthcoming film 'Bell Bottom'. With Akshay joining back work, it gives hope to almost 400 technicians who have found instant amid coronavirus crisis.

Akshay Kumar is back on set, first actor to resume work as lockdown restrictions ease

A Japanese director's documentary following the real life of ordinary people in post-epidemic Wuhan has again become a hit in both China and Japan.

Japanese director documents real life in post-epidemic Wuhan

All those sleepless nights after binge watching the SAW series or Paranormal Activity may indeed have been worth it!

A new study has claimed that ardent fans of the horror genre were better prepared to deal with the fallout of the pandemic, and found it easier to acclimatise to a post-pandemic lifestyle.

Psychologically less affected

When a team of psychologists set out to identify a group which could help carve out a blueprint on how to deal with a pandemic without ringing alarm bells, their conclusions surprised them. Long-term fans of horror films and shows coped most easily with the harrowing effects of COVID-19 pandemic.

The pandemic has changed our cultural and social lives, making it difficult for one to adjust to reconfiguring our lifestyle to centre around “sanitisation” and “prevention”.

The New Scientist report, based on a study undertaken by psychologists, claims that the “morbidly curious” aka horror fans were psychologically less affected by the coronavirus pandemic.

<h6><img alt="Revellers pose for pictures during the annual' Zombie' walk, infuenced by horror movies, during the carnival season in Athens on February 10, 2018" data-entity-type="file" data-entity-uuid="f9a71eef-eacd-4831-8e75-2450d2aef6ba" src="//cdn.wionews.com/sites/default/files/inline-images/horror%202.jpg" /> 
Revellers pose for pictures during the annual' Zombie' walk, infuenced by horror movies, during the carnival season in Athens on February 10, 2018 | AFP</h6>

Published online in the last week of June, the study asserts how those who revel in jump scares and eerie sound effects were not just better prepared to deal with extreme calamities, but also to have a positive outlook in the aftermath of such events.

What is emotion regulation?

A psychologist from the University of Chicago told New Scientist that the behaviour and calmness exhibited by horror fans suggests that horror is about “emotion regulation”. In essence, he is suggesting that horror better equips people to be in control of their emotions and to exercise control over them.

The psychologist, Scrivner further extrapolated how horror films allow one to experience fear, to consequentially overcome it. This may creep into real life experiences of those familiar with the genre, to mould them into being more optimistic whenever stressful situations arise.

Of course, there are many other factors that the study ignored but eventually intends to imbibe after it is peer reviewed and has more scientific value.

Many studies have pointed how coronavirus pandemic has worsened the mental health of many, especially those who suddenly found it difficult to cope with staying inside and to tremendously limit social contact.

Fact or fable, one thing’s for sure: Horror prepares you for the worst!

All those sleepless nights after binge watching the SAW series or Paranormal Activity may indeed have been worth it! A new study has claimed that ardent fans of the horror genre were better prepared to deal with the fallout of the pandemic, and found it easier to acclimatise to a post-pandemic lifestyle.

All those sleepless nights after binge watching the SAW series or Paranormal Activity may indeed have been worth it! A new study has claimed that ardent fans of the horror genre were better prepared to deal with the fallout of the pandemic, and found it easier to acclimatise to a post-pandemic lifestyle. Psychologically less affected When a team of psychologists set out to identify a group which could help carve out a blueprint on how to deal with a pandemic without ringing alarm bells, their conclusions surprised them. Long-term fans of horror films and shows coped most easily with the harrowing effects of COVID-19 pandemic. The pandemic has changed our cultural and social lives, making it difficult for one to adjust to reconfiguring our lifestyle to centre around “sanitisation” and “prevention”. The New Scientist report, based on a study undertaken by psychologists, claims that the “morbidly curious” aka horror fans were psychologically less affected by the coronavirus pandemic. Revellers pose for pictures during the annual' Zombie' walk, infuenced by horror movies, during the carnival season in Athens on February 10, 2018 | AFP Published online in the last week of June, the study asserts how those who revel in jump scares and eerie sound effects were not just better prepared to deal with extreme calamities, but also to have a positive outlook in the aftermath of such events. What is emotion regulation? A psychologist from the University of Chicago told New Scientist that the behaviour and calmness exhibited by horror fans suggests that horror is about “emotion regulation”. In essence, he is suggesting that horror better equips people to be in control of their emotions and to exercise control over them. The psychologist, Scrivner further extrapolated how horror films allow one to experience fear, to consequentially overcome it. This may creep into real life experiences of those familiar with the genre, to mould them into being more optimistic whenever stressful situations arise. Of course, there are many other factors that the study ignored but eventually intends to imbibe after it is peer reviewed and has more scientific value. Many studies have pointed how coronavirus pandemic has worsened the mental health of many, especially those who suddenly found it difficult to cope with staying inside and to tremendously limit social contact. Fact or fable, one thing’s for sure: Horror prepares you for the worst!

Scientists label 'morbidly curious' horror fans the calmest in a post-pandemic world!

Mystery-solving animated dog Scooby-Doo is returning during the coronavirus lockdown to solve a fresh mystery in 'SCOOB!'. The return of Scooby and his pals, Fred, Daphne, Velma and of course, Shaggy, was supposed to have been a big screen event but the project was sent to home video because of cinema closures.

ZOINKS! Scooby-Doo and his gang re-emerge out of lockdown with new film

Czechs parked their cars to watch plays and film screenings in Prague as the country eases out of a lockdown imposed to curb the spread of the coronavirus infection.

Czechs park up for drive-in theatre, cinema as lockdown eases

Jane Austen's classic novel 'Emma' has been given a vibrant update. The film, which is directed by Autumn de Wilde, features bright colors and a critically-acclaimed performance by Anya Taylor-Joy, who plays the titular character.

Dancing, decadence and bare bottoms breathe life into Jane Austen classic 'Emma'

No fuss, just films seems to be the watchword as the Berlinale is set to open with low-key celebrations for its 70th anniversary edition on Thursday (February 20).

Berlinale at 70: What to expect from Berlin's Film Festival

A multitude of witches and wizards took Buenos Aires by storm during "Harry Potter Book Night," which allows fans to dress up and test their knowledge of the popular children's saga.

Argentine Harry Potter fans take part in magical book night

Hollywood superstar Brad Pitt on Wednesday (January 22) stopped traffic in Santa Barbara, California, where he was being honored with the Maltin Modern Master Award at the 35th annual Santa Barbara International Film Festival.

Brad Pitt stops traffic in Santa Barbara, says he doesn't have a date for the Oscars

While Joqauin Phoenix, Renee Zellweger and Brad Pitt may be drafting acceptance speeches for next month's BAFTA ceremony, in a foundry west of London, metalworkers are equally busy crafting the gold trophies that the stars hope to win.

As the awards race heats up, BAFTA statues are forged from molten metal

Hollywood stars share about their favourite festive traditions and just like the rest of us, they are looking forward to some seasonal fun.

Celebrities share their favourite festive traditions

Comic book movie "Joker" is poised to surpass $1 billion (£781.5 million)in global ticket sales on Friday, becoming the first R-rated Hollywood movie ever to overcome the milestone.

"Joker," a dark origin story from Warner Bros&nbsp;about Batman's arch-nemesis, had sold $999.1 billion as of Thursday despite not having been screened in China, which is projected to become the world's largest movie market next year.

Starring Joaquin Phoenix as a mentally-ill loner who finds fame through a random act of violence, the movie earned warm reviews as it opened in early October but stoked controversy in the United States over fears it would encourage violence.

Box office analyst Gitesh Pandya said "Joker" would top the $1 billion level on Friday.

"Absolutely jaw-dropping achievement for an R-rated film with a moderate budget and no China release," Pandya, founder and editor of Box Office Guru, wrote on Twitter.

Its nearest R-rated rivals are 2018 movie "Deadpool 2" ($785 million) and 2016's "Deadpool" ($783 million), both starring Ryan Reynolds as a foul-mouthed superhero.

Thanks to a modest production budget estimated at about $60 million, "Joker" is also the most profitable comic book movie ever, according to Forbes.com, due largely to the film's focus on character rather than special effects and action scenes.

"Joker" is now the 7th biggest Hollywood movie at the 2019 box office, behind the action-packed blockbuster "Avengers: Endgame" at $2.8 billion and family movie "The Lion King" at $1.6 billion, both from Walt Disney.

The movie is expected to land nominations in the upcoming Hollywood awards season and has inspired fans to visit the spot in New York's Bronx district where Phoenix's character transforms into the Joker, his face painted like a clown and with green hair, and dances triumphantly down a set of steep steps.

Comic book movie "Joker" is poised to surpass $1 billion (£781.5 million)in global ticket sales on Friday, becoming the first R-rated Hollywood movie ever to overcome the milestone.

Comic book movie "Joker" is poised to surpass $1 billion (£781.5 million)in global ticket sales on Friday, becoming the first R-rated Hollywood movie ever to overcome the milestone. "Joker," a dark origin story from Warner Bros about Batman's arch-nemesis, had sold $999.1 billion as of Thursday despite not having been screened in China, which is projected to become the world's largest movie market next year. Starring Joaquin Phoenix as a mentally-ill loner who finds fame through a random act of violence, the movie earned warm reviews as it opened in early October but stoked controversy in the United States over fears it would encourage violence. Box office analyst Gitesh Pandya said "Joker" would top the $1 billion level on Friday. "Absolutely jaw-dropping achievement for an R-rated film with a moderate budget and no China release," Pandya, founder and editor of Box Office Guru, wrote on Twitter. Its nearest R-rated rivals are 2018 movie "Deadpool 2" ($785 million) and 2016's "Deadpool" ($783 million), both starring Ryan Reynolds as a foul-mouthed superhero. Thanks to a modest production budget estimated at about $60 million, "Joker" is also the most profitable comic book movie ever, according to Forbes.com, due largely to the film's focus on character rather than special effects and action scenes. "Joker" is now the 7th biggest Hollywood movie at the 2019 box office, behind the action-packed blockbuster "Avengers: Endgame" at $2.8 billion and family movie "The Lion King" at $1.6 billion, both from Walt Disney. The movie is expected to land nominations in the upcoming Hollywood awards season and has inspired fans to visit the spot in New York's Bronx district where Phoenix's character transforms into the Joker, his face painted like a clown and with green hair, and dances triumphantly down a set of steep steps.

'Joker' expected to cross $1 billion global box office milestone

Actor Kajol says she only gives her nod to a film if the script manages to hold her attention.

The 43-year-old actor, who was last seen in Dhanush's "VIP 2", said screen-time of a character is not important for her if it has "something amazing" to offer her as a performer.&nbsp;

"I love reading. It is my passion, hobby, and meditation. I believe a good script should be like one of those books that you read till 4 am and you know you have to get up at 7 am and go to work. It is a book that is unputdownable."And the character should be like that you build and make something amazing out of it. I don't think whether I am the main lead or have enough to do in the film or not, whether it's two scenes or half a scene to do, it should be of a kind that leaves a strong impact," Kajol said during a promotional event of "Incredibles 2".

The actor has voiced the character of Helen Parr aka Elastigirl in the Hindi-version of "Incredibles 2".

The 43-year-old actor said that even though she hates dubbing, the experience of voicing for the beloved superhero character was "exciting".

"I don't like dubbing for myself, it is the most painful and boring process. If you are dubbing for yourself then it is bad and if you are doing for somebody else then it is twice as worse. But at the end of it, I was like it was great fun. To dub for Elastigirl was very exciting," Kajol said.

The actor wished that she had some superpowers in real life so as to manage everything, from the "me time" to giving attention to her kids and family.

"What I like most about these films is they are giving out the right message but in a humorous way. It is an intelligent film and it is meant for everybody. There is no age limit to it."

"Incredibles 2", set to release on June 22, is the sequel to Disney-Pixar's 2004 animation blockbuster.

The actor has voiced the character of Helen Parr aka Elastigirl in the Hindi-version of 'Incredibles 2'

Actor Kajol says she only gives her nod to a film if the script manages to hold her attention. The 43-year-old actor, who was last seen in Dhanush's "VIP 2", said screen-time of a character is not important for her if it has "something amazing" to offer her as a performer. "I love reading. It is my passion, hobby, and meditation. I believe a good script should be like one of those books that you read till 4 am and you know you have to get up at 7 am and go to work. It is a book that is unputdownable."And the character should be like that you build and make something amazing out of it. I don't think whether I am the main lead or have enough to do in the film or not, whether it's two scenes or half a scene to do, it should be of a kind that leaves a strong impact," Kajol said during a promotional event of "Incredibles 2". The actor has voiced the character of Helen Parr aka Elastigirl in the Hindi-version of "Incredibles 2". The 43-year-old actor said that even though she hates dubbing, the experience of voicing for the beloved superhero character was "exciting". "I don't like dubbing for myself, it is the most painful and boring process. If you are dubbing for yourself then it is bad and if you are doing for somebody else then it is twice as worse. But at the end of it, I was like it was great fun. To dub for Elastigirl was very exciting," Kajol said. The actor wished that she had some superpowers in real life so as to manage everything, from the "me time" to giving attention to her kids and family. "What I like most about these films is they are giving out the right message but in a humorous way. It is an intelligent film and it is meant for everybody. There is no age limit to it." "Incredibles 2", set to release on June 22, is the sequel to Disney-Pixar's 2004 animation blockbuster.

A good script should be like an 'unputdownable' book: Kajol Devgn

Directors are moving back to shorter film run times and more compact scripts just like films were in the 90's, just for 90-100 minutes. Most films made today are nothing less than two and a half hours long. &nbsp;Here are a few films we are looking forward to and some that made news last year.

 
a) 'Hope Aur Hum': &nbsp;This good family film is directed by Sudip Bandyopadhyay, starring Naseeruddin Shah and Sonali Kulkarni. Sudip Bandyopadhyay is an ace ad filmmaker who is making his directorial debut in Bollywood. The filmmaker has used his ad film learnings and has created a 90 minute film that tells a story of three generations learning to deal with change in their own way. The film releases on May 11 and it is a complete family film.

<img alt="9.jpg" data-entity-type="" data-entity-uuid="" height="645" src="http://images.wionews.com/iniline-images/9.jpg" width="1170" />

b)'102 Not Out': The film directed by Umesh Shukla is staring Amitabh Bachchan and Rishi Kapoor. This movie is a family comedy that looks at the relationship of Amitabh Bachchan, who plays a fun loving jovial father who wants to break the record of the oldest living man, and his son who is exactly the opposite in character. The film already got released on 4th May 2018 and is an hour and is 107 minutes long.&nbsp;

<img alt="44.jpg" data-entity-type="" data-entity-uuid="" height="645" src="http://images.wionews.com/iniline-images/44.jpg" width="1170" />

c)'Omerta': This Hansal Mehta directed film has Rajkumar as the terrorist Ahmed Omar Saeed Sheikh. The film follows the life of the terrorist and all that he has done, it uses news videos and footage. This film has been in the making for over 12 years now. The film is about &nbsp;96 minutes long. It released on 4th May 2018.

<img alt="].jpg" data-entity-type="" data-entity-uuid="" height="645" src="http://images.wionews.com/iniline-images/%5D.jpg" width="1170" />

d)'Meri Nimmo': Rahul Shankara's 'Meri Nimmo' stars Newton Actress Anjali Patil in the lead role. The film revolves around Nimmo (Anjali) and her little companion, Hemu who is a young schoolboy. The film is 90 minutes long and is screening on Eros Now.

<img alt="==.jpg" data-entity-type="" data-entity-uuid="" height="645" src="http://images.wionews.com/iniline-images/%3D%3D.jpg" width="1170" />

e) 'Haraamkhor': Director Shlok Sharma’s 'Haraamkhor' is well known not just for its story or the fact that two amazing actors, Nawazuddin Siddiqui and Shweta Tripathi star in the film. It is also known for its short run time or around 110 minutes

<img alt="7.jpg" data-entity-type="" data-entity-uuid="" height="645" src="http://images.wionews.com/iniline-images/7.jpg" width="1170" />

f) &nbsp;'Gurgaon': Shanker Raman’s 'Gurgaon' was one of the most underrated films last year. It stars Pankaj Tripathi, Ragini Khanna, and Akshay Oberoi. The film revolves around the kidnapping of a real estate tycoons daughter and the events that follow. In a matter of 107 minutes. Gurgaon was released in August last year.&nbsp;

<img alt="66.jpg" data-entity-type="" data-entity-uuid="" height="645" src="http://images.wionews.com/iniline-images/66.jpg" width="1170" />

g)&nbsp;'Newton': &nbsp;'Newton' is the National award-winning film. Not only for Amit Masurkar’s fantastic direction but Rajkumar Rao’s and Pankaj Tripathi’s brilliant acting. The film talks about the flaws in the electoral voting system in the country and the Naxalite problem in the east. The film has a run time of 106 minutes.

<img alt="888.jpg" data-entity-type="" data-entity-uuid="" height="645" src="http://images.wionews.com/iniline-images/888.jpg" width="1170" />

h) 'Trapped': Rajkumar Rao’s best performance till date. 'Trapped' is directed by Vikramaditya Motwane and is about a man getting trapped in an empty building and his efforts to escape. This 105 minute film, proves that a film doesn’t need to belong to be gripping.&nbsp;

<img alt="=.jpg" data-entity-type="" data-entity-uuid="" height="645" src="http://images.wionews.com/iniline-images/%3D.jpg" width="1170" />

i) &nbsp;'Ribbon': Sumeet Vyas and Kalki Koechlin starring 'Ribbon' is a film audience all over associate with. It is a story of challenges new parents face. The film is directed by Rakhee Sandilya and is 109 minutes long.. The film was released in November 2017.

&nbsp;<img alt="88.jpg" data-entity-type="" data-entity-uuid="" height="645" src="http://images.wionews.com/iniline-images/88.jpg" width="1170" />

Directors are moving back to shorter film run times and more compact scripts

Directors are moving back to shorter film run times and more compact scripts just like films were in the 90's, just for 90-100 minutes. Most films made today are nothing less than two and a half hours long. Here are a few films we are looking forward to and some that made news last year. a) 'Hope Aur Hum': This good family film is directed by Sudip Bandyopadhyay, starring Naseeruddin Shah and Sonali Kulkarni. Sudip Bandyopadhyay is an ace ad filmmaker who is making his directorial debut in Bollywood. The filmmaker has used his ad film learnings and has created a 90 minute film that tells a story of three generations learning to deal with change in their own way. The film releases on May 11 and it is a complete family film. b)'102 Not Out': The film directed by Umesh Shukla is staring Amitabh Bachchan and Rishi Kapoor. This movie is a family comedy that looks at the relationship of Amitabh Bachchan, who plays a fun loving jovial father who wants to break the record of the oldest living man, and his son who is exactly the opposite in character. The film already got released on 4th May 2018 and is an hour and is 107 minutes long. c)'Omerta': This Hansal Mehta directed film has Rajkumar as the terrorist Ahmed Omar Saeed Sheikh. The film follows the life of the terrorist and all that he has done, it uses news videos and footage. This film has been in the making for over 12 years now. The film is about 96 minutes long. It released on 4th May 2018. d)'Meri Nimmo': Rahul Shankara's 'Meri Nimmo' stars Newton Actress Anjali Patil in the lead role. The film revolves around Nimmo (Anjali) and her little companion, Hemu who is a young schoolboy. The film is 90 minutes long and is screening on Eros Now. e) 'Haraamkhor': Director Shlok Sharma’s 'Haraamkhor' is well known not just for its story or the fact that two amazing actors, Nawazuddin Siddiqui and Shweta Tripathi star in the film. It is also known for its short run time or around 110 minutes f) 'Gurgaon': Shanker Raman’s 'Gurgaon' was one of the most underrated films last year. It stars Pankaj Tripathi, Ragini Khanna, and Akshay Oberoi. The film revolves around the kidnapping of a real estate tycoons daughter and the events that follow. In a matter of 107 minutes. Gurgaon was released in August last year. g) 'Newton': 'Newton' is the National award-winning film. Not only for Amit Masurkar’s fantastic direction but Rajkumar Rao’s and Pankaj Tripathi’s brilliant acting. The film talks about the flaws in the electoral voting system in the country and the Naxalite problem in the east. The film has a run time of 106 minutes. h) 'Trapped': Rajkumar Rao’s best performance till date. 'Trapped' is directed by Vikramaditya Motwane and is about a man getting trapped in an empty building and his efforts to escape. This 105 minute film, proves that a film doesn’t need to belong to be gripping. i) 'Ribbon': Sumeet Vyas and Kalki Koechlin starring 'Ribbon' is a film audience all over associate with. It is a story of challenges new parents face. The film is directed by Rakhee Sandilya and is 109 minutes long.. The film was released in November 2017.

90's Film cinemas comeback

In a country where PDA continues to be taboo, Sanjay Mishra says his upcoming film 'Angrezi Mein Kehte Hain' is an endearing effort to make showing love to one another, especially for the older couples, more acceptable.&nbsp;

The veteran actor says people have a skewed notion about the idea of love and romance and how it belongs only to youth.

"Romance is not just for a boy and a girl, the romance which takes place around the trees and flowers... Some people have a romance with food, so different things for different people. That's how even Mira and Khusro came to be. We have very limited notion of romance. We have made it like that.&nbsp;

"Love is beyond all this. It is ageless. You see an older couple sitting in a cafe sharing coffee and you know that's love when they look at you with those eyes. That's romance," Mishra told in an interview.

Directed by Harish Vyas, the Banaras-set film is a story of a couple, played by Mishra and Ekavali Khanna - married for over 30 years. They try to find love and spark back in their lives with the help of the younger generation - Anshuman Jha and Shivani Raghuvanshi.

Pankaj Tripathi also stars in the film.

Asked why love stories focus on youth, the actor says it is a question that needs to be asked.

"Does it mean that after 20 life is over? That all good things will happen below the age of 30? After that, you're done?

"Maybe someone wakes up late. They would want to achieve something at the age of 60. Will you discourage them? How much of a struggle would that be? To establish oneself in one's own society?"&nbsp;

The actor says language may have been created for the humans to express themselves but people have learned "more cusswords" than saying 'those three lovely words'.

In the film, Mishra plays Yashwant Batra, a conservative middle-class man who tries reigniting his relationship with his wife Kiran, whom he realises he has taken for granted for a long time.&nbsp;

"We need to add a little language in our daily lives to acknowledge these gestures, we have learned so many cuss words, this is also possible. Why does 'I love you' has to have such a short shelf life?&nbsp;

"Language is necessary. We express through it. The language of love has become silent. The world would have been different had it been the other way," the actor says.

Mishra says it is unfortunate that the societal norms do not even let people freely express themselves to their mother.

"We don't even feel the need to say it to mothers. This attitude that has been given to us by the society. For that language to emerge, we need to be in touch with ourselves. Then profess love to the other person." 
"But you should not say 'I love you' to everyone," he quips.&nbsp;

Love is beyond everything and it is simply ageless.

In a country where PDA continues to be taboo, Sanjay Mishra says his upcoming film 'Angrezi Mein Kehte Hain' is an endearing effort to make showing love to one another, especially for the older couples, more acceptable. The veteran actor says people have a skewed notion about the idea of love and romance and how it belongs only to youth. "Romance is not just for a boy and a girl, the romance which takes place around the trees and flowers... Some people have a romance with food, so different things for different people. That's how even Mira and Khusro came to be. We have very limited notion of romance. We have made it like that. "Love is beyond all this. It is ageless. You see an older couple sitting in a cafe sharing coffee and you know that's love when they look at you with those eyes. That's romance," Mishra told in an interview. Directed by Harish Vyas, the Banaras-set film is a story of a couple, played by Mishra and Ekavali Khanna - married for over 30 years. They try to find love and spark back in their lives with the help of the younger generation - Anshuman Jha and Shivani Raghuvanshi. Pankaj Tripathi also stars in the film. Asked why love stories focus on youth, the actor says it is a question that needs to be asked. "Does it mean that after 20 life is over? That all good things will happen below the age of 30? After that, you're done? "Maybe someone wakes up late. They would want to achieve something at the age of 60. Will you discourage them? How much of a struggle would that be? To establish oneself in one's own society?" The actor says language may have been created for the humans to express themselves but people have learned "more cusswords" than saying 'those three lovely words'. In the film, Mishra plays Yashwant Batra, a conservative middle-class man who tries reigniting his relationship with his wife Kiran, whom he realises he has taken for granted for a long time. "We need to add a little language in our daily lives to acknowledge these gestures, we have learned so many cuss words, this is also possible. Why does 'I love you' has to have such a short shelf life? "Language is necessary. We express through it. The language of love has become silent. The world would have been different had it been the other way," the actor says. Mishra says it is unfortunate that the societal norms do not even let people freely express themselves to their mother. "We don't even feel the need to say it to mothers. This attitude that has been given to us by the society. For that language to emerge, we need to be in touch with ourselves. Then profess love to the other person." "But you should not say 'I love you' to everyone," he quips.

Romance not just for a boy and a girl: Sanjay Mishra on his new film 'Angrezi Mein Kehte Hai'

Yesteryears diva Madhuri Dixit has turned 51 on Tuesday. Known as the `Dhak-Dhak` girl of Bollywood, Madhuri is known for her iconic dancing prowess and stunning acting skills. Her friends from the industry took to Twitter to wish the beauty a very happy birthday.

Veteran actor Anil Kapoor wrote, "Happy birthday @MadhuriDixit!! May you have a #TotalDhamaal filled day & year ahead & all your #BucketList wishes come true! Wishing you love and luck always!".

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Happy birthday <a href="https://twitter.com/MadhuriDixit?ref_src=twsrc%5Etfw">@MadhuriDixit</a>!! May you have a <a href="https://twitter.com/hashtag/TotalDhamaal?src=hash&ref_src=twsrc%5Etfw">#TotalDhamaal</a> filled day & year ahead & all your <a href="https://twitter.com/hashtag/BucketList?src=hash&ref_src=twsrc%5Etfw">#BucketList</a> wishes come true! Wishing you love and luck always! <a href="https://t.co/LIJMC9FHcZ">pic.twitter.com/LIJMC9FHcZ</a>
— Anil Kapoor (@AnilKapoor) <a href="https://twitter.com/AnilKapoor/status/996301470705238016?ref_src=twsrc%5Etfw">May 15, 2018</a></blockquote>
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Her friend Jitesh Pillai posted, "Talent alone is not enough. It`s temperament that makes or breaks and @MadhuriDixit has it in spades. Have an #idleedidleedoo birthday".

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Happy happy happy birthday my dear lovely <a href="https://twitter.com/MadhuriDixit?ref_src=twsrc%5Etfw">@MadhuriDixit</a>. For staying consistent in an ever mercurial and crazy business. For being you. Solid, dependable and making my heart race wildly even today.
— J (@jiteshpillaai) <a href="https://twitter.com/jiteshpillaai/status/996249965155434496?ref_src=twsrc%5Etfw">May 15, 2018</a></blockquote>
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Talent alone is not enough. It’s temperament that makes or breaks and <a href="https://twitter.com/MadhuriDixit?ref_src=twsrc%5Etfw">@MadhuriDixit</a> has it in spades. Have an <a href="https://twitter.com/hashtag/idleedidleedoo?src=hash&ref_src=twsrc%5Etfw">#idleedidleedoo</a> birthday <a href="https://t.co/xTMwSJ2MyD">https://t.co/xTMwSJ2MyD</a>
— J (@jiteshpillaai) <a href="https://twitter.com/jiteshpillaai/status/996288460213268480?ref_src=twsrc%5Etfw">May 15, 2018</a></blockquote>
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`Raazi` actor Alia Bhat tweeted, "Happy happy birthday to the one and only @MadhuriDixit.. thank you for being such an inspiration so blessed to be working with you ???????? #HappyBirthdayMadhuriDixit".

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Happy happy birthday to the one and only <a href="https://twitter.com/MadhuriDixit?ref_src=twsrc%5Etfw">@MadhuriDixit</a>.. thank you for being such an inspiration so blessed to be working with you ???? <a href="https://twitter.com/hashtag/HappyBirthdayMadhuriDixit?src=hash&ref_src=twsrc%5Etfw">#HappyBirthdayMadhuriDixit</a>
— Alia Bhatt (@aliaa08) <a href="https://twitter.com/aliaa08/status/996302828812423168?ref_src=twsrc%5Etfw">May 15, 2018</a></blockquote>
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Actor Shraddha Kapoor wrote, "Happy birthday to one of my favorites. Have grown up idolizing you. You have such a special place in everyone`s heart! We all love you so much @MadhuriDixit".

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Happy birthday to one of my favorites. Have grown up idolizing you. You have such a special place in everyone’s heart! We all love you so much <a href="https://twitter.com/MadhuriDixit?ref_src=twsrc%5Etfw">@MadhuriDixit</a> ?♥️
— Shraddha (@ShraddhaKapoor) <a href="https://twitter.com/ShraddhaKapoor/status/996271752840925184?ref_src=twsrc%5Etfw">May 15, 2018</a></blockquote>
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Producer-Director Karan Johar posted a song from her upcoming movie and wrote, "Redefining love yet again, this one`s special! Launching it on her birthday, #TuPari out now!".

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Redefining love yet again, this one's special! Launching it on her birthday, <a href="https://twitter.com/hashtag/TuPari?src=hash&ref_src=twsrc%5Etfw">#TuPari</a> out now! <a href="https://twitter.com/hashtag/BucketList?src=hash&ref_src=twsrc%5Etfw">#BucketList</a> <a href="https://twitter.com/MadhuriDixit?ref_src=twsrc%5Etfw">@MadhuriDixit</a><a href="https://twitter.com/tejasdeoskar?ref_src=twsrc%5Etfw">@tejasdeoskar</a> <a href="https://twitter.com/Darkhorsecine?ref_src=twsrc%5Etfw">@Darkhorsecine</a> <a href="https://twitter.com/DARPictures?ref_src=twsrc%5Etfw">@DARPictures</a> <a href="https://twitter.com/bluemustangcs?ref_src=twsrc%5Etfw">@bluemustangcs</a><a href="https://twitter.com/apoorvamehta18?ref_src=twsrc%5Etfw">@apoorvamehta18</a> <a href="https://twitter.com/AAFilmsIndia?ref_src=twsrc%5Etfw">@AAFilmsIndia</a> <a href="https://twitter.com/BucketListFilm?ref_src=twsrc%5Etfw">@BucketListFilm</a> <a href="https://twitter.com/zeemusicmarathi?ref_src=twsrc%5Etfw">@zeemusicmarathi</a> <a href="https://t.co/qXkmKxQN4v">https://t.co/qXkmKxQN4v</a>
— Karan Johar (@karanjohar) <a href="https://twitter.com/karanjohar/status/996277494243246080?ref_src=twsrc%5Etfw">May 15, 2018</a></blockquote>
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Madhuri made her debut in the industry in 1984 with 'Abodh'. After a rocky start, success came knocking on her door in 1988 with `Tezaab`, which featured Anil Kapoor in the male lead. Her pairings with Anil Kapoor became an instant hit among the people, with them appearing in 15 films opposite each other. Madhuri will be next seen in her first Marathi venture, `Bucket List`.
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</article>

Yesteryears diva Madhuri Dixit turned 51 on Tuesday

Yesteryears diva Madhuri Dixit has turned 51 on Tuesday. Known as the `Dhak-Dhak` girl of Bollywood, Madhuri is known for her iconic dancing prowess and stunning acting skills. Her friends from the industry took to Twitter to wish the beauty a very happy birthday. Veteran actor Anil Kapoor wrote, "Happy birthday @MadhuriDixit!! May you have a #TotalDhamaal filled day & year ahead & all your #BucketList wishes come true! Wishing you love and luck always!". Happy birthday @MadhuriDixit!! May you have a #TotalDhamaal filled day & year ahead & all your #BucketList wishes come true! Wishing you love and luck always! pic.twitter.com/LIJMC9FHcZ — Anil Kapoor (@AnilKapoor) May 15, 2018 × Her friend Jitesh Pillai posted, "Talent alone is not enough. It`s temperament that makes or breaks and @MadhuriDixit has it in spades. Have an #idleedidleedoo birthday". Happy happy happy birthday my dear lovely @MadhuriDixit. For staying consistent in an ever mercurial and crazy business. For being you. Solid, dependable and making my heart race wildly even today. — J (@jiteshpillaai) May 15, 2018 × Talent alone is not enough. It’s temperament that makes or breaks and @MadhuriDixit has it in spades. Have an #idleedidleedoo birthday https://t.co/xTMwSJ2MyD — J (@jiteshpillaai) May 15, 2018 × `Raazi` actor Alia Bhat tweeted, "Happy happy birthday to the one and only @MadhuriDixit.. thank you for being such an inspiration so blessed to be working with you ???????? #HappyBirthdayMadhuriDixit". Happy happy birthday to the one and only @MadhuriDixit.. thank you for being such an inspiration so blessed to be working with you ???? #HappyBirthdayMadhuriDixit — Alia Bhatt (@aliaa08) May 15, 2018 × Actor Shraddha Kapoor wrote, "Happy birthday to one of my favorites. Have grown up idolizing you. You have such a special place in everyone`s heart! We all love you so much @MadhuriDixit". Happy birthday to one of my favorites. Have grown up idolizing you. You have such a special place in everyone’s heart! We all love you so much @MadhuriDixit ?♥️ — Shraddha (@ShraddhaKapoor) May 15, 2018 × Producer-Director Karan Johar posted a song from her upcoming movie and wrote, "Redefining love yet again, this one`s special! Launching it on her birthday, #TuPari out now!". Redefining love yet again, this one's special! Launching it on her birthday, #TuPari out now! #BucketList @MadhuriDixit@tejasdeoskar @Darkhorsecine @DARPictures @bluemustangcs@apoorvamehta18 @AAFilmsIndia @BucketListFilm @zeemusicmarathi https://t.co/qXkmKxQN4v — Karan Johar (@karanjohar) May 15, 2018 × Madhuri made her debut in the industry in 1984 with 'Abodh'. After a rocky start, success came knocking on her door in 1988 with `Tezaab`, which featured Anil Kapoor in the male lead. Her pairings with Anil Kapoor became an instant hit among the people, with them appearing in 15 films opposite each other. Madhuri will be next seen in her first Marathi venture, `Bucket List`.

Twitteratti showers love on Madhuri Dixit on her birthday

&nbsp;Filmmaker Christopher Nolan says the antagonists in Dark Knight trilogy defined the character of Batman in each of the films.

Nolan, who is credited to have given a subliminal edge to the role of Caped Crusader of Gotham in his superhero interpretation, says all three villains - Liam Neeson's Henri Ducard/ Ra's al Ghul, Heath Ledger's The Joker and Tom Hardy's Bane helped Bruce Wayne become a more layered part.

About 2005's origins story, 'Batman Begins', starring Christian Bale in the title role, Nolan said, "To me, each film is a different genre. They tend to be defined by the villain.

"The villain is an appropriate adversary. He's a mentor-turned-enemy."

According to Variety, the filmmaker was speaking at the ongoing Cannes Film Festival over the weekend. He made his debut at the annual gala and attended the premiere of a 70mm print of Stanley Kubrick's '2001: A Space Odyssey'.&nbsp;

"'The Dark Knight' (2008 sequel) for me was always a crime drama in the mould of a Michael Mann film. The Joker was a terrorist, an agent of chaos set loose," he said. 
Nolan, 47, called the 2012's final part, 'The Dark Knight Rises', as "This historical epic. Bane as a militarist foe helped that."

The director said he did not set out to create a 'Batman' franchise when they first collaborated with Warner Bros 13 years ago.&nbsp;

"We hadn't planned on doing a sequel. So shifting genres and the nature of the antagonist felt the way to take the audience on a journey and tell them something different about Bruce Wayne."

Nolan admitted he approached the comic book realm as a noir-thriller.&nbsp;

"Yes, it's a superhero, but it's based on ideas of guilt, fear, these strong impulses that the character has. Bruce Wayne doesn't have any superpowers other than extraordinary wealth.&nbsp;

"But really, he's just someone who does a lot of push-ups. In that sense, he's very relatable and human. I think that's why I gravitated towards it," he said

Filmmaker Christopher Nolan says the antagonists in Dark Knight trilogy defined the character of Batman in each of the films

Filmmaker Christopher Nolan says the antagonists in Dark Knight trilogy defined the character of Batman in each of the films. Nolan, who is credited to have given a subliminal edge to the role of Caped Crusader of Gotham in his superhero interpretation, says all three villains - Liam Neeson's Henri Ducard/ Ra's al Ghul, Heath Ledger's The Joker and Tom Hardy's Bane helped Bruce Wayne become a more layered part. About 2005's origins story, 'Batman Begins', starring Christian Bale in the title role, Nolan said, "To me, each film is a different genre. They tend to be defined by the villain. "The villain is an appropriate adversary. He's a mentor-turned-enemy." According to Variety, the filmmaker was speaking at the ongoing Cannes Film Festival over the weekend. He made his debut at the annual gala and attended the premiere of a 70mm print of Stanley Kubrick's '2001: A Space Odyssey'. "'The Dark Knight' (2008 sequel) for me was always a crime drama in the mould of a Michael Mann film. The Joker was a terrorist, an agent of chaos set loose," he said. Nolan, 47, called the 2012's final part, 'The Dark Knight Rises', as "This historical epic. Bane as a militarist foe helped that." The director said he did not set out to create a 'Batman' franchise when they first collaborated with Warner Bros 13 years ago. "We hadn't planned on doing a sequel. So shifting genres and the nature of the antagonist felt the way to take the audience on a journey and tell them something different about Bruce Wayne." Nolan admitted he approached the comic book realm as a noir-thriller. "Yes, it's a superhero, but it's based on ideas of guilt, fear, these strong impulses that the character has. Bruce Wayne doesn't have any superpowers other than extraordinary wealth. "But really, he's just someone who does a lot of push-ups. In that sense, he's very relatable and human. I think that's why I gravitated towards it," he said

Villains defined 'The Dark Knight' trilogy more than 'Batman': Christopher Nolan

Films nominated for Best Picture are often hit and miss &ndash; sometimes some are very good, often many are mediocre, reflecting popular notions about &ldquo;good cinema&rdquo;. We tend to forget how much these nominations depend on the marketing and PR moves of the filmmakers and production teams, as well as broader socio-cultural trends.

This year, a surprisingly wide variety of styles and genres are represented in the nominees. Some are quite good and some are pretty forgettable, if not downright awful. Phantom Thread seems suspended between these two categories. There is only one extraordinary film in the mix: Call Me By Your Name.

The extraordinary

Directed by Luca Guadagnino and written by the apparently ageless James Ivory, Call Me By Your Name is an amazing film; it is certainly the only flawless (or nearly flawless) one nominated this year, with its immersive narrative realised through a combination of stunning cinematography of the northern Italian locations (it is shot on film rather than video), a mesmerising soundtrack and riveting performances.

The story, set over one summer in 1983, follows 17-year-old Elio (played by Timoth&eacute;e Chalamet, who is also in Lady Bird) as he falls in love with statuesque, impossibly handsome Oliver (Armie Hammer). Elio&rsquo;s father is an archaeology professor, and Oliver has come to spend the summer with him as his research assistant.&nbsp;

The story is as simple as it sounds in this beautiful film, equal parts sweet and sad. It manages to be both hypnotic and gentle, as we effortlessly drift along with the narrative &ndash; and the breezy Italian summer. Both Chalamet and Hammer show extraordinary self-assurance in their roles, and the supporting cast are equally impressive.

Juxtaposed against this year&rsquo;s other nominees, Call Me By Your Name reveals just how heavy-handed, self important and downright silly much popular cinema has become.&nbsp;

The Good

It is rare for horror thrillers to be nominated for such high accolades, and the fact that writer-director Jordan Peele&rsquo;s Get Out is up for Best Picture is testament to its strength as a genre film.

It is certainly one of the most entertaining films from last year, brilliantly interspersing its horror narrative with moments of side-splitting comedy.

The story follows African American Chris (Daniel Kaluuya) as he meets the family of his white girlfriend Rose (Allison Williams) on a weekend getaway, only to discover that the whole thing has been staged for reasons that are best described as nefarious. As a genre film, it is excellent &ndash; several plot twists are unexpected, the violence is shocking and the horror intense.

As a piece of political commentary, its intervention into race dynamics in the contemporary US falls short. It seems to make an equation between racial micro-aggressions and slavery, and this is extremely problematic. Still, regardless of this, Get Out is immensely satisfying.

Guillermo del Toro&rsquo;s The Shape of Water also works well as a genre piece. Typically for del Toro, this sweet if uninspiring romantic fantasy is built upon a genuine reverence for the moving image &ndash; its history, as well as current technical and aesthetic possibilities &ndash; and this is borne out in both the narrative and style of the film.&nbsp;

Set in the 1960s, the story follows mute cleaner Elisa (Sally Hawkins) as she falls in love with a sea monster that has recently been kidnapped by US military powers and brought to a scientific facility for study and, eventually, vivisection.

Michael Shannon has a field day as sadistic nemesis to the creature, Strickland, and Richard Jenkins is equally engaging as Elisa&rsquo;s friend Giles, but the real focus &ndash; and star &ndash; of the film is, one senses, the film itself. Sometimes this becomes a little annoying, as in its laboured approach to period detail and hammy attempts to say something about social injustice, but it is such a stylish film that such moments are readily forgotten.&nbsp;

No Steven Spielberg fan, I think The Post, his latest film, is one of his better offerings &ndash; if for no other reason than the appeal of its subject matter. It follows the true story of whistleblower Daniel Ellsberg&rsquo;s leaking of the Pentagon Papers in the 1970s to the Washington Post, and the decisions made by owner Kay Graham (played by a tired Meryl Streep) and editor Ben Bradlee (Tom Hanks).

The whole thing is about as imaginative as a telemovie, but it&rsquo;s hard not to become enthused by the film&rsquo;s romantic nostalgia for this bygone (thoroughly mythical) period of journalism and perception of journalists as arbiters of truth and justice, holding power to account.

The moment was certainly a critical one for the popular perception of American politics and the role of the press &ndash; and this significance is realised in the film through punchy, fast-paced dialogue, and men (and a few women) in suits doing important things under immense time pressure. But the film, a mostly pleasurable affair, is let down at the end by Bradlee&rsquo;s absurd, posturing rant about the importance of the freedom of the press for American democracy &ndash; as though the press in a capitalist society can ever be &ldquo;free&rdquo; when news is determined on the basis of sales and profit.&nbsp;

The Bad

Dunkirk, Christopher Nolan&rsquo;s latest exercise in British nationalism, is a sombre, solemn film, depicting the evacuation of Dunkirk in WWII leading up to Churchill&rsquo;s famous &ldquo;New World will rescue us&rdquo; speech.

Nolan has always been a relentless experimenter, and is a good stylist, so it is a surprise that, despite his potentially thrilling approach to the event &ndash; three different time scales dynamically overlapping, the story associated with each interweaving across air, land and sea, civilian and soldier, hero and coward &ndash; it is an unengaging and dour film.

It attempts to envelop the viewer in the drama &ndash; and the soundscape contributes a great deal to this &ndash; but it doesn&rsquo;t hold a candle to the great war films of the 1950s and 1960s like Don Siegel&rsquo;s Hell is for Heroes and Robert Aldrich&rsquo;s Attack.&nbsp;

Nolan has managed, with Dunkirk, to make an at best, unengaging film. This is all capped off by an annoyingly sentimental ending &ndash; we have lived, now, through Vietnam, Iraq, Afghanistan, etc. &ndash; and predictable British jingoism about stiff-upper lippedness.

Like Dunkirk, writer-director Neil McDonagh&rsquo;s Three Billboards Outside Ebbing, Missouri had the potential to be great. Consider the ingredients: excellent actors, some of whom are at the peak of their powers (Woody Harrelson, Frances McDormand, Sam Rockwell, John Hawkes, newcomer Caleb Landry Jones), a score by Carter Burwell, a story about a distraught mother facing off against the town sheriff about his treatment of the violent rape and murder of her daughter &hellip; McDonagh directed In Bruges, after all, and that was great.

Alas, McDonagh also directed one of the most irritating films of the 21st century, Seven Psychopaths, and Three Billboards is evidence, if we needed it, that In Bruges was a fluke. This film again sees one of the McDonagh brothers doing his post-Mamet, post-Tarantino thing, but it&rsquo;s all rather tired and tiresome.

Rockwell&rsquo;s performance is the highlight of the film, and Harrelson et al. cruise through, but, though watchable, Three Billboards is a trite, unimpressive film, that tries far too hard to be clever, funny, and, at the same time, important.&nbsp;

Darkest Hour, a biopic about Winston Churchill in the early days of WWII, features an amazing performance by an unrecognisable Gary Oldman in the lead role &ndash; and not much else.

Like most biopics, it fetishises the genius of Churchill &ndash; explicitly describing him as a Cicero at one point &ndash; without much consideration for the material processes and social realities underpinning this so-called genius. It touches, for example, on Churchill&rsquo;s responsibility for some of the 20th century&rsquo;s great civilian massacres, including the brutal bombing of Mesopotamia, but seems to ignore this history to ultimately celebrate his &ldquo;eccentricity.&rdquo; It feels more like a parody of a &ldquo;serious film&rdquo; than a serious film, reminding one of the mock trailers at the beginning of Ben Stiller&rsquo;s Tropic Thunder. It is also unbearably sentimental and jingoistic.

Writer/director Greta Gerwig, star of a panoply of innocuous &ldquo;indie&rdquo; films ranging from bad (Maggie&rsquo;s Plan) to mediocre (Greenberg), uses every trick from the &ldquo;indie&rdquo; playbook in Lady Bird, a harmless, mildly funny, mildly annoying coming of age film following the titular girl&rsquo;s transformation from disaffected Sacramento high school student rebel to artsy New York uni student.&nbsp;

The film tries hard to be funny, and tries hard to be quirky in its presentation of Lady Bird&rsquo;s troubles with her mum, boyfriends, teachers, etc. &ndash; in short, it tries hard &ndash; but everything seems so affected that it&rsquo;s difficult to see it as much more than a whimsically vapid genre film.

Saoirse Ronan, as the bratty, self-important teen is great, offering the one bright spark in a film that proves, once again, that heartfelt does not make interesting or successful art. How &ndash; and why &ndash; this was nominated for a Best Picture Oscar is anyone&rsquo;s guess.

The Strange

Phantom Thread, writer-director Paul Thomas Anderson&rsquo;s latest film, is definitely the outlier in this year&rsquo;s bunch, by virtue of its sheer strangeness.

The story follows the relationship between arrogant, infantile British fashion designer Reynolds Woodcock (Daniel Day-Lewis) and Alma (Vicky Krieps), a waitress he picks up as a model, a lover, and a factotum, who eventually ensnares him in marriage. Once married, Woodcock&rsquo;s infantility becomes even more apparent, and he loses his magic touch as a rich person who makes clothes for other rich people. This seems to be a connecting theme across both Darkest Hour and Phantom Thread &ndash; rich people whose bad behaviour is magically linked to their &ldquo;talent.&rdquo;&nbsp;

Krieps is deliciously diabolical as Alma, and Day-Lewis gives a typically absurd, deranged performance as Woodcock &ndash; surely the name is a joke? Anderson is, after all, married to comedian Maya Rudolph &ndash; and the film is beautifully shot; but, ultimately, we are left wondering what we&rsquo;ve been watching, why we&rsquo;ve been watching it, and why it&rsquo;s been made in the first place?

Is Phantom Thread a joke on the audience? It is certainly very funny and the fact Day-Lewis is able to keep a straight face throughout several of these scenes is testament to his acting chops. It also seems odd that Anderson would fall back on old clich&eacute;s like the troubled male artist and the borderline female seductress who steals his power, unless he&rsquo;s offering us some kind of satire, laughing at the gullibility of the audience in treating the work seriously.

Phantom Thread hovers somewhere between masterpiece and turkey &ndash; it is both brilliant and stupid &ndash; but it may improve with repeated viewings, and across time.

Last year, Moonlight was easily the best of the nominees, and it won the Oscar. This year, Call Me By Your Name is the standout; hopefully it, too, will win.

&nbsp;

(Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)

Juxtaposed against this year’s other nominees, Call Me By Your Name reveals just how heavy-handed, self-important and downright silly much popular cinema has become.

Films nominated for Best Picture are often hit and miss – sometimes some are very good, often many are mediocre, reflecting popular notions about “good cinema”. We tend to forget how much these nominations depend on the marketing and PR moves of the filmmakers and production teams, as well as broader socio-cultural trends. This year, a surprisingly wide variety of styles and genres are represented in the nominees. Some are quite good and some are pretty forgettable, if not downright awful. Phantom Thread seems suspended between these two categories. There is only one extraordinary film in the mix: Call Me By Your Name. The extraordinary Directed by Luca Guadagnino and written by the apparently ageless James Ivory, Call Me By Your Name is an amazing film; it is certainly the only flawless (or nearly flawless) one nominated this year, with its immersive narrative realised through a combination of stunning cinematography of the northern Italian locations (it is shot on film rather than video), a mesmerising soundtrack and riveting performances. The story, set over one summer in 1983, follows 17-year-old Elio (played by Timothée Chalamet, who is also in Lady Bird) as he falls in love with statuesque, impossibly handsome Oliver (Armie Hammer). Elio’s father is an archaeology professor, and Oliver has come to spend the summer with him as his research assistant. The story is as simple as it sounds in this beautiful film, equal parts sweet and sad. It manages to be both hypnotic and gentle, as we effortlessly drift along with the narrative – and the breezy Italian summer. Both Chalamet and Hammer show extraordinary self-assurance in their roles, and the supporting cast are equally impressive. Juxtaposed against this year’s other nominees, Call Me By Your Name reveals just how heavy-handed, self important and downright silly much popular cinema has become. The Good It is rare for horror thrillers to be nominated for such high accolades, and the fact that writer-director Jordan Peele’s Get Out is up for Best Picture is testament to its strength as a genre film. It is certainly one of the most entertaining films from last year, brilliantly interspersing its horror narrative with moments of side-splitting comedy. The story follows African American Chris (Daniel Kaluuya) as he meets the family of his white girlfriend Rose (Allison Williams) on a weekend getaway, only to discover that the whole thing has been staged for reasons that are best described as nefarious. As a genre film, it is excellent – several plot twists are unexpected, the violence is shocking and the horror intense. As a piece of political commentary, its intervention into race dynamics in the contemporary US falls short. It seems to make an equation between racial micro-aggressions and slavery, and this is extremely problematic. Still, regardless of this, Get Out is immensely satisfying. Guillermo del Toro’s The Shape of Water also works well as a genre piece. Typically for del Toro, this sweet if uninspiring romantic fantasy is built upon a genuine reverence for the moving image – its history, as well as current technical and aesthetic possibilities – and this is borne out in both the narrative and style of the film. Set in the 1960s, the story follows mute cleaner Elisa (Sally Hawkins) as she falls in love with a sea monster that has recently been kidnapped by US military powers and brought to a scientific facility for study and, eventually, vivisection. Michael Shannon has a field day as sadistic nemesis to the creature, Strickland, and Richard Jenkins is equally engaging as Elisa’s friend Giles, but the real focus – and star – of the film is, one senses, the film itself. Sometimes this becomes a little annoying, as in its laboured approach to period detail and hammy attempts to say something about social injustice, but it is such a stylish film that such moments are readily forgotten. No Steven Spielberg fan, I think The Post, his latest film, is one of his better offerings – if for no other reason than the appeal of its subject matter. It follows the true story of whistleblower Daniel Ellsberg’s leaking of the Pentagon Papers in the 1970s to the Washington Post, and the decisions made by owner Kay Graham (played by a tired Meryl Streep) and editor Ben Bradlee (Tom Hanks). The whole thing is about as imaginative as a telemovie, but it’s hard not to become enthused by the film’s romantic nostalgia for this bygone (thoroughly mythical) period of journalism and perception of journalists as arbiters of truth and justice, holding power to account. The moment was certainly a critical one for the popular perception of American politics and the role of the press – and this significance is realised in the film through punchy, fast-paced dialogue, and men (and a few women) in suits doing important things under immense time pressure. But the film, a mostly pleasurable affair, is let down at the end by Bradlee’s absurd, posturing rant about the importance of the freedom of the press for American democracy – as though the press in a capitalist society can ever be “free” when news is determined on the basis of sales and profit. The Bad Dunkirk, Christopher Nolan’s latest exercise in British nationalism, is a sombre, solemn film, depicting the evacuation of Dunkirk in WWII leading up to Churchill’s famous “New World will rescue us” speech. Nolan has always been a relentless experimenter, and is a good stylist, so it is a surprise that, despite his potentially thrilling approach to the event – three different time scales dynamically overlapping, the story associated with each interweaving across air, land and sea, civilian and soldier, hero and coward – it is an unengaging and dour film. It attempts to envelop the viewer in the drama – and the soundscape contributes a great deal to this – but it doesn’t hold a candle to the great war films of the 1950s and 1960s like Don Siegel’s Hell is for Heroes and Robert Aldrich’s Attack. Nolan has managed, with Dunkirk, to make an at best, unengaging film. This is all capped off by an annoyingly sentimental ending – we have lived, now, through Vietnam, Iraq, Afghanistan, etc. – and predictable British jingoism about stiff-upper lippedness. Like Dunkirk, writer-director Neil McDonagh’s Three Billboards Outside Ebbing, Missouri had the potential to be great. Consider the ingredients: excellent actors, some of whom are at the peak of their powers (Woody Harrelson, Frances McDormand, Sam Rockwell, John Hawkes, newcomer Caleb Landry Jones), a score by Carter Burwell, a story about a distraught mother facing off against the town sheriff about his treatment of the violent rape and murder of her daughter … McDonagh directed In Bruges, after all, and that was great. Alas, McDonagh also directed one of the most irritating films of the 21st century, Seven Psychopaths, and Three Billboards is evidence, if we needed it, that In Bruges was a fluke. This film again sees one of the McDonagh brothers doing his post-Mamet, post-Tarantino thing, but it’s all rather tired and tiresome. Rockwell’s performance is the highlight of the film, and Harrelson et al. cruise through, but, though watchable, Three Billboards is a trite, unimpressive film, that tries far too hard to be clever, funny, and, at the same time, important. Darkest Hour, a biopic about Winston Churchill in the early days of WWII, features an amazing performance by an unrecognisable Gary Oldman in the lead role – and not much else. Like most biopics, it fetishises the genius of Churchill – explicitly describing him as a Cicero at one point – without much consideration for the material processes and social realities underpinning this so-called genius. It touches, for example, on Churchill’s responsibility for some of the 20th century’s great civilian massacres, including the brutal bombing of Mesopotamia, but seems to ignore this history to ultimately celebrate his “eccentricity.” It feels more like a parody of a “serious film” than a serious film, reminding one of the mock trailers at the beginning of Ben Stiller’s Tropic Thunder. It is also unbearably sentimental and jingoistic. Writer/director Greta Gerwig, star of a panoply of innocuous “indie” films ranging from bad (Maggie’s Plan) to mediocre (Greenberg), uses every trick from the “indie” playbook in Lady Bird, a harmless, mildly funny, mildly annoying coming of age film following the titular girl’s transformation from disaffected Sacramento high school student rebel to artsy New York uni student. The film tries hard to be funny, and tries hard to be quirky in its presentation of Lady Bird’s troubles with her mum, boyfriends, teachers, etc. – in short, it tries hard – but everything seems so affected that it’s difficult to see it as much more than a whimsically vapid genre film. Saoirse Ronan, as the bratty, self-important teen is great, offering the one bright spark in a film that proves, once again, that heartfelt does not make interesting or successful art. How – and why – this was nominated for a Best Picture Oscar is anyone’s guess. The Strange Phantom Thread, writer-director Paul Thomas Anderson’s latest film, is definitely the outlier in this year’s bunch, by virtue of its sheer strangeness. The story follows the relationship between arrogant, infantile British fashion designer Reynolds Woodcock (Daniel Day-Lewis) and Alma (Vicky Krieps), a waitress he picks up as a model, a lover, and a factotum, who eventually ensnares him in marriage. Once married, Woodcock’s infantility becomes even more apparent, and he loses his magic touch as a rich person who makes clothes for other rich people. This seems to be a connecting theme across both Darkest Hour and Phantom Thread – rich people whose bad behaviour is magically linked to their “talent.” Krieps is deliciously diabolical as Alma, and Day-Lewis gives a typically absurd, deranged performance as Woodcock – surely the name is a joke? Anderson is, after all, married to comedian Maya Rudolph – and the film is beautifully shot; but, ultimately, we are left wondering what we’ve been watching, why we’ve been watching it, and why it’s been made in the first place? Is Phantom Thread a joke on the audience? It is certainly very funny and the fact Day-Lewis is able to keep a straight face throughout several of these scenes is testament to his acting chops. It also seems odd that Anderson would fall back on old clichés like the troubled male artist and the borderline female seductress who steals his power, unless he’s offering us some kind of satire, laughing at the gullibility of the audience in treating the work seriously. Phantom Thread hovers somewhere between masterpiece and turkey – it is both brilliant and stupid – but it may improve with repeated viewings, and across time. Last year, Moonlight was easily the best of the nominees, and it won the Oscar. This year, Call Me By Your Name is the standout; hopefully it, too, will win. (Disclaimer: The opinions expressed above are the personal views of the author and do not reflect the views of ZMCL)

Opinion: Why the film 'Call Me By Your Name' stand-out in Oscars?

After several months of violence, drama and chaos caused by fringe groups, namely Karni Sena, Sanjay Leela Bhansali&#39;s&nbsp;&quot;Padmaavat&quot; has finally hit the theatres and raking in moolah. It has been estimated that almost a million viewers were recorded on the first day of the film hitting the screens on January 25, 2018.&nbsp;

While all seems to be going well for the makers of &quot;Padmaavat&quot;, there were others like the film that either got shelved, banned or was denied a certificate without major cuts in the storyline.

These are some movies you would like to go through if you have a thing or two about controversies:

1. Sins

A 2005 release, &quot;Sins&quot; is based on a news story that surfaced in 1988 about a Kerala priest sentenced to death on sexual harassment and murder charges.&nbsp;

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Sins (Twitter)
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The film&nbsp;is about the unconventional love cum passionate affair of a young girl with an older priest which hit the controversy meter owing to its countless topless scenes. It got an &#39;A&#39;&nbsp;certificate from the CBFC and the&nbsp;Catholic Secular Forum filed a public interest litigation to stall its release as they protested that the film had a negative portrayal of Catholicism. The court, however, cleared the&nbsp;film.

&nbsp;2.&nbsp;Ek Chhotisi Love Story

&quot;Ek Chotisi Love Story&quot; or &quot;One Small Love Story&quot; in English is a 2002 Indian romantic film that created a furore when stellar actress Manisha Koirala was seen romancing a 15-year-old.&nbsp;

<div class="ui-state-default" contenteditable="false"><img alt="" draggable="false" src="http://s.wionews.com/photos/screen%20shot%202018-01-28%20at%205.14.00%20pm-20180128011245.png" />
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Ek Chotisi Love Story (Twitter)
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The film follows the story of a teenage boy who falls in love with his neighbour without her knowledge and starts behaving like a sexual predator, watching her every move closely. The film earned the actress a bad name in public as it showed porn-like scenes -- love-making and bathroom masturbation scenes, never seen before.&nbsp;

Apart from creating a public outcry, there was more controversy when Manisha herself asked for a court order to stay the release of the film pending deletion of some shots she found objectionable as she said that&nbsp;she was impersonated by someone else.

3. Parzania

A 2007&nbsp;release, Parzania made waves as it was based on a story born of&nbsp;the controversial Gujarat communal riots. The film is inspired by the true story of a ten-year-old&nbsp;Parsi&nbsp;boy, Azhar Mody, played in the film as Parzaan Pithawala in the film, who disappeared after the 28 February 2002&nbsp;Gulbarg Society massacre&nbsp;during which 69 people were killed -- which was one of many events in the&nbsp;communal riots in Gujarat&nbsp;in 2002.

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Parzania (Twitter)
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It did not release in the state of Gujarat as the cinema owners refused to screen the film, fearing a backlash.&nbsp;

4. Aastha

Aastha: In the Pison of Sring is a 1997 film that is known for its explicit scenes, something Bollywood had never anticipated or seen before.&nbsp;

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Aastha (Twitter)
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Portraying a married woman who turns a prostitute, Rekha was criticised by the audience. In an interview, she was quoted: &quot;After &#39;Aastha: In the Prison of Spring&#39; people had a lot to say about my role of a wife who moonlights as a prostitute. I don&#39;t have problems playing anything. I&#39;ve reached a stage where I could do justice to any role that came my way. It could be the role of a mother, a sister-in-law; negative, positive, sensational or anything.&quot;

5. Fire

The&nbsp;Elements&nbsp;trilogy&nbsp;is a&nbsp;trilogy&nbsp;of films by&nbsp;Indian film-maker&nbsp;Deepa Mehta, dealing with controversial issues of social reform on the&nbsp;Indian subcontinent.&nbsp;Fire, the first release in 1996, dealt with issues of&nbsp;arranged marriage&nbsp;and&nbsp;homosexuality&nbsp;in the patriarchal culture of&nbsp;India.&nbsp;

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Fire (Twitter)
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The film attracted&nbsp;hostility from some people in the Hindu community who objected to her depiction of Hindu culture and subsequently&nbsp;organised attacks on cinemas that were screening the film.&nbsp;

6. Water

The second part of the Elements trilogy, Water faced even more threat when fringe groups did not let shooting of the film to start. Close to 2000 protestors landed at the supposed set at the ghats,&nbsp;destroyed the main film set, burning and throwing it into the&nbsp;Ganges&nbsp;in protest of the film&#39;s subject matter.&nbsp;

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Water (Twitter)
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The director had to then shift the movie to Sri Lanka and make the film with a new cast and fake title -- River Moon in 2003.&nbsp;

7. Black Friday

Black Friday is a 2004 film based on&nbsp;Black Friday &ndash; The True Story of the Bombay Bomb Blasts, a book by&nbsp;Hussain Zaidi&nbsp;about the&nbsp;1993 Bombay bombings.&nbsp;

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Black Friday (Twitter)
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The film was so controversial that the CBFC did not allow it to be released in India for three years and was finally released on 9 February 2007. This after the Supreme Court allowed it following the verdict in the &#39;93 Bombay blast case was delivered by TADA court.

&nbsp;

Sanjay Leela Bhansali's 'Padmaavat' is not the first and surely will not be the last film to be mired in controversy

After several months of violence, drama and chaos caused by fringe groups, namely Karni Sena, Sanjay Leela Bhansali's "Padmaavat" has finally hit the theatres and raking in moolah. It has been estimated that almost a million viewers were recorded on the first day of the film hitting the screens on January 25, 2018. While all seems to be going well for the makers of "Padmaavat", there were others like the film that either got shelved, banned or was denied a certificate without major cuts in the storyline. These are some movies you would like to go through if you have a thing or two about controversies: 1. Sins A 2005 release, "Sins" is based on a news story that surfaced in 1988 about a Kerala priest sentenced to death on sexual harassment and murder charges. Sins (Twitter) × The film is about the unconventional love cum passionate affair of a young girl with an older priest which hit the controversy meter owing to its countless topless scenes. It got an 'A' certificate from the CBFC and the Catholic Secular Forum filed a public interest litigation to stall its release as they protested that the film had a negative portrayal of Catholicism. The court, however, cleared the film. 2. Ek Chhotisi Love Story "Ek Chotisi Love Story" or "One Small Love Story" in English is a 2002 Indian romantic film that created a furore when stellar actress Manisha Koirala was seen romancing a 15-year-old. Ek Chotisi Love Story (Twitter) × The film follows the story of a teenage boy who falls in love with his neighbour without her knowledge and starts behaving like a sexual predator, watching her every move closely. The film earned the actress a bad name in public as it showed porn-like scenes -- love-making and bathroom masturbation scenes, never seen before. Apart from creating a public outcry, there was more controversy when Manisha herself asked for a court order to stay the release of the film pending deletion of some shots she found objectionable as she said that she was impersonated by someone else. 3. Parzania A 2007 release, Parzania made waves as it was based on a story born of the controversial Gujarat communal riots. The film is inspired by the true story of a ten-year-old Parsi boy, Azhar Mody, played in the film as Parzaan Pithawala in the film, who disappeared after the 28 February 2002 Gulbarg Society massacre during which 69 people were killed -- which was one of many events in the communal riots in Gujarat in 2002. Parzania (Twitter) × It did not release in the state of Gujarat as the cinema owners refused to screen the film, fearing a backlash. 4. Aastha Aastha: In the Pison of Sring is a 1997 film that is known for its explicit scenes, something Bollywood had never anticipated or seen before. Aastha (Twitter) × Portraying a married woman who turns a prostitute, Rekha was criticised by the audience. In an interview, she was quoted: "After 'Aastha: In the Prison of Spring' people had a lot to say about my role of a wife who moonlights as a prostitute. I don't have problems playing anything. I've reached a stage where I could do justice to any role that came my way. It could be the role of a mother, a sister-in-law; negative, positive, sensational or anything." 5. Fire The Elements trilogy is a trilogy of films by Indian film-maker Deepa Mehta, dealing with controversial issues of social reform on the Indian subcontinent. Fire, the first release in 1996, dealt with issues of arranged marriage and homosexuality in the patriarchal culture of India. Fire (Twitter) × The film attracted hostility from some people in the Hindu community who objected to her depiction of Hindu culture and subsequently organised attacks on cinemas that were screening the film. 6. Water The second part of the Elements trilogy, Water faced even more threat when fringe groups did not let shooting of the film to start. Close to 2000 protestors landed at the supposed set at the ghats, destroyed the main film set, burning and throwing it into the Ganges in protest of the film's subject matter. Water (Twitter) × The director had to then shift the movie to Sri Lanka and make the film with a new cast and fake title -- River Moon in 2003. 7. Black Friday Black Friday is a 2004 film based on Black Friday – The True Story of the Bombay Bomb Blasts, a book by Hussain Zaidi about the 1993 Bombay bombings. Black Friday (Twitter) × The film was so controversial that the CBFC did not allow it to be released in India for three years and was finally released on 9 February 2007. This after the Supreme Court allowed it following the verdict in the '93 Bombay blast case was delivered by TADA court.

NSFW Alert: 7 controversial films you should or shouldn't watch!

Venice Film Festival will start from August 30 and there&#39;s a lot to look forward to, for the movie buffs.

This year, the 74th edition of the film festival will see the world premiere of movies from directors such as&nbsp;Alexander Payne, Guillermo del Toro, George Clooney, Darren Aronofsky, Paul Schrader and Martin McDonagh.

The film festival&#39;s chief,&nbsp;Alberto Barbera announced earlier today that the film festival will have everything that the festival attendees and the world is expecting. He said that he was&nbsp;&ldquo;97% satisfied&rdquo; with his roster of movies and celebrities for the year.&nbsp;

Also Read:&nbsp;<a href="http://www.wionews.com/world/virtual-reality-to-get-a-big-push-at-venice-film-festival-2017-19611">Virtual Reality to get a big push at Venice Film Festival 2017</a>

The fest will be opening with &quot;Payne&rsquo;s Downsizing&quot; that stars Matt Damon.

Guillermo del Toro&#39;s film &quot;The Shape Of Water&quot; will make del Toro&#39;s debut at the Venice Film Festival. Barbera today called his film teh best film in a decade.&nbsp;The movie stars Sally Hawkins, Michael Stuhlbarg, Michael Shannon, Octavia Spencer and Richard Jenkins.

Also, to&nbsp;note is George Clooney&#39;s home invasion comedy&nbsp;crime movie &quot;Suburbicon&quot;&nbsp;with Matt Damon, Oscar Isaac and Julianne Moore.&nbsp;

Darren Aronofsky who produced &quot;Jackie&quot;&nbsp;that made an entry last year will bring in the much talked about movie &quot;Mother!&quot;, a horror drama movie starring&nbsp;Jennifer Lawrence, Ed Harris, Michelle Pfeiffer and Javier Bardem star.&nbsp;

Also Read:&nbsp;<a href="http://www.wionews.com/life-fun/mother-trailer-couple-jennifer-lawrence-and-javier-bardem-live-through-horrors-in-their-own-house-18757">&lsquo;Mother!&rsquo; Trailer Couple Jennifer Lawrence and Javier Bardem live through horrors&nbsp;</a>

Javier Bardem will be there not only for &quot;Mother!&quot;&nbsp;but for &quot;Loving Pablo&quot;,&nbsp;a drama about Pablo Escobar that also stars Penelope Cruz and Peter Sarsgaard and is running out of competition. (Scroll down for the entire list of movies in the section)

The film festival will also include some titles from Netflix this year. The list includes &quot;Our Souls At Night&quot;&nbsp;out of competition and two episodes of &quot;Suburra&quot; its first Italian series, which will screen in the Cinema nel Giardino.

The entire list of movies at Venice Film festival under all sections:&nbsp;

VENICE 74 COMPETITION

<ul>
	<li>Downsizing, dir: Alexander Payne (Opening Night Film)</li>
	<li>Human Flow, dir: Ai Weiwei</li>
	<li>Mother!, dir: Darren Aronofsky</li>
	<li>Suburbicon, dir: George Clooney</li>
	<li>The Shape Of Water, dir: Guillermo del Toro</li>
	<li>L&rsquo;Insulte, dir: Ziad Doueiri</li>
	<li>La Villa, dir: Robert Guediguian</li>
	<li>Lean On Pete, dir: Andrew Haigh</li>
	<li>Mektoub, My Love: Canto Uno, dir: Abdellatif Kechiche</li>
	<li>The Third Murder, dir: Hirokazu Kore-eda</li>
	<li>*Jusqu&rsquo;&agrave; La Garde, dir: Xavier Legrand</li>
	<li>Foxtrot, dir: Samuel Maoz</li>
	<li>Three Billboards Outside Ebbing, Missouri; dir: Martin McDonagh</li>
	<li>Hannah, dir: Andrea Pallaoro</li>
	<li>Ammore E Malavita, dir: Manetti Bros</li>
	<li>Angels Wear White, dir: Vivian Qu</li>
	<li>Una Famiglia, dir: Sebastiano Riso</li>
	<li>First Reformed, dir: Paul Schrader</li>
	<li>Sweet Country, dir: Warwick Thornton</li>
	<li>The Leisure Seeker, dir: Paolo Virzi</li>
	<li>Ex Libris &ndash; The New York Public Library, dir: Frederick Wiseman</li>
</ul>

OUT OF COMPETITION &ndash; FICTION

<ul>
	<li>Our Souls At Night, dir: Ritesh Batra</li>
	<li>Il Singor Rotpeter, dir: Antonietta De Lillo</li>
	<li>Victoria &amp; Abdul, dir: Stephen Frears</li>
	<li>La M&eacute;lodie, dir: Rachid Hami</li>
	<li>Outrage Coda, Takeshi Kitano (Closing Night Film)</li>
	<li>Loving Pablo, dir: Fernando Leon De Aranoa</li>
	<li>Zama, dir: Lucretia Martel</li>
	<li>Wormwood, dir: Errol Morris</li>
	<li>Diva!, dir: Francesco Patierno</li>
	<li>La Fid&egrave;le, dir: Michael R Roskam</li>
	<li>Il Colore Nascosto Delle Cose, dir: Silvio soldini</li>
	<li>The Private Life Of A Modern Woman, dir: James Toback</li>
	<li>Brawl In Cell Block 99, dir: S Craig Zahler</li>
</ul>

OUT OF COMPETITION &ndash; DOCUMENTARIES

<ul>
	<li>Cuba And The Cameraman, dir: Jon Alpert</li>
	<li>My Generation, dir: David Batty</li>
	<li>Piazza Vittorio, dir: Abel Ferrara</li>
	<li>The Devil And Father Amorth, dir: William Friedkin</li>
	<li>This Is Congo, dir: Daniel McCabe</li>
	<li>Ryuichi Sakamoto: Coda, dir: Stephen Nomura Schible</li>
	<li>Jim &amp; Andy: The Great Beyond. The Story Of Jim Carrey, Andy Kaufman And Tony Clifton, dir: Chris Smith</li>
	<li>Happy Winter, dir: Giovanni Totaro</li>
</ul>

OUT OF COMPETITION &ndash; SPECIAL EVENTS

<ul>
	<li>Casa D&rsquo;Altri, dir: Gianni Amelio</li>
	<li>Michael Jackson&rsquo;s Thriller 3D, dir: John Landis</li>
	<li>Making Of Michael Jackson&rsquo;s Thriller, dir: Jerry Kramer</li>
</ul>

HORIZONS

<ul>
	<li>Nico 1988, dir: Susanna Nicchiarelli (opening film)</li>
	<li>*Disappearance , dir: Ali Asgari</li>
	<li>Esp&egrave;ces Menac&eacute;es, dir: Gilles Bourdos</li>
	<li>The Rape Of Recy Taylor, dir: Nancy Buirski</li>
	<li>Caniba, dirs: Lucien Castaing-Taylor, Verena Paravel</li>
	<li>*Les Bienheureux, dir: Sofia Djama</li>
	<li>Marvin, dir: Anne Fontaine</li>
	<li>Invisible, dir: Pablo Giorgelli</li>
	<li>*Brutti E Cattivi, dir: Cosimo Gomez</li>
	<li>The Cousin, dir: Tzahi Grad</li>
	<li>*The Testament, dir: Amichai Greenberg</li>
	<li>No Date, No Signature, dir: Vahid Jalilvand</li>
	<li>*Los Versos Del Ovido, dir: Alireza Khatami</li>
	<li>La Nuit Ou J&rsquo;ai Nag&eacute; &ndash; Oyogisugita, dirs: Damien Manivel, Igarashi Kohei</li>
	<li>Krieg, dir: Rick Ostermann</li>
	<li>*West Of Sunshine, dir: Jason Raftopoulos</li>
	<li>Gatta Cenerentola, dirs: Alessandro Rak, Ivan Cappiello, Marino Guarnieri, Dario Sansone</li>
	<li>Under The Tree, dir: Hafsteinn Gunnar Sigurdsson</li>
	<li>La Vita In Commune, dir: Edoardo Winspeare</li>
</ul>

CINEMA NEL GIARDINO

<ul>
	<li>Manuel, dir: Dario Albertini</li>
	<li>Controfigura, dir: Ra Di Martino</li>
	<li>Woodshock, dirs: Kate and Laura Mulleavy</li>
	<li>Nato A Casal Di Principe, dir: Bruno Oliviero</li>
	<li>Suburra, dirs: Michele Placido, Andrea Molaioli, Guiseppe Capotondi</li>
	<li>Tuers, dirs: Francois Troukens, Jean-Francois Hensgens</li>
</ul>

(WION)

&nbsp;

&nbsp;

The fest will be opening with movie "Payne?s Downsizing" that stars Matt Damon.

Venice Film Festival will start from August 30 and there's a lot to look forward to, for the movie buffs. This year, the 74th edition of the film festival will see the world premiere of movies from directors such as Alexander Payne, Guillermo del Toro, George Clooney, Darren Aronofsky, Paul Schrader and Martin McDonagh. The film festival's chief, Alberto Barbera announced earlier today that the film festival will have everything that the festival attendees and the world is expecting. He said that he was “97% satisfied” with his roster of movies and celebrities for the year. Also Read: Virtual Reality to get a big push at Venice Film Festival 2017 The fest will be opening with "Payne’s Downsizing" that stars Matt Damon. Guillermo del Toro's film "The Shape Of Water" will make del Toro's debut at the Venice Film Festival. Barbera today called his film teh best film in a decade. The movie stars Sally Hawkins, Michael Stuhlbarg, Michael Shannon, Octavia Spencer and Richard Jenkins. Also, to note is George Clooney's home invasion comedy crime movie "Suburbicon" with Matt Damon, Oscar Isaac and Julianne Moore. Darren Aronofsky who produced "Jackie" that made an entry last year will bring in the much talked about movie "Mother!", a horror drama movie starring Jennifer Lawrence, Ed Harris, Michelle Pfeiffer and Javier Bardem star. Also Read: ‘Mother!’ Trailer Couple Jennifer Lawrence and Javier Bardem live through horrors Javier Bardem will be there not only for "Mother!" but for "Loving Pablo", a drama about Pablo Escobar that also stars Penelope Cruz and Peter Sarsgaard and is running out of competition. (Scroll down for the entire list of movies in the section) The film festival will also include some titles from Netflix this year. The list includes "Our Souls At Night" out of competition and two episodes of "Suburra" its first Italian series, which will screen in the Cinema nel Giardino. The entire list of movies at Venice Film festival under all sections: VENICE 74 COMPETITION Downsizing, dir: Alexander Payne (Opening Night Film) Human Flow, dir: Ai Weiwei Mother!, dir: Darren Aronofsky Suburbicon, dir: George Clooney The Shape Of Water, dir: Guillermo del Toro L’Insulte, dir: Ziad Doueiri La Villa, dir: Robert Guediguian Lean On Pete, dir: Andrew Haigh Mektoub, My Love: Canto Uno, dir: Abdellatif Kechiche The Third Murder, dir: Hirokazu Kore-eda *Jusqu’à La Garde, dir: Xavier Legrand Foxtrot, dir: Samuel Maoz Three Billboards Outside Ebbing, Missouri; dir: Martin McDonagh Hannah, dir: Andrea Pallaoro Ammore E Malavita, dir: Manetti Bros Angels Wear White, dir: Vivian Qu Una Famiglia, dir: Sebastiano Riso First Reformed, dir: Paul Schrader Sweet Country, dir: Warwick Thornton The Leisure Seeker, dir: Paolo Virzi Ex Libris – The New York Public Library, dir: Frederick Wiseman OUT OF COMPETITION – FICTION Our Souls At Night, dir: Ritesh Batra Il Singor Rotpeter, dir: Antonietta De Lillo Victoria & Abdul, dir: Stephen Frears La Mélodie, dir: Rachid Hami Outrage Coda, Takeshi Kitano (Closing Night Film) Loving Pablo, dir: Fernando Leon De Aranoa Zama, dir: Lucretia Martel Wormwood, dir: Errol Morris Diva!, dir: Francesco Patierno La Fidèle, dir: Michael R Roskam Il Colore Nascosto Delle Cose, dir: Silvio soldini The Private Life Of A Modern Woman, dir: James Toback Brawl In Cell Block 99, dir: S Craig Zahler OUT OF COMPETITION – DOCUMENTARIES Cuba And The Cameraman, dir: Jon Alpert My Generation, dir: David Batty Piazza Vittorio, dir: Abel Ferrara The Devil And Father Amorth, dir: William Friedkin This Is Congo, dir: Daniel McCabe Ryuichi Sakamoto: Coda, dir: Stephen Nomura Schible Jim & Andy: The Great Beyond. The Story Of Jim Carrey, Andy Kaufman And Tony Clifton, dir: Chris Smith Happy Winter, dir: Giovanni Totaro OUT OF COMPETITION – SPECIAL EVENTS Casa D’Altri, dir: Gianni Amelio Michael Jackson’s Thriller 3D, dir: John Landis Making Of Michael Jackson’s Thriller, dir: Jerry Kramer HORIZONS Nico 1988, dir: Susanna Nicchiarelli (opening film) *Disappearance , dir: Ali Asgari Espèces Menacées, dir: Gilles Bourdos The Rape Of Recy Taylor, dir: Nancy Buirski Caniba, dirs: Lucien Castaing-Taylor, Verena Paravel *Les Bienheureux, dir: Sofia Djama Marvin, dir: Anne Fontaine Invisible, dir: Pablo Giorgelli *Brutti E Cattivi, dir: Cosimo Gomez The Cousin, dir: Tzahi Grad *The Testament, dir: Amichai Greenberg No Date, No Signature, dir: Vahid Jalilvand *Los Versos Del Ovido, dir: Alireza Khatami La Nuit Ou J’ai Nagé – Oyogisugita, dirs: Damien Manivel, Igarashi Kohei Krieg, dir: Rick Ostermann *West Of Sunshine, dir: Jason Raftopoulos Gatta Cenerentola, dirs: Alessandro Rak, Ivan Cappiello, Marino Guarnieri, Dario Sansone Under The Tree, dir: Hafsteinn Gunnar Sigurdsson La Vita In Commune, dir: Edoardo Winspeare CINEMA NEL GIARDINO Manuel, dir: Dario Albertini Controfigura, dir: Ra Di Martino Woodshock, dirs: Kate and Laura Mulleavy Nato A Casal Di Principe, dir: Bruno Oliviero Suburra, dirs: Michele Placido, Andrea Molaioli, Guiseppe Capotondi Tuers, dirs: Francois Troukens, Jean-Francois Hensgens (WION)

Everything to look forward to at The Venice Film Festival

Manisha Koirala was one of the most popular heroines of Bollywood in the &rsquo;90s, before a short-lived marriage and a brave fight against cancer made her take multiple breaks from films. She is back as one of the lead stars in Dear Maya that also has two newcomers in the lead. Directed by Sunaina Bhatnagar, Dear Maya is a moving drama about finding love at unexpected times, and of friendship.

Here&rsquo;s our review&hellip;

What&rsquo;s it about

In a&nbsp;quaint town of Shimla, Maya (Manisha Koirala), a 40-year-something spinster leads a desolate existence inside her derelict mansion, in the company of her birds and two dogs. She never steps out of her courtyard, and spends time making depressing dolls. Her intriguing lifestyle catches the eye of her 16-year-old neighbour, Ana (Madiha Imam), and her mischievous bestie, Ira (Shreya Chaudhary). When they learn that Maya has never experienced the love of a man, thanks to the trauma she suffered in the past, Ira convinces Ana to spice her life up by writing love letters in the name of some random admirer from Maya&rsquo;s past.

Reluctant at first, Ana finally caves in and starts writing beautiful letters to Maya. She feels more encouraged when Maya begins to respond to them positively and starts coming out of her shell. However, due to Ira&rsquo;s mistake, one of Maya&rsquo;s letters accidentally features an address from Delhi, making her sell everything and leave for the capital to be with her &lsquo;lover.&rsquo; Guilt-stricken over this, Ana confesses to her parents, who pack her off to boarding school and she also breaks off her friendship with Ira in the process. Six years later, they, however, reunite to search for Maya, who could or could not be dead by then.

What&rsquo;s hot

Dear Maya is a kind of genre we don&rsquo;t pretty much see in Bollywood these days &ndash; a moving human drama that doesn&rsquo;t involve huge twists or shockers, but invests itself in human relationships and dynamics, without resorting to a an item number song to spice things up. The premise is not new &ndash; it actually reminded me of the Malayalam movie, Pavam Pavam Rajakumaran, which was about how a college professor was duped by his colleagues through fake letters from a girl.

&nbsp;However, Dear Maya has to be appreciated for the fact that it doesn&rsquo;t stray too much from its subject, and only has a handful of characters for us to invest in. There are several interesting moments in the movie, especially when it shows Maya rediscovering life through the letters, and later through the city.

In her comeback role, Manisha Koirala gives a nuanced performance that will win your heart. Though she lends an air of mysticism to the initial portions of the movie, it&rsquo;s when she rediscovers life is where Manisha shines the best. Too bad that the movie invests too little in her. Despite the raw edges, both the newcomers, Madiha and Shreya, are convincing in their roles. Iravati Harshe, as Ana&rsquo;s mother, is superb as always.

There&rsquo;s a surprising cameo towards the climax, which we are not ruining for spoiler purposes.

What&rsquo;s not

More than this being Maya&rsquo;s story, Dear Maya is actually about the two girls re-evaluating their friendship through the repercussions of their prank on an unsuspecting victim. Not a bad idea, per se. But the problem is we don&rsquo;t feel much for their friendship thanks to some very okayish writing in these portions. So those moments, when they fight and later reconcile, do not touch us with the same effect as Maya enjoying a sweet dish after many years.

One of the characters is even given a forced sob story, just so to get her more sympathy points. Though the scene where she takes in the atmosphere of a nightclub in Delhi for the first time is well-depicted. Some of their actions also don&rsquo;t make any sense. Like Ana is shown frantically searching for Maya for six years; she calls up radio stations and pastes posters of Maya&rsquo;s everywhere. But at no point, does she even think of visiting a police station, until someone reminds her of doing so. The pace of the narrative is cumbersome and yawn-inducing, and will put you off the movie at several junctures.

What to do

Dear Maya may have an interesting story to tell, but it is a slow watch and is not everyone&rsquo;s cup of tea. Manisha Koirala delivers a fine performance in her comeback role, but we do wish the movie had invested in giving her more screentime. 
&nbsp;

Rating: 2.5 out of 5

The movie is slow-paced but has an interesting story to tell

Manisha Koirala was one of the most popular heroines of Bollywood in the ’90s, before a short-lived marriage and a brave fight against cancer made her take multiple breaks from films. She is back as one of the lead stars in Dear Maya that also has two newcomers in the lead. Directed by Sunaina Bhatnagar, Dear Maya is a moving drama about finding love at unexpected times, and of friendship. Here’s our review… What’s it about In a quaint town of Shimla, Maya (Manisha Koirala), a 40-year-something spinster leads a desolate existence inside her derelict mansion, in the company of her birds and two dogs. She never steps out of her courtyard, and spends time making depressing dolls. Her intriguing lifestyle catches the eye of her 16-year-old neighbour, Ana (Madiha Imam), and her mischievous bestie, Ira (Shreya Chaudhary). When they learn that Maya has never experienced the love of a man, thanks to the trauma she suffered in the past, Ira convinces Ana to spice her life up by writing love letters in the name of some random admirer from Maya’s past. Reluctant at first, Ana finally caves in and starts writing beautiful letters to Maya. She feels more encouraged when Maya begins to respond to them positively and starts coming out of her shell. However, due to Ira’s mistake, one of Maya’s letters accidentally features an address from Delhi, making her sell everything and leave for the capital to be with her ‘lover.’ Guilt-stricken over this, Ana confesses to her parents, who pack her off to boarding school and she also breaks off her friendship with Ira in the process. Six years later, they, however, reunite to search for Maya, who could or could not be dead by then. What’s hot Dear Maya is a kind of genre we don’t pretty much see in Bollywood these days – a moving human drama that doesn’t involve huge twists or shockers, but invests itself in human relationships and dynamics, without resorting to a an item number song to spice things up. The premise is not new – it actually reminded me of the Malayalam movie, Pavam Pavam Rajakumaran, which was about how a college professor was duped by his colleagues through fake letters from a girl. However, Dear Maya has to be appreciated for the fact that it doesn’t stray too much from its subject, and only has a handful of characters for us to invest in. There are several interesting moments in the movie, especially when it shows Maya rediscovering life through the letters, and later through the city. In her comeback role, Manisha Koirala gives a nuanced performance that will win your heart. Though she lends an air of mysticism to the initial portions of the movie, it’s when she rediscovers life is where Manisha shines the best. Too bad that the movie invests too little in her. Despite the raw edges, both the newcomers, Madiha and Shreya, are convincing in their roles. Iravati Harshe, as Ana’s mother, is superb as always. There’s a surprising cameo towards the climax, which we are not ruining for spoiler purposes. What’s not More than this being Maya’s story, Dear Maya is actually about the two girls re-evaluating their friendship through the repercussions of their prank on an unsuspecting victim. Not a bad idea, per se. But the problem is we don’t feel much for their friendship thanks to some very okayish writing in these portions. So those moments, when they fight and later reconcile, do not touch us with the same effect as Maya enjoying a sweet dish after many years. One of the characters is even given a forced sob story, just so to get her more sympathy points. Though the scene where she takes in the atmosphere of a nightclub in Delhi for the first time is well-depicted. Some of their actions also don’t make any sense. Like Ana is shown frantically searching for Maya for six years; she calls up radio stations and pastes posters of Maya’s everywhere. But at no point, does she even think of visiting a police station, until someone reminds her of doing so. The pace of the narrative is cumbersome and yawn-inducing, and will put you off the movie at several junctures. What to do Dear Maya may have an interesting story to tell, but it is a slow watch and is not everyone’s cup of tea. Manisha Koirala delivers a fine performance in her comeback role, but we do wish the movie had invested in giving her more screentime. Rating: 2.5 out of 5

Dear Maya movie review: Manisha Koirala gives a nuanced performance in this slow-burning tale of friendship and love

All the Salman Khan fans in the house, there&#39;s good news.&nbsp;

Salman Khan starrer Tubelight movie is all set to release today. According to the poster recently released, the timings are IST 8:59 PM tonight.&nbsp;

The film revolves around Laxman (Salman) who is a little slow and is known as Tubelight. After his brother goes missing during the Indo-Sino war, he is forced to introspect and truly believe that he has the power to find him. The movie features Shah Rukh Khan&nbsp;in a cameo as a magician, who helps Salman&rsquo;s character discover his talents.

Take a look at the poster here:

<div class="ui-state-default" contenteditable="false"><img alt="" draggable="false" src="http://s.wionews.com/photos/image%20tweeted%20out%20by%20alyssa%20(12)-20170525011632.jpg" />
<div class="media-description">
Tubelight movie poster (Facebook)
</div>
<a class="close-mark close-div" href="javascript:void(0)" id="jqclosemark">&times;</a></div>

The period drama also stars Chinese actress Zhu Zhu and late actor Om Puri in key roles.

After missing the teaser launch, Salman will be attending the film&rsquo;s trailer launch in Mumbai today.

Tubelight is the third collaboration between Kabir Khan and Salman, after successful films like Ek Tha Tiger and Bajrangi Bhaijaan and hence expectations are high.

&nbsp;

Here is the trailer of the movie:

<iframe allowfullscreen="" frameborder="0" height="430" src="https://www.youtube.com/embed/UKlkIzD-Yj8" width="970"></iframe>

&nbsp;

Listen to the first song of the movie here:

<iframe allowfullscreen="" frameborder="0" height="430" src="https://www.youtube.com/embed/FIMz4M2Vuw4" width="970"></iframe>

Tubelight is all set to hit the theaters on 23rd June 2017.

(WION)

Salman Khan starrer Tubelight trailer is all set to release today

All the Salman Khan fans in the house, there's good news. Salman Khan starrer Tubelight movie is all set to release today. According to the poster recently released, the timings are IST 8:59 PM tonight. The film revolves around Laxman (Salman) who is a little slow and is known as Tubelight. After his brother goes missing during the Indo-Sino war, he is forced to introspect and truly believe that he has the power to find him. The movie features Shah Rukh Khan in a cameo as a magician, who helps Salman’s character discover his talents. Take a look at the poster here: Tubelight movie poster (Facebook) × The period drama also stars Chinese actress Zhu Zhu and late actor Om Puri in key roles. After missing the teaser launch, Salman will be attending the film’s trailer launch in Mumbai today. Tubelight is the third collaboration between Kabir Khan and Salman, after successful films like Ek Tha Tiger and Bajrangi Bhaijaan and hence expectations are high. Here is the trailer of the movie: Listen to the first song of the movie here: Tubelight is all set to hit the theaters on 23rd June 2017. (WION)

Salman Khan fans, we have great news for you

Remember the much debated film&nbsp;Lipstick Under My Burkha?&nbsp;

The film&nbsp;Lipstick Waale Sapne (Lipstick Under My Burkha in English) is an Indian film directed by Alankrita Shrivastava and produced by Prakash Jha. It came under <a href="http://www.wionews.com/south-asia/indias-censor-board-refuses-to-certify-lipstick-under-my-burkha-12748">controversy</a> after The Censor Board of India (CBFC) refused to certify the film, stating that &quot;The story is lady oriented, their fantasy above life. There are contanious sexual scenes, abusive words, audio pornography and a bit sensitive touch about one particular section of society&quot;.&nbsp;

However, there is good news for those who believe in creative freedom.&nbsp;The film has now become eligible for Golden Globes after it was chosen as&nbsp;one of the official Hollywood Foreign Press Association Screening entries at the International Film Festival of Los Angeles. The Golden Globes&nbsp;is run by the Hollywood Foreign Press Association and is expected to be held in january 2018.&nbsp;

&ldquo;We are honoured that the Hollywood Foreign Press Association has chosen our opening night film, Lipstick Under My Burkha, to be an official Golden Globes qualifying screening. The director of the film will now have the opportunity to properly plan a Golden Globes campaign should she choose to submit the film for nomination,&rdquo; Director of Indian Film Festival of Los Angeles Christina Marouda said in a press statement.

The film stars Konkona Sen Sharma, Ratna Pathak, Aahana Kumra and Plabita Borthakur in lead roles along with Sushant Singh, Vikrant Massey, Shashank Arora, Vaibhav Tatwawaadi and Jagat Singh Solanki.&nbsp;The trailer of the film was released on 14 October 2016 while the film premiered at the Tokyo and Mumbai Film Festivals, where it won the Spirit of Asia Prize and the Oxfam Award for Best Film on Gender Equality.&nbsp;

<iframe allowfullscreen="" frameborder="0" height="430" src="https://www.youtube.com/embed/EpHqeHF8NM0" width="970"></iframe>

The storyline of the movie revolves around&nbsp;four women: burqa-clad college girl, a young beautician, a mother of three and a 55-year-old widow who rediscovers her sexuality.

But while the movie receives more accolades on global turf, the film is not yet realeased in India. Are you listening CBFC?&nbsp;

(WION)

&nbsp;

&nbsp;

The movie was refused certification by The Censor Board of India (CBFC) for being too 'lady-oriented'

Remember the much debated film Lipstick Under My Burkha? The film Lipstick Waale Sapne (Lipstick Under My Burkha in English) is an Indian film directed by Alankrita Shrivastava and produced by Prakash Jha. It came under controversy after The Censor Board of India (CBFC) refused to certify the film, stating that "The story is lady oriented, their fantasy above life. There are contanious sexual scenes, abusive words, audio pornography and a bit sensitive touch about one particular section of society". However, there is good news for those who believe in creative freedom. The film has now become eligible for Golden Globes after it was chosen as one of the official Hollywood Foreign Press Association Screening entries at the International Film Festival of Los Angeles. The Golden Globes is run by the Hollywood Foreign Press Association and is expected to be held in january 2018. “We are honoured that the Hollywood Foreign Press Association has chosen our opening night film, Lipstick Under My Burkha, to be an official Golden Globes qualifying screening. The director of the film will now have the opportunity to properly plan a Golden Globes campaign should she choose to submit the film for nomination,” Director of Indian Film Festival of Los Angeles Christina Marouda said in a press statement. The film stars Konkona Sen Sharma, Ratna Pathak, Aahana Kumra and Plabita Borthakur in lead roles along with Sushant Singh, Vikrant Massey, Shashank Arora, Vaibhav Tatwawaadi and Jagat Singh Solanki. The trailer of the film was released on 14 October 2016 while the film premiered at the Tokyo and Mumbai Film Festivals, where it won the Spirit of Asia Prize and the Oxfam Award for Best Film on Gender Equality. The storyline of the movie revolves around four women: burqa-clad college girl, a young beautician, a mother of three and a 55-year-old widow who rediscovers her sexuality. But while the movie receives more accolades on global turf, the film is not yet realeased in India. Are you listening CBFC? (WION)

Indian movie 'Lipstick Under My Burkha' eligible for Golden Globes

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

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