Bollywood upholds the remix trend, but listeners reject

Jan 2: A young filmmaker was allegedly assaulted by an acquaintance during an argument over CAA-NRC in neighbouring Salt Lake City, police said on Wednesday.

The police have arrested the accused following a complaint by the filmmaker.

According to a senior police officer, the argument over the contentious Citizenship Amendment Act (CAA) and the proposed National Register of Citizens (NRC) began following a social media post by the filmmaker.

The accused allegedly went to the house of the filmmaker on Monday night and picked up an argument, which led to a scuffle.

"During the scuffle, the accused attacked the filmmaker with a knife," the senior police officer said, adding that the accused has been booked under relevant sections of the Indian Penal Code.

Chennai, Mar 28: Chennai City Corporation personnel stuck a home quarantine sticker at the office of actor-politician Kamal Haasan's Makkal Needhi Maiam office on Saturday, leading to speculation that the matinee star was quarantined for the coronavirus.

While there was speculation if Kamal Haasan was quarantined, the Greater Chennai Corporation said their staffers pasted the sticker on the premises because actress Gautami Tadimalli "returned from Dubai recently and her passport has this address (Eldams Road in upscale Alwarpet)."

The present residence of the actress was not known immediately.

The sticker read, "We are in home quarantine to safeguard ourselves and Chennai from the coronavirus." It was removed soon, an official said, declining to elaborate.

Kamal Haasan clarified in a statement that he was not quarantined.

"Based on the notice stuck outside my house, news has been spread saying that I have been quarantined. But most of you already know that I have not been living there for the past few years and the Makkal Needhi Maiam party office has been functioning from there," he said.

Further, the actor said, the news that he has been quarantined "is not true."

As a precautionary measure, he has been maintaining social distancing, he said.

Feb 10: Bong Joon-ho’s film “Parasite” starts in a dingy, half-basement apartment with a family of four barely able to scratch out a life. There must be no place to go but up, right? Yes and no. There’s nothing predictable when the South Korean director is on his game.

This dark, socially conscious film about the intertwining of two families is an intricately plotted, adult thriller. We can go up, for sure, but Bong can also take us deeper down. There’s always an extra floor somewhere in this masterpiece.

It tells the story of the impoverished four-person Kim family who, one by one, and with careful and devious planning, all get employed by the four-person affluent Park family — as a tutor, an art teacher, a driver and a housekeeper. They are imposters stunned by the way wealth can make things easier: “Money is an iron. It smooths out all the creases,” says the Park patriarch with wonder.

Bong, who directed and wrote the story for “Parasite,” has picked his title carefully, of course. Naturally, he’s alluding to the sycophantic relationship by a clan of scammers to the clueless rich who have unwittingly opened the doors of their home on a hill. But it’s not that simple. The rich family seem incapable of doing anything — from dishes to sex — without help. Who’s scamming who?

Bong’s previous films play with film genres and never hide their social commentary — think of the environmentalist pig-caper “Okja” and the dystopian sci-fi global warming scream “Snowpiercer.” But this time, Bong’s canvas is a thousand times smaller and his focus light-years more intense. There are no CGI train chases on mountains or car chases through cities. (There is also, thankfully, 100% less Tilda Swinton, a frequent, over-the-top Bong collaborator.

The two Korean families first make contact when a friend of the Kim’s son asks him to take over English lessons for the Park daughter. Soon the son (a dreamy Choi Woo-sik) convinces them to hire his sister (the excellent Park So-dam) as an art teacher, but doesn’t reveal it’s his sis. She forges her diploma and spews arty nonsense she learned on the internet, impressing the polite but firm Park matriarch (a superb Jo Yeo-jeong.)

The Park’s regular chauffer is soon let go and replaced by the Kim patriarch (a steely Lee Sun-kyun). Ditto the housemaid, who is dumped in favor of the Kims’ mother (a feisty Jang Hye-jin.) All eight people seem happy with the new arrangement until Bong reveals a twist: There are more parasites than you imagined. The clean, impeccably furnished Park home will have some blood splashing about.

Bong’s trademark slapstick is still here but the rough edges of his often too-loud lessons are shaved down nicely and his actors step forward. “Keep it focused,” the Kim’s son counsels his father at one point. Bong has followed that advice.

There are typically dazzling Bong touches throughout. Just look for all the insect references — stink bugs at the beginning to flies at the end, and a preoccupation with odor across the frames. And there’s a scene in which the rich matriarch skillfully winds noodles in a bowl while, in another room, duct tape is being wrapped around a victim and classical music plays.

Bong could have been more strident in his social critique but hasn’t. There are no villains in “Parasite” — and also no heroes. Both families are forever broken after chafing against each other, a bleak message about the classes ever really co-existing (Take that, “Downton Abbey”).

“Parasite” is a worthy winner of the Palme d’Or at the Cannes Film Festival, the first South Korean movie to win the prestigious top prize. The director has called it an “unstoppably fierce tragicomedy.” We just call it brilliant.