'Glee' Actress Naya Rivera's Body Found, Last Act Was To Save Son: Police

Mumbai, Jan 28: A 33-year-old woman has written to the National Commission for Women (NCW) alleging that Bollywood choreographer Ganesh Acharya used to make her watch porn videos whenever she visited his office in Mumbai.

In a complaint filed with the police, the woman, an assistant choreographer, has alleged that Acharya and two women assaulted her during a function of the Indian Film and Television Choreographers Association (IFTCA) held in suburban Andheri on Sunday.

Besides Acharya, the complainant, Divya Kotian, has named Jayashree Kelkar and Preeti Lad in her complaint for assault, a police official said on Tuesday.

Calls made to Acharya for his reaction remained unanswered.

In her letter to the NCW, Kotian, a resident of suburban Bhayandar, claimed that Acharya forced her to watch adult videos whenever she visited his office.

In her complaint with Amboli police station, Kotian alleged that Acharya was demanding a commission from her for working in the film industry.

Kotian is also a member of the IFTCA.

Acharya, who was elected as a general secretary of the IFTCA, used to frequently call the complainant at the office in Andheri, the police official said quoting the complaint.

On January 26, when Kotian reached the IFTCA office, Acharya shouted at her and announced that she was being "suspended", he said.

Acharya grew furious after Kotian told him that she is a member of the IFTCA and allegedly asked his team member, Jayashree Kelkar, to slap her, the police official said.

"Kelkar and Preeti Lad hit me in public view which was captured on the CCTV," the complaint stated.

Police have registered a non-cognisable (NC) offence and investigating, the official added.

Patna, Jun 27: As Sushant Singh Rajput’s family tries to come to terms with his loss, they have decided to honour his legacy and celebrate his passion for cinema, science and sports.

In an emotional statement shared on Saturday, the Bollywood actor’s family remembered him as a “free-spirited” person who worked hard to turn his dreams into reality.

“He was free-spirited, talkative and incredibly bright. He was curious about just everything. He dreamed without restraints, and chased those dreams with the heart of a lion. He smiled generously. He was the pride and inspiration of the family,” the statement read.

Rajput, 34, known for films like Kai Po Che!, MS Dhoni: The Untold Story and Chhichhore, was found dead in his Bandra apartment on June 14, sending shockwaves in the film industry and elsewhere.

The family said that the actor’s untimely demise has created an irreparable void in their lives.

“We can’t bring ourselves to accept that we wouldn’t get to hear his easy laughs anymore. That we wouldn’t see his sparkling eyes again. That we wouldn’t hear his endless rants about science again. His loss has created a permanent, glaring void in the family that will never be filled.”

Thanking his admirers for being a constant support as they try and recover from the loss, the family added that Rajput, “truly loved and cherished every single one of his fans.”

The actor, who made the storybook transition from Patna boy to television and then the starry lights of the Hindi film industry, was the youngest of five siblings and is survived by his father and four sisters. His mother had passed away in 2002 when he was a young teen.

To honour his memory and legacy, the family has decided to set up Sushant Singh Rajput Foundation (SSRF) that will support young talents in cinema, science and sports.

His childhood home in Rajiv Nagar, Patna, will be turned into a memorial, where all his personal memorabilia and belongings, that include thousands of books, his Meade 14’’ LX-600 telescope, flight-simulator, will be on display for his fans and admirers.

The actor’s family, who used to fondly call him Gulshan, will also maintain his social media accounts as legacy accounts to keep his memories alive.

Rajput started his acting career with television after dropping out from Delhi Technological University in the early 2000s. He was one of the few talents to have made a successful transition to movies.

The actor made his Bollywood debut in 2013 with Kai Po Che!. In past seven years, he had featured in a number of hits including blockbusters Neeraj Pandey’s MS Dhoni: The Untold Story and Chhichhore by Nitesh Tiwari.

Tiwari’s 2019 hit was Rajput’s last theatrical release.

On Thursday, it was announced that Dil Bechara, which is the actor’s last movie he shot for, will premiere on Disney + Hotstar on July 24.

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.