Kareena Kapoor Khan wishes to work with Pak director Shoaib Mansoor

London, Mar 19: "Game of Thrones" star Indira Varma has revealed that she has tested positive for coronavirus.

Her diagnosis comes two days after fellow "Game of Thrones" actor Kristofer Hivju also said that he tested positive for the COVID-19 infection.

Varma, who played the role of Ellaria Sand in the epic HBO series, took to Instagram on Wednesday to share the news.

"I'm in bed with it and it's not nice. Stay safe and healthy and be kind to your fellow people," she wrote.

The 46-year-old actor was starring in the modern take of Anton Chekhov's play "The Seagull" in London's West End, alongside "Game of Thrones" alum Emilia Clarke.

The play is on hold due to the pandemic.

"So sad our and so many other shows around the world have gone dark affected by the Covid-19 pandemic. We hope to be back soon and urge you all (and the govt) to support us when we do. Phoenix/ Seagull rising from the ashes (sic)," Varma wrote in her post with photos from the rehearsals.

Varma and Hivju join Tom Hanks, Rita Wilson, Idris Elba, Olga Kurylenko, and Rachel Matthews among the Hollywood celebrities who contracted the virus.

Mumbai, Jan 30: A day after a woman filed a complaint against Ganesh Acharya alleging that he had forced her to watch pornography, actor Tanushree Dutta said Bollywood should boycott the choreographer.

A 33-year-old woman, an assistant choreographer, has written to the National Commission for Women (NCW) alleging that Acharya used to make her watch porn videos whenever she visited his office in suburban Andheri.

She also 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. A complaint has been filed in this regard with Amboli police.

"It's time Bollywood and the other Indian film industries boycott choreographer Ganesh Acharya completely. Hiding behind the male superstars who work with this despicable man, he has been abusing his power and position to harass, bully and take advantage of vulnerable young newcomers to the industry," Dutta said in a statement here.

Dutta had alleged that her co-star Nana Patekar harassed and misbehaved with her while shooting for a song for their 2008 film "Horn Ok Pleasss", and Acharya, who was the choreographer, introduced new steps which were "intimate".

Recalling the trauma she faced, Tanushree said even though Acharya was party to all the harassment she faced on the 'Horn ok Pleasss" set, he went on to spoil her name and reputation.

"Nobody had any regard for me and how much I had suffered psychologically and financially because of the turmoil I went though due to these people. I left the industry because I was so scared and hurt over the atrocious treatment meted out to me on 'Horn ok Pleasss' set.

"I had worked very sincerely to get to where I got in life and so went in shock for many years, over the whole episode on that set almost 12 years ago, that led to an attack on my car. They didn't just break my car, they broke my spirit that day," Dutta said, in reference to the attack on her car in 2008.

She expressed her displeasure over how "leading men" and "heroes" of Bollywood continued working with Acharya, whose most recent work includes "Simmba", "Zero", "Sanju" among others.

"Even after all the information of fraud, non payment of dues, sexual harassment of dancers, bullying and intimidation and even physical abuse of dancers is coming out about Ganesh Acharya in the media, if the actors, directors and producers still work with him, it would mean that they themselves are engaging in such acts also.

"It's a warning to the film industry to stay the hell away from Ganesh Acharya otherwise your own reputation will be joined to his character. I'm sure many more girls and boys will come out about his misbehaviour and shady business, opening floodgates in the future," she added.

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.