Aamir Khan in awe of Sunny Leone's 'grace, dignity'

Mumbai, Jun 30: Actor Vivek Oberoi on Tuesday announced that he is set to make his debut as a producer with a high-concept thriller titled "Iti- Can You Solve Your Own Murder”.

The whodunit thriller will be directed by Vishal Mishra, who has previously helmed on films "Coffee With D” (2017) and "Hotel Milan” (2018).

"Iti" will be produced by the actor's banner Oberoi Mega Entertainment, Mandiraa Entertainment and Girish Johar. It is creatively backed by Prernaa Arora.

The 43-year-old actor said he trusts Vishal’s vision and liked the idea so much that he decided to back the project.

"I’m sure it’s going to be an exciting journey with Prernaa, team Mandiraa and Girish. We hope to present an engaging piece of cinema to the audiences with this," Vivek said in a statement.

The film revolves around a woman who is racing against time to solve her own murder. The project is expected to go on floors by October and release in the first quarter of 2021.

“I’m super excited and keen to share this story with our audiences. Vishal is a very gifted talent and we are pretty sure that with this film, we have a winner on our hands," Johar said.

Vivek's last Bollywood big-screen appearance was in 2019’s "PM Narendra Modi". He was also seen in season two of Amazon Prime Video's thriller "Inside Edge".

New Delhi, Jul 14: Going down the memory lane, late Bollywood actor Sushant Singh Rajput's close friend and actor Rhea Chakraborty recalled her memories with the departed actor as Rajput's untimely demise completed one month on Tuesday.

This marks the 'Jalebi' actor's first social media post dedicated to Rajput after his demise.

Chakraborty took to Instagram to post two pictures of herself with the 'Kai Po Che!' actor and complimented the post with a long emotional note.

She began the note by stating how she is "still struggling" to face her emotions and said that she will never come to terms with the actor's demise.

"Still struggling to face my emotions.. an irreparable numbness in my heart. You are the one who made me believe in love, the power of it," she wrote.

"You taught me how a simple mathematical equation can decipher the meaning of life and I promise you that I learnt from you every day. I will never come to terms with you not being here anymore," she added.

Terming Rajput as the "greatest physicist," the 'Mere Dad Ki Maruti' actor then recalled Rajput's passion for astrophysics.

"I know you're in a much more peaceful place now. The moon, the stars, the galaxies would've welcomed "the greatest physicist "with open arms," Chakraborty wrote.

Full of empathy and joy, you could lighten up a shooting star - now, you are one. I will wait for you my shooting star and make a wish to bring you back to me," she added.

Remembering the bond that she shared with him, Rhea wrote, "You were everything a beautiful person could be, the greatest wonder that the world has seen. My words are incapable of expressing the love we have and I guess you truly meant it when you said it is beyond both of us."

"You loved everything with an open heart, and now you've shown me that our love is indeed exponential," she added.

The 28-year-old actor ended the note by stating how she will love Rajput for a "lifetime."

"Be in peace Sushi. 30 days of losing you but a lifetime of loving you....Eternally connected. To infinity and beyond," she wrote.

Chakraborty and Rajput were close friends and were also set to share the screen space in the film 'Happy Anniversary.'

Sushant Singh Rajput was found dead in his Mumbai residence on June 14. The investigation in the case related to Rajput's demise is currently underway for which Chakraborty was also interrogated by Mumbai Police.

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.