Anushka Sharma, Virat Kohli spotted together post break-up

New Delhi, Jun 9: Multiplex operator PVR on Monday said it has cut salary across various levels, laid off employees and deferred increments during the lockdown to mitigate adverse impact of COVID-19 on the business.

The company said at present it is not generating any revenue from exhibition business and related activities as cinemas across the country are shut following the directions from the regulatory authorities.

According to the company, closure of screens during the lockdown will have a significant negative impact on profitability and liquidity.

PVR has taken measures to reduce its personnel cost, including salary cuts across various levels in the organisation during the lockdown along with "reduction in headcount by way of layoffs/retrenchment" to mitigate the adverse impact of COVID-19 on the business.

Moreover, the board of the company, in its meeting held on Monday has also approved plan to raise Rs 300 crore through rights issue.

"Since Cinema Exhibition is the only business segment, company is currently not generating any revenue from admissions, food and beverage sales or other revenue and cash flow from operations," said PVR in an update.

Beginning from March 11, PVR started closing its screens in accordance with the order passed by various regulatory authorities and within a few days most of our cinemas across the country were shut down, it added.

The company will continue to incur committed cash outflows, including employee salary pay-outs, other overheads as well as payments for older working capital.

"This has and will have a significant negative impact on profitability and liquidity during lockdown and even thereafter till business comes to normalcy," it added.

Further, once the cinemas are re-opened, we may not be able to run our cinemas at normal capacity utilisation levels on account of social distancing measures that cinemas may be required to follow as well as health concerns that the patrons may have, the multiplex operator said.

"On account of this, our revenue and cash flow generation may be impeded even once we are allowed to restart operations," it added.

The company has also deferred decision on on increments to reduce its cost, it added.

PVR has also written to developers for waiving rental and CAM (Common Area Maintenance) charges for the lockdown period.

It is in discussion with developers for reducing rentals post re-opening and has invoked force majeure clause in its agreements with them.

Besides, the company has raised additional borrowings from existing bankers to shore up liquidity.

"As of March 31, 2020 the company had cash and bank balance of Rs 316 crore. As on June 7, 2020 cash and bank balance is Rs 227 crore (including undrawn bank lines)," it added.

Over reopening of theatres, PVR said that the government has come out with a phase-wise schedule.

In these guidelines cinema halls have been kept in the third phase of re-opening, where dates will be decided based on assessment of the situation.

"We are in continuous engagement with all regulatory authorities and hope to receive the necessary permissions for restarting opening in the near future," it added.

Currently PVR operates 845 screens in 176 properties in 71 cities.

New Delhi, Jun 19: After the recent sudden demise of Sushant Singh Rajput, actor Kangana Ranaut who went public slamming nepotism in the Hindi film industry, has now revealed that she faced similar struggles like that of Sushant.

In a new statement, the "Queen" actor alleged that she was asked to apologise to Hrithik Roshan's family in order to survive. Both Kangana and Hrithik had been in the public spotlight in the year 2016 over their alleged former relationship and legal battle.

The 'Queen' actor said: "Once Javed Akhtar had called me to his house and told me that Rakesh Roshan and his family are very big people. If you don't apologise to them, you will have nowhere to go. They will put you in jail, and eventually, the only path would be that of destruction...you will commit suicide. These were his words. Why did he think if I don't apologise to you will have nowhere to go. They will put you in jail, and eventually, the only path would be that of destruction...you will commit suicide. These were his words. Why did he think if I don't apologise to Hrithik Roshan, I would have to commit suicide? He shouted and yelled at me. I was shaking in his house,"

She further continued, "Were there people calling Sushant? Were there people putting such thoughts into his mind? I have no idea, but obviously, he was in a similar situation. In his interviews, he had said that nepotism cannot co-exist with talent because they don't allow the right talent to come up. I can relate to it, and hence I am raising questions. I want to know who played the catalyst in this situation?"

Kangana adds, "I know Sushant had a big fallout with Aditya Chopra also. When I refused Sultan, he had threatened he would never work with me. Ever since our industry ganged up on me. I remember so many times feeling really lonely and feeling what will happen to me..."

The 'Manikarnika' star also revealed that all this not only happened to her professionally but personally as well it hampered her relationships. "They are very insecure about things. Despite what they did to me, there was a guy who wanted to get married to me. But he distanced himself, they made sure he ran away. With no surety about my career, my love-life completely has gone awry, with six court-cases against me, they're still trying to put me in jail."

Kangana also talked about herself: "I'm a different person; I'm very expressive. I went out there, and I just vented it out. Sushant was not a person like that at all. He just bottled it up. Media too has played a considerable part in this--the kind of monster image that was given to him. Everybody who knew him closely agrees that he was a soft and emotional person. I think that after a point it really got to him. I can understand it because even I have been portrayed as a witch and as a stalker."

Sharing that the bullying and outbursts had a psychological impact on her life situations, Kangana says, "I remember initially when people used to come to my home, I felt so embarrassed to even offer them water. Forget having a relationship or going on a date post the disaster of a relationship I had. I can only imagine that even during Manikarnika what they did to me."

Talking about the 'Kai Po Che' star, she added, "But perhaps he was just not able to vent. In fact, all these constant jibes on these petty show that he should be killed and which rated him as the least efficient... his films have done more business than your Gully Boy. People like Salman Khan said who Sushant Singh Rajput? It was after M.S. Dhoni: The Untold Story, everybody knew who Sushant was. We need to stop these."

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.