Elated with the response to 'Baahubali': Karan Johar

New Delhi, Apr 6:  In an attempt to pump up Indians with positivity amid the testing times of coronavirus, Bollywood's most prominent actors like Akshay Kumar, Kartik Aaryan, Tiger Shroff, Taapsee Pannu, Kiara Advani, joined hands and launched a hope anthem - 'Muskurayega India.'

The song is set on the optimistic theme that sends out the message that the country will smile again if the country supports each other in the current crisis situation.

An initiative of Akshay Kumar's Cape of Good Films, the video of the song features all the lead actors of the industry including Ayushmann Khurrana, Bhumi Pednekar, Sidharth Malhotra, Vicky Kaushal, Raj Kumar Rao, Ananya Panday, Kriti Sanon, Jacky Bhagnani, and Rakul Preet.
Curated by Jackky Bhagnani's music label JJust Music and composed and sung by the talented Vishal Mishra, 'Muskurayega India' is a symbol of India's spirit of solidarity, battling against the coronavirus pandemic.

The soulful song penned by Kaushal Kishore also features cricketer Shikhar Dhawan and famous Mumbai based Radio Jockey Malishka.
The video of the song starts with Prime Minister Narendra Modi's televised address in which he is seen assuring the country that every Indian will come out victorious from the coronavirus crisis.

The video then features all the prominent faces of the cinema industry giving out the message of hope from their balconies, terrace and other spots of their houses.

The song urges people to stay home and support the people who are working to combat the virus, like police officials, and medical practitioners on duty amid the lockdown.

A locked-down view of some of the most prominent spots in the country like the India Gate, Hawa Mahal, and Mumbai's beaches are also featured in the video.

The song also spreads the message of social distancing and washing of hands to keep the infection away.

The video ends with a rhythm of the national anthem with the celebrities standing still to honour it and finally fades away with the Indian national flag.

As the country battles the novel coronavirus, the song is an attempt to uplift the spirit of togetherness of every Indian during the unprecedented crisis.

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.

Los Angeles, Jan 9: Actors Salma Hayek and Tiffany Haddish are hopeful about the future for women in Hollywood and now cinema is making films about women because the audience was "neglected".

The duo along with Rose Byrne star in Like a Boss, a comedy directed by Miguel Arteta, which follows best friends Mia and Mel (Haddish and Byrne) who join forces to run their own boutique cosmetics company.

When the prospect of a big buyout offer from a notorious titan of the beauty industry (Hayek) tempts them, their lifelong bond - and their business - is put in jeopardy.

Hayek said she is happy with the increase in female-driven films in Hollywood.

"We're on the right path. And we're not going to stop," the actor told Variety.

"What I can tell you is that a lot more women are directing and acting and writing and producing. And there are a lot more movies made about women and for women because the audience was neglected, she said.

She was speaking at the premiere of the film in New York.

Haddish added that the mantle for change shouldn't be left to the traditional decision-makers.

To get things, one has to sometimes make noise, the actor-author said.

"It's about us putting in the work and creating the projects and creating the opportunities in order to do those things to make it better. I sit back and I listen to people talk sometimes, saying, 'They're not letting us; they're not giving it to us.' Why do we have to ask permission? Why can't we just start putting it together? If they want to come on board with it, come on board. And if not, oh well," Haddish said.

"I'm about creating an opportunity. People say I'm loud and obnoxious, but sometimes it’s the squeaky wheel that gets the oil and gets things done," she added.

The comedy comes on the heels of a year gone by in cinema that featured female protagonists in films like Little Women and Captain Marvel.