Eros International bags global rights of Rajnikanth-Sonakshi Sinha's 'Lingaa'

Washington, May 18: Joining hands with the European Commission, actor Leonardo DiCaprio launched the Virunga Fund with seed money of USD 2 million to support Africa's Virunga National Park.

Since Virunga has lost a significant amount of revenue due to COVID shutdown post-March, the fund will be used to support the national park and the communities around, reported Variety.

The fund is aimed at disease prevention efforts, protection of mountain gorilla, and other species.

"I had the great honor of meeting and supporting Virunga's courageous team in their fight against illegal oil drilling in 2013," Variety quoted DiCaprio as saying.

"Virunga urgently needs funds to protect the endangered mountain gorilla population, to provide support to the rangers and the families of rangers who have fallen in the line of duty, and to help deliver essential disease prevention efforts. It's critical that we rally together during this time of incredible crisis," he added.

The 'Titanic' actor had earlier produced a Netflix documentary film 'Virunga' which is based on the national park.

New Delhi, May 15: In an attempt to constructively use leisure time during the lockdown, actor Bhumi Pednekar has started learning Kathak from her mother, Sumitra Pednekar, who is a trained dancer of this discipline.

Elaborating on her keenness to enhance her knowledge on the dance form, the actor explained about her routine followed for the dance practice and how much she is enjoying it.

"I wanted to learn kathak for a long time as my mother is a trained Kathak dancer! So, for about an hour in the evening this what I and my mom do. She is quite enjoying it and I'm loving learning it from her!" the 30-year-old actor said.

The growing fear of coronavirus has halted many entertainment shootings and productions. The 'Pati Patni Aur Who' actor referring to the current situation opened about the uncertainties of going back to shootings.

"It has put a big question mark on when will we get back to work and how things are going to be. There's a lot of uncertainty. Of course, our dates and schedules have gone haywire and we can't plan anything," she added.

However, the 'Bala' actor is finding a silver lining among the gloom as she says that the time has given her an opportunity to get back to what she used to love as a child - the habit of reading.

"I was a voracious reader but since entering Bollywood I haven't got a chance to read something at a stretch," she said.

"But now, I have got all the time and I'm making full use of the time at hand. I have been watching TED talks and have been reading a lot about climate change because that is something, I am severely passionate about. This time has been very educational for me," she added.

On the professional front, Pednekar will be soon seen as a leading lady in the Akshay Kumar's 'Durgavati' and award-winning director Alankrita Srivastava's 'Dolly Kitty Aur Woh Chamakte Sitaare'.

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.