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Mumbai, Jun 16: In the wake of Sushant Singh Rajput's death, veteran actor Deepti Naval has opened up about her struggle with depression and suicidal thoughts in the early 90s.

Naval shared a poem that she wrote during her struggle with depression on her Facebook page after paying tributes to Rajput, who was found hanging in his Bandra apartment on Sunday at the age of 34.

According to a police official, Mumbai Police found out during the probe that the actor was under medication for depression

"Dark days these... So much has been happening - mind has come to a point of stillness... Or rather numbness. Today I feel like sharing a poem I wrote back in the years when I was fighting depression, anxiety, suicidal thoughts - Yes, fighting... and like how," Naval wrote.

The 68-year-old actor made her debut with Shyam Benegal's 1978 "Junoon" and went on to feature in films like "Chashme Buddoor", "Ankahee", "Mirch Masala", Saath Saath among others in the 80s.

Naval's poem, titled "Black Wind", begins by describing how anxiety engulfs a person.

"Anxiety grips me with both hands, spiked claws dig deep into my soul I gasp for breath and stagger around sharp corners of my single bed.."

In the poem, Naval talks about fighting suicidal thoughts and depression, describing it as a "ghoulish lust" she won't succumb to.

"The telephone rings... no, it stops...God damn! Why don't anyone speak? A voice, Just a human voice In this shameless, pitiless Abyss of the night - gloom deepens into darkness, turns purple I feel dark inside."

The actor ends by writing that she will survive the night, its "deathly design" and fight.

"The world's a snake pit, so let it be! I dare the devil to get the better of me! Deepti Naval, Night of July 28, 1991."

In an interview with PTI last year, Naval had mentioned how acting assignments started to thin in the late 90s and as a "serious actor" it was "devastating" to be ignored.

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.