Kangana Ranaut Calls Ranbir, Alia and Ranveer Irresponsible for Not Commenting on Politics

Jun 25: Bollywood star Sushant Singh Rajput’s last movie “Dil Bechara” is getting a release on Disney+Hotstar on July 24.

With an aim to honour the legacy of the actor, the streaming platform is making the movie available to even the non-subscribers.

Rajput was found dead at his Bandra home on June 14 at the age of 34.

Billed as a soulful love story, “Dil Bechara” marks the directorial debut of casting director and Rajput's industry friend Mukesh Chhabra. The film is produced by Fox Star Studios.

“We are humbled to be able to play a small part in sustaining the legacy of a fine actor like Sushant Singh Rajput. In celebration of his life and his extraordinary work, 'Dil Bechara' will release directly on digital this July on Disney+ Hotstar; and will be available to all subscribers and non-subscribers across India. Our prayers and wishes to his family and loved ones,” Uday Shankar, President – The Walt Disney Company APAC and Chairman, Star & Disney India, said.

The actor had a long-standing relationship with the STAR & Disney India network, having started his career with the show “Kis Desh Mein Hai Meraa Dil” in 2008 to his Bollywood transition where he delivered some of his most memorable performances in “M.S. Dhoni: The Untold Story” (2016) and “Chhichhore” (2019), both produced by Fox Star Studios.

Chhabra said he never imagined he would release the film without Rajput.

 “Sushant was not just the hero of my debut film as a director, but he was a dear friend who stood by me through thick and thin. We had been close right from 'Kai Po Che!' to 'Dil Bechara'. He had promised me that he would be in my first film.

"So many plans were made together, so many dreams were dreamt together but never once did I ever imagine that I would be left alone to release this film. He always showered immense love on me while I was making it and his love will guide us as we release it,” the director said.

“Dil Bechara” is the official remake of 2014 Hollywood romantic drama “The Fault in our Stars”, which was based on John Green’s popular novel of the same name. The Hindi adaptation of the movie was done by Shashank Khaitan and Suprotim Sengupta.

“Dil Bechara” will see Rajput in a leading role alongside debutante Sanjana Sanghi, and Saif Ali Khan in an interesting cameo.

The music of the film has been composed by AR Rahman and the lyrics are by Amitabh Bhattacharya.

“Dil Bechara” revolves around Kizie Basu (Sanghi) and Immanuel Rajkumar Junior or Manny (Rajput) and explores the funny, thrilling, and tragic adventure of being alive and in love.

Together Kizie and Manny embark on an on-off-up-down-sad and sweet profound journey into the heart of that crazy little thing called life. It teaches them what it means to feel truly alive and fall in love.

Washington, Jun 11: Music maestro AR Rahman has joined the international film 'No Land's Man' as co-producer and composer.

Helmed by renowned Bangladeshi filmmaker Mostofa Sarwar Farooki, the upcoming movie has Indian thespian Nawazuddin Siddiqui, Australian theatre actor Megan Mitchell, and Bangladeshi musician and actor Tahsan Rahman Khan in pivotal roles.

"Time always gives birth to new worlds, new ideals. The newborn world has new challenges and new stories to tell. This is one such story," Variety quoted Rahman as saying.

The movie chronicles the life of a South Asian, whose journey gets complicated when he meets an Australian woman in the U.S.

The film, shot in the U.S., Australia and India, is predominantly in English with some dialogue in Hindi and Urdu.

'Sacred Games' actor, Siddique said: "The filming experience for this project was challenging but a fulfilling one. AR Rahman's brilliance will definitely make the film richer."

"Farooki and I first spoke about 'No Land's Man' at Film Bazaar in 2014. Between then and now, the film has become even more relevant as it looks at what it means to be a vulnerable person in a racially-divided world," producer Srihari Sathe said.

'No Land's Man' won the MPAA (Motion Picture Association of America) and Asia Pacific Screen Awards' Script Development fund in 2014. It was part of the Asian Project Market at Busan and was chosen as the best project at India's Film Bazaar the same year.

Earlier in January, Siddiqui posted multiple pictures on Instagram with the team of the flick, marking the schedule wrap in New York and Sydney for 'No Land's Man.'

He also captioned the post as: "Wonderful experience with the most energetic team."

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.