Soul-searching by Mumbai police over 16 lapses in Salman Khan case

Mumbai, May 30: Actor Vaani Kapoor on Saturday said she will go on a virtual date with five people as part of an initiative to raise money for daily wage earners, who have been affected due to the nationwide lockdown implemented to rein in coronavirus.

Vaani has teamed up with actor Arjun Kapoor's sister Anshula Kapoor’s online fundraising platform, Fankind, to raise funds for daily wage workers.

Vaani and Fankind have come together to provide five of her fans a chance to go on a virtual date with her - by donating to provide food to daily wage workers.

“As human beings, we will need to come forward and support as many people as possible in need due to the coronavirus pandemic in our country. I’m doing my bit to support the daily wage earners of our country and their families who are in dire situations given the lockdown.

“My activity, in which five lucky winners can have a virtual date with me, will see us collect funds to help feed them and their families across the country," Vaani said in a statement.

Earlier, Arjun too supported the initiative to help daily wage earners.

According to the press release, the funds will go to GiveIndia, a non-profit organisation, which will provide hot cooked meals to wage earners and their families. Each meal costs Rs 30 and will be delivered in various areas of Maharashtra, Bangalore, and Chennai.

A.T.E. Chandra Foundation has also come on board and will be adding 25 percent of the total donation value collected as a matching amount, thereby multiplying the impact, the release said.

New Delhi, Jul 10: Actor Bhumi Pednekar, who is staying indoors like many other Bollywood celebrities, on Friday said that she has learned to prioritise what is important to her amid the COVID-19-induced lockdown.

"One thing that I have learnt about myself is that I love isolation. I love being by myself. I saw a lot of people complaining that they are bored at home or that they cannot go out. I am an extrovert, I am a very social person but this quarantine has led me to realise that I do prefer my isolation over meeting people because I haven't really been in touch with people," she said.

"I have kind of been catching over my reading, not seen much television but started watching shows. I have spent a lot of time with my mom and honesty there were days when I did nothing," she added.

The 'Pati Patni Aur Woh' actor further said that it was important loving oneself and enjoying one's own company.

"I have kind of prioritised what I feel is important in life. I have re-educated myself. But the biggest learning has been that I love being alone. And maybe I have kind of enjoyed this state because as actors you are constantly surrounded by people whether you are promoting or shooting a film," she said.

"Your immediate entourage is also like a team of quite a few people. You are constantly over the phone, you are constantly over social media," she added.

Pednekar was last seen in Karan Johar's horror film 'Bhoot Part One: The Haunted Ship,'.

She will next be seen in another horror thriller, 'Durgavati.'

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.