Urdu has become a minority language, laments Sharmila Tagore

Mumbai, Jun 30: Actor Vivek Oberoi on Tuesday announced that he is set to make his debut as a producer with a high-concept thriller titled "Iti- Can You Solve Your Own Murder”.

The whodunit thriller will be directed by Vishal Mishra, who has previously helmed on films "Coffee With D” (2017) and "Hotel Milan” (2018).

"Iti" will be produced by the actor's banner Oberoi Mega Entertainment, Mandiraa Entertainment and Girish Johar. It is creatively backed by Prernaa Arora.

The 43-year-old actor said he trusts Vishal’s vision and liked the idea so much that he decided to back the project.

"I’m sure it’s going to be an exciting journey with Prernaa, team Mandiraa and Girish. We hope to present an engaging piece of cinema to the audiences with this," Vivek said in a statement.

The film revolves around a woman who is racing against time to solve her own murder. The project is expected to go on floors by October and release in the first quarter of 2021.

“I’m super excited and keen to share this story with our audiences. Vishal is a very gifted talent and we are pretty sure that with this film, we have a winner on our hands," Johar said.

Vivek's last Bollywood big-screen appearance was in 2019’s "PM Narendra Modi". He was also seen in season two of Amazon Prime Video's thriller "Inside Edge".

Washington, Mar 11: Pop star Selena Gomez made some revelations about her personal life in a recent interview.

While explaining the lyrics of her song "Rare" on the 'Genius' YouTube channel, the 27-year-old said that there are times when she feels that she will ever be able to find a suitable partner for herself, reported Fox News.

"Some days when I wake up and I am annoyed and I am like, 'I am going to be alone forever.' But after that 15 minutes go away, I say to myself, 'I know that there is someone for everybody," the singer told in the seven-and-a-half minute long video.

However, she remains optimistic as she is still young and "this isn't the end all be all".

Elaborating upon the chorus of her song, Gomez opened up and said, "self-esteem and confidence is a constant struggle".

"It's getting better with time and age, but it will always be something that I'm working on," she added while explaining the lyrics further.

"So what I think is so important about this chorus is that it's acknowledging, 'Hey, I don't have it all. I'm not saying I'm perfect, but I do know that I'm special,' and I think that is a humble approach of saying, 'Why don't you see that I am different?'" the singer added as reported by Fox News.

Touching upon her experiences from past relationships, she commented: "In certain relationships, I've heard and I've experienced and whatnot, I think men and women do it -- especially teenagers and young people in love -- is there's this satisfaction out of hurting someone because you know that they care. Purposefully putting someone down because they want to keep them at a level. I've had someone actually say that to me before".

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.