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Arash Rakhsha’s documentary follows two Kurdish friends just about getting by smuggling goods across the mountains In an immersive and sweeping debut feature, Kurdish film-maker Arash Rakhsha portrays the plight of his people with sheer cinematic poetry. Shot over six years, the film closely follows Hamid and Yasser, two Kurdish friends who work side by side as kolbars , smugglers of untaxed household goods across the Iran-Iraq border. Coloured in icy shades of blue, their lives are filled with terrifying dangers, yet there’s also space for warmth and camaraderie amid the fog of precariousness. Getting paid per kilogram, the pair haul heavy loads on their backs through treacherous terrain. One moment they are wading upstream, the next they are hiking through the steep, snowbound ranges of the Zagros mountains. The kolbars also rely on mules for transport, though this means they are easier to detect by the border patrols. Landmines – active souvenirs from the Iran-Iraq war – are also...

Biplab Goswami, the screenwriter behind the acclaimed Bollywood film Laapataa Ladies, has firmly denied allegations of plagiarism that have recently cast a shadow over the movie’s reputation. Responding to claims that the film bears striking similarities to the 2019 Arabic short film Burqa City, Goswami presented documented proof of his script’s originality, asserting that the story was conceived and registered years before the controversy emerged. The Kiran Rao-directed Laapataa Ladies, which was India’s official entry for the 2025 Oscars, has been under scrutiny after social media users pointed out parallels between its plot and that of Burqa City. Both stories revolve around mistaken identities due to veiled attire—ghunghats in the Indian film and burqas in the Arabic short—leading to accusations that the former borrowed heavily from the latter. The debate intensified earlier this week, with some netizens labeling the film as unoriginal and questioning its credibility as an Oscar c...

Murderous unicorns run amok in Alex Scharfman’s gory American horror that gleefully embraces a lo-fi aesthetic but lacks sufficient bite What if unicorns were badass? What if, rather than the twee, sparkly fairy creatures that distribute magic and glittery microplastic at kids’ themed birthday parties, unicorns were fearsome beasts with deranged amber eyes, huge tombstone teeth that could sever a man’s arm, and horns covered in the entrails of their victims like flesh pennants? It’s an appetising central premise. And this Paul Rudd and Jenna Ortega-starring horror comedy, produced by the achingly hip boutique studio A24, certainly delivers on the grisly, torso-skewering gore. Maybe the jokes could have been sharper, but at least the unicorns’ horns make their point. Killer unicorns are not an entirely novel concept. The ultraviolent 2022 cult feature animation Unicorn Wars – described by its director as “ Bambi meets Apocalypse Now meets the Bible” – pitted unicorns against teddy ...

Bollywood’s versatile heartthrob Vicky Kaushal steps into a magical new avatar in Shoojit Sircar’s upcoming fantasy drama, Ek Jaadugar. The first look poster dropped yesterday, and it's already casting a spell on fans and cinephiles alike. A Magical Makeover for Vicky Kaushal The poster features Vicky Kaushal in an enchanting magician’s get-up — a rich green velvet suit adorned with intricate embroidery, a flamboyant emerald bowtie, and a tall top hat with a green feather. His dramatic curled mustache and mischievous glint evoke the classic illusionist charm, blending vintage flair with cinematic elegance. He holds a glowing wand with a burst of blue light, seemingly conjuring a swirling green crystal orb that floats above his palm. Surrounding him are visual cues straight out of a magician’s playbook — a white dove mid-flight, a rabbit leaping from a hat, and playing cards soaring through the air. The entire scene is set against a vintage circus or theatre backdrop, complete wit...

Writer and director behind Taxi Driver and American Gigolo accused by former employee in lawsuit Paul Schrader , the writer of Taxi Driver and director of American Gigolo, has been accused in a lawsuit of sexually assaulting his former personal assistant, firing her when she wouldn’t acquiesce to advances and reneging on a settlement that was meant to keep the allegations confidential. The former assistant, identified in court documents as Jane Doe, sued the filmmaker and his production company on Thursday. She is seeking a judge’s order to enforce the agreement after Schrader said he couldn’t go through with it. The terms, including a monetary payment, were not disclosed. Continue reading... from Film | The Guardian https://ift.tt/0oE8qGa via IFTTT

A few days ago, Bollywood Hungama broke the news that Salman Khan and Sanjay Dutt are expected to be seen in a film called Ganga Ram. As expected, the news broke the internet and spread like wild fire. Now, we bring to you another piece of information about this upcoming movie. A source told Bollywood Hungama, “After the Ganga Ram news came out, many began to wonder if Ganga Ram is the name of one person. Fans speculated that either Salman Khan or Sanjay Dutt will be playing Ganga Ram.” The source continued, “But that’s not the case. Ganga and Ram are the names of two principal characters. While Salman Khan will essay the role of a character named Ganga, Sanjay Dutt will reprise the role of a man named Ram.” The source also revealed, “Ganga Ram is mounted as a wholesome entertainer and will have lots of action. The makers are trying to ensure that the audience gets its money’s worth when they come to see this film starring two macho stars of Bollywood.” The film will be produced by...

The recent Bridget Jones sequel, a big hit at the UK box office, celebrates the romance between its middle-aged star and her gen-Z lover, but from Babygirl to The Mother, how do women on screen with younger partners usually fare? At this admittedly early stage of 2025, with all the noisy blockbusters of summer still ahead of us, the UK’s box-office report tells a nostalgic story. The year’s highest-grossing new release, raking in more than double its nearest rival, Captain America , is Bridget Jones: Mad About the Boy – a sequel in which its American distributors had so little confidence that they booted it straight to streaming. Brits who missed it in cinemas can finally access it on VOD this week. The film itself is something of a pleasant surprise too: a tender-hearted, flannel-cosy romcom – easily the best in the series since the first, 2001’s Bridget Jones’s Diary – now suffused with the gentle melancholy of middle age. Age, of course, is a critical concern of this instalmen...

A man’s inability to feel pain comes in handy in this extravagantly gory bank heist caper Risk-averse San Diego assistant bank manager Nathan Caine (Jack Quaid) lives a cautious, cotton wool-wrapped life. It’s not that he’s afraid of getting hurt. Quite the opposite, since a rare genetic abnormality means he’s unable to feel pain. Rather, Nathan is concerned that because of his sensory quirk he risks inadvertently injuring himself. When the girl of his dreams, sparky fellow bank employee Sherry (Amber Midthunder), is abducted during a heist, and Nathan embarks on an off-the-cuff rescue mission, his unusual condition suddenly comes in handy. While Nathan may feel no pain, the audience certainly does: this is an amped-up, cartoonish blitzkrieg of ultraviolence and – fair warning – a bit of an endurance test if deep-fried fingers and snapped bones give you the ick. Directors Robert Olsen and Dan Berk take a sadistic glee in dreaming up extravagant horrors to inflict on their irrepressib...

Ruaridh Mollica is very good as Max, a freelance writer with a secret app life in prostitution, but Mikko Mäkelä’s film is not clear enough about his motivations Sex work as a window into human nature is a longstanding theme in cinema, from Kenji Mizoguchi’s Street of Shame to Chantal Akerman’s Jeanne Dielman, and onwards. It is intensified here by the fact that the protagonist Max (Ruaridh Mollica), who mines his side-hustle escort work for material, is also a writer. But this uneasy, self-regarding sophomore effort by Finnish-British director Mikko Mäkelä, never fully distancing itself from the narcissistic prism of artistic creation, only fleetingly makes contact with flesh-and-blood human truths. By day, Max is a freelance hotshot for London’s trendy Wall magazine; he has just bagged himself a sweet assignment to interview Bret Easton Ellis. By night he is “Sebastian”, a hot commodity on an app called DreamyGuys. Typically servicing the older gentleman, he turns his experiences...