Jio Studios and Collective Studios’ Historyverse unveil teaser of Krishna at NAB 2026 in Las Vegas

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Jio Studios and Collective Studios’ Historyverse today unveiled the global first teaser of Krishna, an upcoming theatrical feature directed by Manu Anand, at the NAB Show 2026 in Las Vegas. At the heart of Krishna lies a new cinematic pipeline developed by Galleri5, Collective Artists Network’s in-house AI platform, built on Microsoft Azure’s advanced AI and cloud capabilities. This collaboration brings together cutting-edge technology with Jio Studios’ scale, storytelling expertise, and commitment to creating globally resonant Indian content. The film’s first look and Collective Artists Network’s AI platform were featured in Microsoft’s keynote at NAB, “Powering Intelligent Media; From AI Experimentation to Real-World Impact.” Collective was highlighted as a leading Frontier organization that is moving AI beyond experimentation into real, production-scale deployment in cinema. The technology is also featured in Microsoft’s NAB booth (West Hall, Booth W1731). Krishna represents a dep...
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Last Tango in Paris at 50: Bertolucci’s controversial drama remains troubling

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The Italian director’s knotty drama remains a provocation, a film filled with lyrical beauty but also repulsive cruelty

Revisiting films on the occasion of major anniversaries can be a disorienting reminder of time’s too-swift passage: that film is now 20/30/40 years old? How can that be? Why does it still feel so much younger than I do? In other cases, however, the film wears its advanced age in a way that makes complete sense, and so it is with Last Tango in Paris, released in cinemas in 1973. Now a half-century old, Bernardo Bertolucci’s lightning rod for scandal and debate has dated in many of the ways you might expect, but that’s not quite what I mean: at 50, the film’s age has now caught up with the overriding air of middle-aged despair and disarray that it always carried. In a sense, it was a film made to be forgotten, and then remembered with bittersweet, conflicted feelings, its significant beauty curdled over time.

Bring up Last Tango in Paris in cinephile circles today – especially those reckoning with the gender politics of the artform post-MeToo – and you won’t hear that many fond endorsements. When it’s brought up at all, the conversation swiftly narrows to its most notorious scene: the one where Marlon Brando’s Paul, a recently widowed American abroad, holed up in a desolately furnished Parisian apartment, forces himself on Maria Schneider’s Jeanne, a 20-year-old ingenue whose name he refuses to learn. Grabbing a dab of fridge-cold butter for lubrication, he anally rapes her.

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