First poster of Sanjay Leela Bhansali and Ketan Mehta’s Jai Somnath unveiled on Maha Shivratri

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Sanjay Leela Bhansali and Ketan Mehta, two of Indian cinema’s most influential creative forces, have come together to tell an important tale from India’s spiritual history. Bhansali has announced an upcoming seminal tale of Indian civilization titled Jai Somnath, in collaboration with acclaimed director Ketan Mehta. This marks an interesting partnership between two of the most powerful creative voices in Indian cinema. Jai Somnath traces back to 1025–1026 CE, when Mahmud of Ghazni attacked and plundered the Somnath Temple in Gujarat, a defining chapter in Indian history. This year marks 1000 years of the Ghazni attack and the destruction of the temple, and its subsequent resurrection. Somnath symbolizes the indestructible spirit of India and the glory of Indian civilization. Given the deep emotional and cultural significance of this chapter, the film aims to strike a strong chord with audiences as it revisits an important moment from India’s past.   View this post on Instagram ...
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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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