Shefali Shah teases something new with three-word post

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Shefali Shah, known for her quietly powerful performances and discerning choice of roles, has long been a force in Indian cinema and OTT storytelling. From her breakout role in Satya to her widely acclaimed portrayal of DCP Vartika Chaturvedi in Delhi Crime, Shah has consistently leaned into narratives that are rooted, complex, and emotionally resonant. With films like Jalsa, Darlings, and Three of Us, she has further reinforced her position as one of the most dependable performers of her generation. The actor has now stirred curiosity with a cryptic update on social media. In a recent Instagram post, Shefali Shah shared just three words — “new new new” — without any additional context. The brevity of the message has only amplified intrigue, with fans and industry watchers quickly reading between the lines and speculating about a potential new announcement.   View this post on Instagram   A post shared by Shefali Shah (@shefalishahofficial) Given her recent body of work a...
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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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