Jackky Bhagnani returns to acting after six years with Independence Day anthem 'Tere Rang Mein': "I wanted the street credibility and respect of Gen Z"

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Jackky Bhagnani has returned to acting after a six-year gap with the Independence Day anthem 'Tere Rang Mein,' released under his music label Jjust Music. The actor-producer said the song offered him an opportunity to return to the screen with a project that was personally meaningful to him. Bhagnani described himself as a patriot and said the nature of the song played an important role in his decision to face the camera again. “I am a patriot by heart. It’s been quite some time since I faced the camera. So, I thought the best way to come back is with the right cause,” Bhagnani said. The actor's return comes after several years of focusing primarily on film production. According to Bhagnani, stepping away from acting was a conscious decision as he worked behind the scenes and became more involved in producing films. Jackky Bhagnani on focusing on film production Bhagnani said his experience as a producer made him rethink the way he wanted to approach his acting career. He ...
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Speak So I Can See You review – tuning in to a radio station’s soul

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Documentary portrait of Radio Belgrade, one of Europe’s oldest broadcasters, threads together its scenes without commentary to hypnotic effect

The title is borrowed from Socrates, and signals the high-minded way of this oddly hypnotic documentary stroll through the corridors of Radio Belgrade. There is no voiceover, no talking heads, nothing to tell you that it is one of Europe’s oldest radio stations and a much-valued repository of culture and debate, or any other salient facts. But watching the public broadcaster’s technicians at work, listening to the stream of philosophical and political voiceovers is akin to hacking into a live transmission of the soul of a Balkan cultural institution.

Director Marija Stojnic opts for a completely freeform approach, collaging archival monologues over shots of presenters at work, techies setting up mics and adjusting oscillators, an orchestra making a tentative recording, a group photo session. Often, no one is there at all, and history seems to haunt these corridors and archives, impassively shot by cinematographer Dusan Grubin.

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