After Naagzilla with Kartik Aaryan, Karan Johar sets up another creature universe with Rajkummar Rao

Rajkummar Rao is on a roll, signing films left right and centre after the success of Stree 2. While Maalik is all set to release on July 12, we have exclusively learnt that Rajkummar Rao has signed a one of its kind creature film for Karan Johar to be directed by Sandeep Modi. Reliable sources confirm that the film will go on floors towards the end of 2025, with a start-to-finish schedule. "Rajkummar Rao has signed on for Karan Johar's next with director Sandeep Modi. It's a creature-based thriller, to be mounted on a big scale and the makers are looking to create a franchise out of the same," a source shared with Bollywood Hungama. The source further informed us that the film will go on floors around November 2025, and the director, Sandeep Modi, has already begun pre-production. “Rajkummar Rao has signed the film for an agreed sum of Rs. 12 crores, which is his biggest pay cheque to date. He is excited to partner with Karan Johar on the project,” the source added....

Speak So I Can See You review – tuning in to a radio station’s soul

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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