Cornerstone announces CXA, a ‘new-age entertainment and talent agency’ led by Bunty Sajdeh and Prarthana Ajmani

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Cornerstone, one of India’s leading brand and talent management companies, and Armour Entertainment, led by Prarthana Ajmani, have announced a strategic partnership, marking a new phase in the long-term plans of both agencies. As part of the alliance, Bollywood actor Tiger Shroff has been signed as the first talent. The collaboration points to a renewed focus on the evolving entertainment and talent ecosystem at a time of industry change. It reflects a joint effort by Bunty Sajdeh and Prarthana Ajmani to create a streamlined and integrated setup, with an emphasis on structure, long-term growth and consistent talent development across platforms. Together, Cornerstone and Armour combine their respective strengths. Cornerstone’s experience in developing and positioning talent across sports and entertainment complements Armour Entertainment’s management approach, supported by Prarthana Ajmani’s industry experience and professional network built over years of working with leading actors. ...
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Golda review – lifeless Meir biopic hides Helen Mirren’s talent in a cloud of cigarette smoke

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As a drama about the Yom Kippur war, this film is bafflingly dull. As a portrait of Golda Meir, Israel’s prime minister at the time, it’s even worse

Helen Mirren’s latexed and enhanced portrayal of Golda Meir, Israel’s “Iron Lady” prime minister during the 1973 Yom Kippur war, has been overtaken by a debate about “Jewface” casting because Mirren is not Jewish – addressing why Jews are casually excluded from the otherwise fiercely policed sensibilities about authenticity and identity on screen. (Would they get a white actor, for example, to black up as President Anwar Sadat?) It’s a valid and important question, but not exactly the problem in this stately, stuffy and at times almost comatose TV-movie-type drama about tension in Israel’s corridors of power as the Yom Kippur war exploded and the country faced off against Egypt, Syria and Jordan in a battle for its very existence.

Mirren, normally such a sparkling performer, is lumbered with a grey wig, false nose and jowls, with occasional headscarf and handbag, making her look as if she is playing the Queen doing an impression of Richard Nixon. This Golda Meir impassively chainsmokes her way through wooden potted-history dialogue scenes with her military top brass, while everyone blows cigarette smoke at each other; occasionally she takes a break to lie prostrate on a hospital bed, stoically smoking and dying of cancer. Is she going to die? Why not? The film is flatlining.

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