Tamil Nadu CM’s M.K. Stalin’s grandson backs Kamal–Rajinikanth’s big-screen comeback

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In KH x RK, Kamal Haasan and Rajinikanth will share screen space for the first time in forty-eight years. The film is being produced by 21-year-old Inban Udhayanidhi, grandson of Tamil Nadu Chief Minister M.K. Stalin and son of Deputy Chief Minister Udhayanidhi Stalin. Kamal Haasan currently heads his own political party, while Rajinikanth is not affiliated with any political party. Inban is the CEO of the film production company Red Giant Movies. It is rumoured that Kamal Haasan and Rajinikanth have been paid equal remuneration, reportedly close to Rs. 70 crore each. Also Read: Kamal Haasan – Rajinikanth to share screen space after 47 years with Nelson Dilipkumar as director; announcement video inside from Latest Bollywood News | Hindi Movie News | Hindi Cinema News | Indian Movies | Films - Bollywood Hungama https://ift.tt/HoNJKQz via IFTTT
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The Narrow Road review – tough times for the downtrodden in pandemic Hong Kong

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After deciding it’s time to seek help with his cleaning business, despairing Chak meets the zanily upbeat Candy

Set in Hong Kong during the early days of the pandemic, Lam Sum’s tender drama pictures a city haunted by economic and political uncertainty. Storefronts are plastered with foreclosure and bankruptcy notices, while talk of moving abroad hovers amid everyday conversations. Plagued by faulty equipment, the one-man sanitary service operated by world-weary Chak (played by Cantopop star Louis Cheung) is on the verge of breaking down. When asked by his ailing mother if God is telling him to give up the business, Chak self-deprecatingly describes himself as a speck of dust, so tiny that even the deities would not take notice.

Reluctantly hired as an extra pair of helping hands on his cleaning rounds, single-mom Candy (Angela Yuen) enters Chak’s life like a whirlwind of chaos. With her impossibly sunny attitude and colourful fashion sense, Candy could have come off as a manic pixie archetype; Yuen instead manages to lend an emotional weight to the character’s capricious quirkiness. A particularly devastating sequence finds the pair scrubbing the human-shaped stain left by a nameless soul who has died alone in squalor, another speck of dust forgotten by the outside world.

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