Aanand L Rai REACTS to Rs 84 crores lawsuit over Raanjhanaa IP dispute: “I don't think it has any meaning”

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Filmmaker Aanand L Rai has responded to a Rs 84 crore lawsuit filed by Eros International Media Ltd, which has accused him and his production company of unauthorised use of intellectual property linked to the 2013 film Raanjhanaa. Reacting to the legal action, Aanand L Rai described the dispute as a routine business issue and maintained that it does not warrant public speculation. Speaking to NDTV, he said, "These are part of life. When you step into business, such things keep happening. I don't even know why, how, or from where this has come. But I think it is a legal matter, so let the legal people handle it. There is a lawyer on their side, and a lawyer from here will respond too. I don't think it has any meaning. Anyone can say anything about anything at any time. So it's not something to be taken too seriously. It's more for the lawyers to deal with. Since it's a legal matter, I won't speak much about it, but it's nothing serious." Eros Alleg...
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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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