MEGA EXCLUSIVE: After Vikrant Massey’s White, Narcos cinematographer Juan Carlos Gil signs Ranveer Singh’s Pralay

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In an exciting development for Bollywood, two major upcoming films will share the same international cinematographer. Bollywood Hungama has exclusively learnt that Juan Carlos Gil, the acclaimed DOP of Netflix’s global series Narcos and who has shot Vikrant Massey’s big-scale political drama White, has come on board for Ranveer Singh’s upcoming mega-budget film Pralay. A source told Bollywood Hungama, “The team of Pralay is mounting the film on a lavish scale and wants it to have a Hollywood-style visual treatment. Juan Carlos Gil fits the bill perfectly. He is equally excited to come on board, while the team is thrilled to have him shoot this ambitious zombie film.” About Pralay Pralay is highly awaited not just because it’s a mega-budget zombie thriller but also because its Ranveer Singh’s immediate next after the all-time blockbuster, Dhurandhar. It is directed by Jai Mehta and produced by Birla Studios and Hansal Mehta. About White Vikrant Massey’s White is a big-scale human polit...
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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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