Jitendra Kumar and Pooja Bhatt team up for film set in India's traditional pigeon-flying culture

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Actor Jitendra Kumar is all set to star in a new film alongside Pooja Bhatt. The project delves into the emotionally rich and rarely explored world of kabootar-baazi—India’s age-old pigeon-flying tradition. A Story Rooted in Culture and Emotion Jitendra Kumar, widely loved for his performances in Panchayat, Kota Factory, Jaadugar, Shubh Mangal Zyada Saavdhan, and the recent Bhagwat: Chapter One – Raakshas, takes on another unique role in this upcoming film. He will be seen as a passionate kabootarbaaz, bringing depth and realism to a character shaped by this traditional sport and its community. National Award-winning actor Pooja Bhatt will play Jitendra’s on-screen mother. Known for her powerful and layered performances in Zakhm, Tamanna, and Daddy, Pooja returns to a more intimate storytelling space that highlights her emotional strength as a performer. The Team Behind the Film The film is produced by Khyati Madaan under her banner Not Out Entertainment and co-produced by Hitesh ...
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The Strays review – Netflix’s baity social thriller fizzles out

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The shadow of Get Out looms over Nathaniel Martello-White’s chiller about a light-skinned woman whose past unravels her manicured suburban life

There’s a heavy-handed ominousness from the first frame of The Strays, Netflix’s new entry into the stuffed category of social horror. Dissonant music plays over a concrete block apartment building in London, in which Cheryl (Ashley Madekwe), a light-skinned Black woman, appears in distress. There are bank statements crumpled on the counter, a headline blaring “Black kids betrayed by schools”, a mention of credit card debt in a phone call to her sister, a voice-cracking lament of wanting more. It’s the mid-2000s, and someone keeps calling Cheryl on her old brick phone before she walks out the door with a duffel bag and note about popping to the hairdresser, presumably on the run.

It’s an unsettling, propulsive start that provokes several promising questions – where is she going, why is she leaving, who is the sinister voice on the answering machine, the baselines of a thriller. Some get answered, but most do not, in any satisfying or specific way. British actor/writer Nathaniel Martello-White’s directorial debut nudges at some uncomfortable fault lines of race and class, but tends to over-index unearned suspense for character development or insight.

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