Akshay Kumar DENIES Hera Pheri 3 rift with Paresh Rawal was "publicity stunt": "There were some ups and downs. But now everything is solved"

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The third instalment of the cult 2000s comedy Hera Pheri has been making headlines ever since it was announced. After months of speculation, legal battles, and statements from the cast, Akshay Kumar has finally cleared the air, bringing some much-needed good news for fans. In an exclusive chat on The Right Angle with Sonal Kalra Season 2, produced by Gautam Thakker Films, Akshay Kumar said, "Nahi, yeh publicity stunt nahi hai. The things went legal, so when legal things are involved, we cannot call it a publicity stunt; it is a real thing.” He further added, “But ab sab kuch thik ho gaya hai. Very soon, some kind of announcement can come. Yes, there were some ups and downs. But now everything is solved, and we are back together, and we have always been together. Yes, that's it!" In the same interview, Akshay Kumar also lauded the success of Saiyaara. He said, “I think it's the best thing that has happened. One of the great things for the Hindi film industry is that ...
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1976 review – nerve-jangling noir unpicks middle-class guilt of Pinochet era

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A wealthy woman is drawn into Chile’s anti-Pinochet resistance in this thrilling feature debut from actor turned director Manuela Martelli

An outstanding performance from Aline Küppenheim is the driving force in this engrossing suspense drama-thriller about an elegant and prosperous woman being drawn into Chile’s anti-Pinochet resistance in 1976. It is a terrific feature debut from performer turned director Manuela Martelli, who herself acted opposite Küppenheim in the film Machuca, which was set in Chile in 1973, the time of the Allende overthrow. But this film has more bite.

Küppenheim plays Carmen, the stylish wife of a Santiago hospital doctor, currently working on the redecoration of the family’s holiday home by the sea, where she and her family mingle with reactionary friends of her husband’s from the local yacht club. Slightly imperiously, she lectures the contractor in his workshop on the exact shade of red paint she needs and as she does so, there is a terrified shout outside in the street and a squeal of tyres as someone is taken away by the secret police; everyone (including Carmen) looks away and goes into the woozy state of shock and denial that was commonplace among so many middle-class Chileans. (The enigmatic resemblance of the red paint to blood is echoed later when Carmen is using red food colouring in her kitchen.)

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