Jackky Bhagnani has returned to acting after a six-year gap with the Independence Day anthem 'Tere Rang Mein,' released under his music label Jjust Music. The actor-producer said the song offered him an opportunity to return to the screen with a project that was personally meaningful to him. Bhagnani described himself as a patriot and said the nature of the song played an important role in his decision to face the camera again. “I am a patriot by heart. It’s been quite some time since I faced the camera. So, I thought the best way to come back is with the right cause,” Bhagnani said. The actor's return comes after several years of focusing primarily on film production. According to Bhagnani, stepping away from acting was a conscious decision as he worked behind the scenes and became more involved in producing films. Jackky Bhagnani on focusing on film production Bhagnani said his experience as a producer made him rethink the way he wanted to approach his acting career. He ...
She fled rural Ireland and hit the Big Apple just in time to capture Lydia Lunch, James Chance and the post-punk scene take off. Now back in her home country, she relives those turbulent years
In 2014, the Irish Times ran a profile of the film-maker Vivienne Dick with the headline: “Stifled in Ireland, celebrated in New York.” As an encapsulation of her formative years as an artist who found her calling in exile, it was blunt but pretty accurate. “There was nothing for me in Ireland back then,” says Dick of her youth in the 1960s and early 70s. “It was not an attractive place because, as a woman, you were essentially treated as a second-class citizen. You could train as a teacher, but that was about it. I remember I bought a camera, but there was no way to even get on a course.”
Having relocated to New York by the mid-70s, after various overland adventures that took her to Pakistan, Nepal and even Kabul, she found herself instinctively drawn to Manhattan’s edgy, bohemian downtown scene, where would-be artists, musicians and writers had colonised the low-rent apartments and makeshift studios of what was then a deprived, drug-ridden neighbourhood. There she hung out with many of the characters who would go on to define Manhattan’s legendary post-punk No Wave movement: the likes of Lydia Lunch (of Teenage Jesus and the Jerks), Pat Place (Bush Tetras), James Chance and Adele Bertei (the Contortions). Her films capture these maverick outsiders at the very moment the scene congealed into a fleeting but incredibly fertile cultural moment – all attitude and dissonance – that still resounds today.
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