BREAKING: Interstellar back in cinemas due to public demand; Dune: Part Two to also re-release on March 14 in IMAX

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A lot of Bollywood films have re-released off late but when it comes to Hollywood, a handful of classics have had a re-run in cinemas. Last month, Interstellar re-released and received a rocking response. However, it just had a one-week run. If you missed watching the cult film in cinemas, here’s a reason for you to rejoice. The film will be back on the big screen on March 14, that too in IMAX. Moreover, Warner Bros will also bring back Dune: Part Two on the same day in theatres. A source told Bollywood Hungama, “Interstellar has a huge demand as it’s a film worth watching in theatres, that too IMAX. However, it re-released on February 7 and had to discontinued from February 14 to accommodate the new releases, Chhaava and Captain America: Brand New World. Both these films got a release in IMAX as well.” The source continued, “Many were aware that Interstellar had just a one week run. Hence, it held very well in the weekdays, collecting Rs. 2 crore plus. Yet, there was a section of mo...
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Drømmeland review – hermit and his smartphone in the Norwegian wilderness

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This voyeuristic account of an eccentric who broadcasts himself hunting naked never meaningfully addresses his paradoxical existence

Having resolved to extricate himself from the chains of civilisation, Nils Leidal has taken solitary refuge among the mountains of Norway. While his basically furnished shed and daily rituals of scavenging and ice baths hark back to a simpler way of life, the sixtysomething is also glued to his internet-connected smartphone. The paradox is beguiling: how does one maintain a philosophy of self-sufficiency while simultaneously broadcasting his existence online?

Unfocused in its structure, Joost van der Wiel’s muddled documentary grapples with these fascinating contradictions on a superficial level. Apart from Nils’ vague distrust of the government, as evidenced in a video in which he burns his passport, the film offers little information about his background or the reasons behind his self-imposed exile. Punctuated by nondescript drone shots of the beautiful landscape, Drømmeland is mostly preoccupied with Nils’ more eccentric behaviour, like his rueful moaning to a lover on the phone, or his habit of hunting in the nude. Haphazardly edited with little consideration for his state of mind, these sequences come off as voyeuristic or plain strange.

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