Jackky Bhagnani returns to acting after six years with Independence Day anthem 'Tere Rang Mein': "I wanted the street credibility and respect of Gen Z"

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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 ...
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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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