Karan Deol calls Sunny Deol “my first hero” on Father's Day 2026 note; shares glimpses from Batwara 1947 ahead of release

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After creating a strong impact with its gripping motion poster, Batwara 1947 has now unveiled a compelling series of character posters that reflect courage, innocence, resilience, and unwavering determination. Presented by Aamir Khan Productions, the film promises a deeply emotional story of sacrifice, hope, and the indomitable human spirit. As excitement for the film continues to build, Karan Deol, son of Sunny Deol, who will be sharing screen space with his father for the first time in Batwara 1947, penned a heartfelt note on Father's Day. Taking to social media, Karan Deol shared some adorable stills from the film and expressed his love and admiration for his father, Sunny Deol. While the duo is set to share screen space in Batwara 1947, Karan conveyed his immense affection and respect for his father through an emotional message. He also shared the caption: "There are moments that feel destined. Telling Papa once on his set about my dream of acting with him was one of them...
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Tod Browning: the film-maker who brought the carnival to Hollywood

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A new retrospective offers another chance to appreciate the daring and often deranged films made by a director who was once the centre of a moral panic

When a kid threatens to run away and join the circus, perhaps upon being forced to eat broccoli or go to bed, they’re fantasizing about more than just independence. The traveling carnival offered an alternative way of life that appealed specifically to those uninvested in the politenesses of the grownup world. No one can make a carny shower, wear a tie or go to church. This liberation from the strictures of civilized society was a must for an ethically spotty line of work reliant on a mix of trickery, hucksterism, prurience and morbid fascination, a low art form that attracted a certain kind of scuzzy personality. The tents of the sideshow provided a home to thieves, oddballs, creeps, chiselers, dope fiends, conmen, women of ill repute, leches, lushes and any other species of degenerate in need of a paycheck. If vaudevillians were the rock stars of the pre-cinema era, then circus folk were van-dweller punks cutting a swath of blithe misbehavior from gig to gig.

Just before the turn of the 20th century, at the ripe age of 16, a bricklayer’s son named Charles Albert Browning Jr decided that these were his people and abandoned his well-heeled family to join their grubby ranks. He would spend 10 years cutting his teeth as a barker, song-and-dance man, clown and contortionist before rechristening himself Tod, the German word for “death”, conferring a ghastly gravitas. Three years later, he’d take leave of the stage with sights set on the burgeoning silent film industry, but he’d carry the lurid spirit of the big top with him through the rest of an illustrious, disreputable career.

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