Rajkummar Rao, Sanya Malhotra starrer Toaster gets release date; Netflix to drop quirky dark comedy on April 15

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Netflix has announced its upcoming dark comedy Toaster, a film that turns an everyday object into the centre of an increasingly chaotic chain of events. Set to premiere on April 15, 2026, the film promises a quirky and unpredictable narrative that begins with a seemingly trivial situation—a wedding gift that refuses to be forgotten after the wedding itself is called off. Directed by Vivek Das Chaudhary, Toaster marks a significant milestone for Patralekhaa, who steps into production with her banner Kampa Film. The project brings together Rajkummar Rao and Sanya Malhotra in leading roles, supported by a vibrant ensemble that includes Archana Puran Singh, Abhishek Banerjee, Farah Khan, Upendra Limaye, Vinod Rawat, Jitendra Joshi and Seema Pahwa. The film also sees Rajkummar Rao returning to the comedy genre, a space where he has previously earned audience appreciation for his comic timing. With Toaster, he is set to headline a story that blends relatable situations with escalating absu...
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Club Zero review – not much to chew on in this baffling non-satire

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Jessica Hausner’s film, which avoids spelling out its obvious subject, focuses on a group of schoolgirls encouraged to live without food

Jessica Hausner is the Austrian director whose elegant, refrigerated style has made her a Cannes favourite and her 2009 film Lourdes, about the ordinary world of miracles, is a 21st-century classic. But her recent move to English-language movies has resulted in some nebulous work in the shape of her 2019 picture Little Joe, and so it has proved again with this exasperating and baffling movie.

Club Zero is a strenuous, pointless non-satire which fails to say anything of value about its ostensible subjects: body image, eating disorders and western overconsumption. The “trigger warning” at the beginning of the film about these issues is fatuous, whether intended ironically or not. The deadpan mannerisms are glib, the line readings are torpid in the wrong way and the laborious drama leads us round and round and round like an Escher staircase. But it is certainly well shot by Martin Gschlacht and punctiliously designed by Beck Rainford.

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