Prerna Arora, Zee Studios & Keerthan unite for Kiran Abbavaram’s grand mytho-fantasy

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The stage is set for what promises to be one of the most ambitious mytho-fantasy spectacles in Indian cinema. Zee Studios’ Umesh Kr Bansal and producer Prerna Arora have officially joined hands with creator, co-producer and writer Keerthan for an untitled epic mythological fantasy starring Kiran Abbavaram in the lead. While the title remains tightly under wraps, the scale and vision of the project have already generated strong industry buzz. Pre-production is underway in full swing for the Telugu-Hindi bilingual, and the makers have initiated the search for a powerful female lead opposite Kiran Abbavaram, a character said to play a pivotal role in the film’s mythological universe. The film is being mounted on a grand scale, blending mythology, fantasy and cutting-edge visual effects. Creator-writer Keerthan, who has carved a niche for himself in the advertising world with visually compelling storytelling, has begun intensive preparation for the film’s large-scale, VFX-driven mytholo...
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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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