Ridhi Dogra fronts National Geographic India’s new travel series Postcards from Hong Kong

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National Geographic India has announced a new two-episode travel series titled Postcards from Hong Kong, featuring Ridhi Dogra exploring a different perspective of Hong Kong beyond its familiar skyline and urban image. The series premieres on March 28 at 8 PM on National Geographic Channel and will also stream on JioHotstar. Produced by National Geographic Creative Works, the show follows Ridhi as she travels through both well-known landmarks and lesser-seen locations across the city. The series highlights coastal landscapes, hiking trails and cultural experiences while also presenting everyday local life through interactions with guides and influencers. In the first episode, Ridhi explores quieter and nature-focused destinations such as Sai Kung, Big Wave Bay, Dragon’s Back, Tai O, Ngong Ping, Po Lin Monastery and the Tian Tan Buddha. The journey reflects a slower and more reflective side of the city while also documenting her personal experience of travel and discovery. The second...
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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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