Preity Zinta approaches Bombay High Court to take down AI deepfake content; next hearing scheduled on July 6

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Actor Preity Zinta has approached the Bombay High Court seeking the removal of AI-generated deepfake videos, morphed images and other unauthorised content featuring her from social media and online platforms. The actress has also sought an injunction to prevent the publication and circulation of such content in the future. The matter came up for hearing before a single bench of Justice Madhav Jamdar on Friday. After hearing preliminary submissions, the court directed the parties, including the online platforms concerned, to work out a mechanism for taking down the allegedly offending material. The matter has now been listed for further hearing on July 6. Preity Zinta seeks removal of AI-generated content In her civil suit, Preity Zinta has referred to multiple instances of AI-generated deepfakes, morphed visuals and chatbot-style interactions that allegedly use her likeness without authorisation. According to the plea, the actress has sought urgent directions from the Bombay High Cour...
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‘Older straight men hated my films with a vengeance’: how 90s queer film-makers shook up cinema

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From trans lives to celebrations of drag, queer film pulled no punches as it hit screens in the 90s with a DIY bravura that transformed the movie industry

Queer film exploded like a glitter cannon in the 1990s, sending sparkling product raining down in every direction. Trans lives hit the screen in Orlando and Boys Don’t Cry, alongside dynamic bulletins from the Black queer experience (The Watermelon Woman, Young Soul Rebels, Chocolate Babies). We had jubilant celebrations of drag with Paris Is Burning and The Adventures of Priscilla, Queen of the Desert, provocations from New Queer Cinema in the shape of Poison, Swoon and Edward II; there were auteurist masterpieces (Beau Travail, Happy Together) and timeless coming-out stories (Beautiful Thing, Show Me Love). The Wachowski sisters, Lisa Cholodenko, François Ozon and Bruce LaBruce all made their debuts; Pedro Almodóvar and Gus Van Sant went stratospheric. Benefiting from a surge in the fortunes of independent cinema, and a defined focus for anger brought about by Aids activism, queer film was a commercial force for the first time.

The decade can in one sense be reduced to a tale of two kisses. First came the smooch that never was, in the 1993 Oscar-winner Philadelphia, the first Hollywood movie about Aids after nearly a decade of independent ones such as Buddies, Parting Glances and Longtime Companion (each of which was made by a director who later died of complications from the disease). Despite Tom Hanks and Antonio Banderas in Philadelphia playing lovers in a long-term relationship, their public displays of affection are restricted to a single slow dance at a party. Compare this to Dakan (Destiny), a raw love story between male high-school friends, which was shot four years later in the west African country of Guinea. In the opening scene, two young men are making out in a convertible. There is no coy buildup or timid flirtation: these lovers are already snogging with a ferocity that makes the face-huggers from Alien look diffident.

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