Rhea Chakraborty announces social media break, says “I’ve been missing myself a little”

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Rhea Chakraborty has announced that she is taking a temporary break from social media, saying the constant digital noise had started affecting her mental well-being. The actor shared an emotional note on Instagram, explaining that she wanted to step away from the pressure of online life and reconnect with herself through real-world experiences. In the note shared with her 3.6 million followers, Rhea wrote, “Lately, I’ve been missing myself a little. The constant noise, the scrolling, the keeping up — it’s all started to feel heavier than I expected... So, I’m taking a step back for a while — to slow down, breathe a little deeper, and reconnect with what feels real. Choosing lived moments over posted ones, for now.” The actress has been slowly rebuilding both her personal and professional life after facing intense media scrutiny in 2020 following the death of actor Sushant Singh Rajput. Over the years, Rhea has largely stayed away from the spotlight while gradually returning to public ...
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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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