Jackky Bhagnani returns to acting after six years with Independence Day anthem 'Tere Rang Mein': "I wanted the street credibility and respect of Gen Z"

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Jackky Bhagnani has returned to acting after a six-year gap with the Independence Day anthem 'Tere Rang Mein,' released under his music label Jjust Music. The actor-producer said the song offered him an opportunity to return to the screen with a project that was personally meaningful to him. Bhagnani described himself as a patriot and said the nature of the song played an important role in his decision to face the camera again. “I am a patriot by heart. It’s been quite some time since I faced the camera. So, I thought the best way to come back is with the right cause,” Bhagnani said. The actor's return comes after several years of focusing primarily on film production. According to Bhagnani, stepping away from acting was a conscious decision as he worked behind the scenes and became more involved in producing films. Jackky Bhagnani on focusing on film production Bhagnani said his experience as a producer made him rethink the way he wanted to approach his acting career. He ...
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The Old Oak review – Ken Loach’s fierce final call for compassion and solidarity

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A northern pub landlord confronts locals’ hostility towards Syrian immigrants in Loach’s latest – and possibly last – piece of politically trenchant cinema

A decade or so ago, the rumour was that Ken Loach was getting ready to quit. Then began a new parade of Conservative prime ministers in this country, each shiftier and more mediocre than the last; Loach decided he had more to say and do after all. What followed was a blaze of energy, anger and productivity culminating in a remarkable late surge – in fact, a trilogy, of which this might come to be seen as the final episode. Working with his regular collaborator, the screenwriter Paul Laverty, Loach has been taking on issues and stories that you don’t see on the TV news or on glitzy streaming services, and showed that film-makers could actually intervene in the real world. Loach got questions about poverty and austerity asked in parliament; he moved the dial.

Loach has also sought out the painful and unfashionable subjects, marching to where the gunfire has been loudest. With I, Daniel Blake it was the vivisectional experiment of austerity; with Sorry We Missed You it was the serfdom of the gig economy. Now, in The Old Oak, it is that ugly phenomenon from which London’s liberal classes have turned away in sorrowing distaste: immigrants housed in hostels all over the UK who are being abused and attacked by local people radicalised by social media.

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