Anshuman Jha unveils teaser poster of Lakadbaggha 2: The Monkey Business; announces Diwali 2026 release

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First Ray Films has unveiled the teaser poster of the much-anticipated action thriller Lakadbaggha 2: The Monkey Business, marking a special moment for the franchise and its creator. The announcement coincides with the birthday of actor-director Anshuman Jha, making the reveal both a celebration of the film and a personal milestone for the artist. The film centres around the endangered Celebes crested macaque, a rare primate native to Indonesia, also known as the North Sulawasi ‘Yaki Monkey’. Along with the teaser poster drop, the makers have officially announced the film’s worldwide theatrical release for Diwali 2026, positioning the sequel as one of the festival season’s big action spectacles. The film will be having a high profile film festival run between June-November prior to its Worldwide release. Directed by Anshuman Jha, Lakadbaggha 2: The Monkey Business continues the story of Kolkata based Arjun Bakshi — the animal-loving vigilante who, once again, will go the distance to...
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Frederic Forrest obituary

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Consummate character actor who came close to stardom in the 70s with roles in Apocalypse Now, The Conversation and The Rose

“He’d kill us if he got the chance.” Those words, spoken by a bespectacled, beige-suited young man (Frederic Forrest) as he wanders through Union Square in San Francisco with his lover (Cindy Williams), are secretly recorded by the surveillance expert Harry Caul (Gene Hackman) in The Conversation (1974). Their meaning, mulled over at length, becomes vital in unlocking the story’s mysteries. One of the key thrillers of its decade, Francis Ford Coppola’s film was also an eloquent expression of paranoia in a country reeling from Watergate.

Forrest, who has died aged 86, was the ideal actor to throw certainties into doubt. In The Conversation, he is bookish, furtive and opaque. The audience never becomes properly acquainted with him, though recordings of his voice and image are repeatedly offered up for our scrutiny so that the act of studying his expressions and intonations becomes central to experiencing the film. Without realising it, we channel a good deal of energy into deciphering his motives.

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