Hari Ka Om starring Soni Razdan and Anshuman Jha to premiere in Europe at UK Asian Film Festival 2025

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After traveling across major film festivals in Australia, North America, Canada, and India, Hari Ka Om, the emotional father-son drama starring Anshuman Jha, Soni Razdan, and Raghubir Yadav, is now set for its European premiere. The film has been selected as the centrepiece gala screening at the UK Asian Film Festival 2025. The screening will take place on May 7 at London’s iconic Regent Street Cinema. Directed by Harish Vyas, known for Angrezi Mein Kehte Hain and Hum Bhi Akele Tum Bhi Akele, the film marks his third collaboration with Anshuman Jha. The cast also includes Ayesha Kapur, and the film explores the emotional complexities within Indian families, focusing on generational divides and the consequences of emotional miscommunication. Speaking about the film, Anshuman Jha shared, “HARI KA OM is the father-son film we need today, small town India set, deals with issues which occur in nearly every home. It dwells on the fact that without emotional regulation – mistakes can be mad...
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November review replay of Bataclan terror response is good PR for French cops

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Cédric Jiminez’s focus on police operations in the aftermath of the 2015 Paris terrorist attacks doesn’t give a real sense of who any of the agents involved are

Artistic responses to the 2015 Paris terrorist attacks – including You Will Not Have My Hate, Paris Memories and the excellent You Resemble Me – have rightly erred on the side of the contemplative, though even that couldn’t excuse last year’s soft-rock stage musical For You I’d Wait. With November, the director and co-writer Cédric Jiminez, who excavated the origins of The French Connection in his 2014 thriller The Connection, zeroes in on the police operation in the immediate aftermath of the attacks when the terrorists were still on the run. Jiminez’s Connection star Jean Dujardin oversees the hunt, calling his wife to say “Give the kids my love” before five solid days of barking at suspects and pointing at maps.

Deploying the standard Jason Bourne vocabulary of swish-pans, shaky-cam and jittery editing, the film mercifully avoids restaging the attacks themselves and instead catalogues the surveillance operations, false leads, interrogations and high-speed pursuits. Despite reliable work from a wiry-looking Jérémie Renier as a scowling cop and Anaïs Demoustier as a novice agent, we don’t get to know much about these (fictional) heroes who are pulling pizza-and-Alka-Seltzer all-nighters. A gun-runner (Hugo Dillon) with a colourful if dubious defence – “Don’t blame my Kalashnikovs, blame pussy politicians!” he fumes – comes more sharply into focus than anyone else here.

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