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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Ziggy Stardust and the Spiders from Mars review Bowie bids farewell to an icon in legendary gig

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DA Pennebaker’s documentary offers moving moments and raw immediacy as the musician takes on his final performance as Ziggy Stardust

DA Pennebaker’s record of David Bowie’s final concert on the Ziggy Stardust tour at London’s Hammersmith Odeon in 1973 (Bowie is part of the reason we will never be reconciled to saying “Eventim Apollo”) is rereleased after a restoration. It was the legendary “all killer no filler” gig at which, in the presence of the Spiders from Mars – Mick Ronson (guitar), Trevor Bolder (bass), Mick Woodmansey (drums) – he retired his Ziggy Stardust persona, announcing to a stunned crowd that it was the last time he would ever play (as Ziggy).

The show itself, in which Bowie and band members appear starkly key-lit in darkness, with the crowd glimpsed briefly and almost stroboscopically, looks intriguingly intimate, like something at a much smaller club venue. The concert is straightforward and almost minimalist in its staging and Bowie’s cheeky theatrical genius and rackety exotica has something panto about it. Often, the piano and sax lines in Changes give the event a Vegas-residency feel, although no Vegas residency, even in 1973, would be so austerely presented. (Aladdin Sane is incidentally, along with “the Beatles”, a phrase which has transcended its own wordplay origins.)

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