Will the first glimpse of Ranbir Kapoor’s Ramayana be launched at WAVES Summit 2025?

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One of the most awaited films of Indian Cinema, Ramayana, will be released next year, on Diwali 2026. The excitement for it has been sky high due to its solid casting and association of Nitesh Tiwari, of Dangal (2016) and Chhichhore (2019) fame, as director. Last year, the makers released a teaser poster in November and made it clear that while the first part will be out next year, the second part will be released on Diwali 2027. And if sources are to be believed, a new announcement about the film will be out as early as next week. A source told Bollywood Hungama, “The first World Audio Visual & Entertainment Summit (aka WAVES Summit) will be held from May 1-4, 2025 and the organizers are clear that they want it to be one of the biggest talking points of the year. Accordingly, they have invited some of the biggest names from different film industries in India. To add to the excitement, the team of Ramayana is looking to share an update during this star-studded event. It will be a ...
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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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