SCOOP: After Saiyaara, Mohit Suri and Ahaan Panday's next is a twisted love story for Aditya Chopra

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In 2025, Saiyaara redefined the box office, as the film marked the launch of two superstars - Ahaan Panday and Aneet Padda. The film went on to become the biggest launch pad of the modern era, and ever since, there has been curiosity to learn more about Ahaan Panday. The young superstar signed his second feature film with YRF and Ali Abbas Zafar, and the film is presently on the floor. And now we have learnt that Ahaan's next after the Ali Abbas Zafar directorial will be a twisted love story with Saiyaara director Mohit Suri. "Mohit Suri was initially looking to make an older guy and younger girl love story. But when the logistics didn't work out, he decided to redesign the project for his leading hero Ahaan Panday. The script organically flew to perfection, and gave Mohit the wings to come up with a rather twisted love story," a trade source shared with Bollywood Hungama on anonymity. The source promises that this isn't a project designed to capitalise on the p...
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The Virgin Suicides review – Sofia Coppola’s debut rereleased with solemn trigger-warning

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Sunlit suburban calm masks the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie

Nearly a quarter of a century ago, Sofia Coppola made her feature directing debut with this adaptation of the literary sensation of its day: Jeffrey Eugenides’s novel about five teen sisters in 70s suburban Michigan who take their own lives. Now it is rereleased with a solemn trigger-warning disclaimer at the beginning about certain historic attitudes which might now cause offence; these are unspecified, but appears to mean the entire premise of the film, up there in the title, but which is treated more circumspectly nowadays in the context of new ideas around self-harm and “suicidal ideation”.

This was a movie which mystified as many as it entranced, and it would be honest of me to admit that I didn’t quite understand it back in 2000, and maybe don’t quite now. But I can perhaps appreciate with more clarity its artistry and poise and the confident way Coppola allows her film to be serenely mysterious and almost affectless in its sunlit suburban calm, a reticence which appears to mask the shocking nature of the story itself: a horrendous tragedy in the guise of a teenage coming-of-age movie.

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