Tamil Nadu CM’s M.K. Stalin’s grandson backs Kamal–Rajinikanth’s big-screen comeback

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In KH x RK, Kamal Haasan and Rajinikanth will share screen space for the first time in forty-eight years. The film is being produced by 21-year-old Inban Udhayanidhi, grandson of Tamil Nadu Chief Minister M.K. Stalin and son of Deputy Chief Minister Udhayanidhi Stalin. Kamal Haasan currently heads his own political party, while Rajinikanth is not affiliated with any political party. Inban is the CEO of the film production company Red Giant Movies. It is rumoured that Kamal Haasan and Rajinikanth have been paid equal remuneration, reportedly close to Rs. 70 crore each. Also Read: Kamal Haasan – Rajinikanth to share screen space after 47 years with Nelson Dilipkumar as director; announcement video inside from Latest Bollywood News | Hindi Movie News | Hindi Cinema News | Indian Movies | Films - Bollywood Hungama https://ift.tt/HoNJKQz via IFTTT
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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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