Dharma Productions relaunches talent arm as Dharma Collab Artists Agency after acquiring Cornerstone’s stake

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Dharma Productions has acquired Cornerstone’s stake in its talent management venture, Dharma Cornerstone Agency, and relaunched it under a new name — Dharma Collab Artists Agency (DCAA). The move marks a strategic expansion of Dharma’s presence beyond filmmaking into a wider cultural and talent ecosystem. With the rebranding, DCAA will function as Dharma Productions’ exclusive platform for artist representation, spanning film, music, sports, digital media, live experiences, and cultural collaborations. The agency will continue to be led by Uday Singh Gauri as CEO and Rajeev Masand as COO, ensuring continuity as the company enters its next phase of growth. Uday Singh Gauri, who brings over two decades of experience across talent management, music, live entertainment, and strategic partnerships, is expected to focus on expanding the agency’s reach and building new verticals. The aim, according to the leadership, is to help artists navigate careers that increasingly move across formats ...
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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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