Shah Rukh Khan’s manager Pooja Dadlani buys Rs.38 crores sea-facing apartments in Bandra

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Pooja Dadlani, Shah Rukh Khan’s longtime manager and one of the most trusted members of his inner circle, has reportedly made a major real estate investment in Mumbai. According to property registration documents reviewed by CRE Matrix, Dadlani and her family have purchased three luxury sea-facing apartments in Bandra for a combined value of Rs.38.21 crores. The reported purchase has quickly become one of the most talked-about celebrity property deals of the year. The apartments are located in an upscale redevelopment project on Carter Road, one of Mumbai’s most sought-after residential stretches known for its premium sea-facing properties and celebrity residents. As per the reports, the ownership of the three apartments has been divided between Pooja Dadlani, her husband Hitesh Prakash Gurnani, and her father Mohan Seoram Dadlani, with one unit registered in each of their names. The homes are situated on one of the higher floors of a building named Varun, which is being developed by...
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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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