Harshvardhan Rane to lead Ektaa R. Kapoor’s Shootout in Dubai: Report

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Bollywood actor Harshvardhan Rane is being linked with the next chapter of the popular Shootout franchise, with multiple reports suggesting he may headline a new project titled Shootout in Dubai. While neither the makers nor Rane have officially confirmed the film, reports say plans are moving forward for the franchise’s first international instalment. According to a Mid-Day report, Shootout in Dubai is envisioned as a fresh entry that takes the gritty crime series beyond Mumbai’s underworld and into a fictional crime narrative set against Dubai’s cosmopolitan backdrop. The film is said to be produced by Ektaa R. Kapoor in collaboration with veteran filmmaker Sanjay Gupta, who co-created the original Shootout films. The Shootout franchise began with Shootout at Lokhandwala in 2007, a dramatized retelling of one of Mumbai’s most notorious police encounters, followed by Shootout at Wadala in 2013. Both films were produced by Kapoor and Gupta and built a reputation for stylized action r...
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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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