Ramayana trailer FINALLY out: Sunny Deol missing but Yash AMAZES as Ravana; Ranbir Kapoor and Sai Pallavi IMPRESS in the grand 3D spectacle

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In recent times, very few films have managed to generate as much excitement as Ramayana. The promotional campaign began nearly a year and a half before its release, in July 2025. Since then, the makers have organised events across the world, with several more expected to follow. Finally, the keenly awaited trailer was unveiled online on the morning of July 30. Bollywood Hungama got a sneak peek at the promo 10 days earlier at a multiplex in Mumbai, and it was evident that the experience was on another level when viewed on the big screen in 3D. The earlier promotional asset focused on Lord Rama, played by Ranbir Kapoor, while the trailer introduces several other characters. However, the character which dominates the proceedings is Ravana, played by Yash. The trailer opens with him, and the manner in which he has been presented is sure to amaze viewers. His ferocious avatar and action sequences particularly stand out. Several actors have portrayed Ravana in the past, but Yash’s interpre...
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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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