EXCLUSIVE: Ajay Devgn's Drishyam 3 won't mirror Malayalam version; Ravi Basrur joins Ajay Devgn's October 2 release

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A few days ago, news came in that the shoot of the Hindi version of Drishyam 3 was completed, and now the team of the film is gearing up for its October 2 release. The original Malayalam version was released last month, on May 21, and many are wondering whether the Hindi version will be similar to it. A trade source told Bollywood Hungama, “Drishyam (2015) and Drishyam 2 (2022) in Hindi were quite similar to the original films. But the Hindi Drishyam 3 will be an exception. The makers have drastically altered the plot and twists. At the same time, they have made sure that it does justice to the world of Drishyam.” The source also said, “The makers are also excited with the new additions. It is said that Jaideep Ahlawat and Prakash Raj have put up great acts. At the same time, Ajay Devgn, Tabu, Shriya Saran and others have once again delivered fine performances.” In a recent exclusive interview with Bollywood Hungama, director Abhishek Pathak had revealed that while both versions of Dr...
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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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