Shefali Shah teases something new with three-word post

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Shefali Shah, known for her quietly powerful performances and discerning choice of roles, has long been a force in Indian cinema and OTT storytelling. From her breakout role in Satya to her widely acclaimed portrayal of DCP Vartika Chaturvedi in Delhi Crime, Shah has consistently leaned into narratives that are rooted, complex, and emotionally resonant. With films like Jalsa, Darlings, and Three of Us, she has further reinforced her position as one of the most dependable performers of her generation. The actor has now stirred curiosity with a cryptic update on social media. In a recent Instagram post, Shefali Shah shared just three words — “new new new” — without any additional context. The brevity of the message has only amplified intrigue, with fans and industry watchers quickly reading between the lines and speculating about a potential new announcement.   View this post on Instagram   A post shared by Shefali Shah (@shefalishahofficial) Given her recent body of work a...
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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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