Kritika Kamra makes her relationship with Gaurav Kapur Instagram official; shares breakfast date pics

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Actor Kritika Kamra has just made her relationship with one of India’s most loved cricket hosts and content producers, Gaurav Kapur, Instagram official. The actress shared a set of warm, candid pictures from a cosy breakfast date with Gaurav, subtly confirming their romance that fans had been speculating about for months on social media platforms. Kritika kept the caption understated yet playful, writing only “breakfast with…”, a gentle nod to Gaurav Kapur’s massively popular show Breakfast with Champions. The long-format series, known for its intimate conversations with India’s biggest sporting icons, has made Gaurav one of the most recognisable names in cricket entertainment. The couple, who have been going steady for the last few months, looked relaxed and happy in the photos, a rare glimpse into their otherwise private equation. With this post, Kritika has officially taken the relationship public.   View this post on Instagram   A post shared by Kritika Kamra (@kkamra...
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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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