EXCLUSIVE: Junaid Khan-Sai Pallavi starrer Ek Din to release on May 1; to clash with Riteish Deshmukh's Raja Shivaji

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More than a week ago, we reported that Mere Raho, starring Junaid Khan and Sai Pallavi, would not be released on April 24 as planned earlier. Bollywood Hungama now brings you more information about the film and its release. A source told Bollywood Hungama, “Earlier, the film was titled Ek Din, after which the makers decided to rename it as Mere Raho. However, now, they have gone back to the title of Ek Din.” The source further said, “The film will release on May 1, 2026. A teaser, which is around 1.11 minutes long, was recently passed by the Central Board of Film Certification (CBFC). It has been attached with the prints of this week’s release, Happy Patel: Khatarnak Jasoos. This comic caper, like Ek Din, is also produced by Aamir Khan Productions.” Ek Din will now clash with Riteish Deshmukh’s ambitious period drama, Raja Shivaji. It features the talented actor in the lead role and he’s also joined by Genelia Deshmukh, Sanjay Dutt, Abhishek Bachchan, Mahesh Manjrekar, Sachin Khedek...
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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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