Hema Malini to host Delhi prayer meet for Dharmendra on December 11 with daughters Esha Deol and Ahana Deol

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Hema Malini is preparing to host a special prayer meeting in New Delhi in remembrance of her late husband, legendary actor Dharmendra. The gathering will be held with the support of her daughters Esha Deol and Ahana Deol, as well as sons-in-law Bharat Takhtani and Vaibhav Vohra. As per NDTV sources, the prayer meet is scheduled for December 11, 2025 (Thursday), between 4:00 PM and 6:00 PM at the Dr Ambedkar International Centre, Janpath, New Delhi. This Delhi gathering follows the first prayer meet organised by the Deol family on November 27 at Taj Lands End, Mumbai. The memorial event witnessed a significant turnout from the film fraternity. At the venue entrance, Dharmendra’s sons Sunny Deol and Bobby Deol, along with other family members, greeted guests with folded hands as they arrived to honour the late veteran. The tribute ended with a heartfelt musical performance by Sonu Nigam, who sang some of Dharmendra’s most loved songs including ‘Aa Ja Jaane Wale,’ ‘Rahe Na Rahe Hum,’ ‘Aa...
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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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