Will the first glimpse of Ranbir Kapoor’s Ramayana be launched at WAVES Summit 2025?

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One of the most awaited films of Indian Cinema, Ramayana, will be released next year, on Diwali 2026. The excitement for it has been sky high due to its solid casting and association of Nitesh Tiwari, of Dangal (2016) and Chhichhore (2019) fame, as director. Last year, the makers released a teaser poster in November and made it clear that while the first part will be out next year, the second part will be released on Diwali 2027. And if sources are to be believed, a new announcement about the film will be out as early as next week. A source told Bollywood Hungama, “The first World Audio Visual & Entertainment Summit (aka WAVES Summit) will be held from May 1-4, 2025 and the organizers are clear that they want it to be one of the biggest talking points of the year. Accordingly, they have invited some of the biggest names from different film industries in India. To add to the excitement, the team of Ramayana is looking to share an update during this star-studded event. It will be 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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