Prerna Arora, Zee Studios & Keerthan unite for Kiran Abbavaram’s grand mytho-fantasy

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The stage is set for what promises to be one of the most ambitious mytho-fantasy spectacles in Indian cinema. Zee Studios’ Umesh Kr Bansal and producer Prerna Arora have officially joined hands with creator, co-producer and writer Keerthan for an untitled epic mythological fantasy starring Kiran Abbavaram in the lead. While the title remains tightly under wraps, the scale and vision of the project have already generated strong industry buzz. Pre-production is underway in full swing for the Telugu-Hindi bilingual, and the makers have initiated the search for a powerful female lead opposite Kiran Abbavaram, a character said to play a pivotal role in the film’s mythological universe. The film is being mounted on a grand scale, blending mythology, fantasy and cutting-edge visual effects. Creator-writer Keerthan, who has carved a niche for himself in the advertising world with visually compelling storytelling, has begun intensive preparation for the film’s large-scale, VFX-driven mytholo...
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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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