SCOOP: Salman Khan’s look in Dil Raju’s next gets the Dhurandhar touch; Preetisheel Singh joins the project

Salman Khan is back, and all focused on making a solid comeback, lining up back-to-back exciting projects. The superstar is currently shooting for producer Dil Raju's next film, directed by Vamshi Paidipally in Mumbai. Bollywood Hungama has exclusively learnt that Dil Raju and team are leaving no stone unturned to deliver an honest and solid theatrical experience for the audience. According to reliable sources, Dil Raju and Vamshi Paidipally have roped in Preetisheel Singh to do the make-up for Salman Khan in the film. "Salman Khan sports multiple looks in the film, and they have been designed to perfection by Preetisheel under the guidance of Vamshi Paidipally. Singh has previously worked on Dhurandhar with Aditya Dhar, which won acclaim all across for its authentic prosthetics and make-up. She has created a never-before-seen look for Salman." The source further informs that Salman too is very happy with the makeover given to his aura, and is all charged up to lead this...

The Virgin Suicides review – Sofia Coppola’s debut rereleased with solemn trigger-warning

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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