Veteran actor Bharat Kapoor dies at 80 in Mumbai; family performs last rites

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Bharat Kapoor, known for his extensive work in Hindi cinema across several decades, passed away in Mumbai on Monday at the age of 80. The veteran actor reportedly breathed his last at Sion Hospital in the afternoon after facing health complications in recent days. Reportedly, Bharat Kapoor had been unwell for the last few days and was undergoing treatment. His condition worsened due to multiple organ-related complications. His last rites were held later in the evening in the presence of family members, friends, and members of the film fraternity. Actor Avtar Gill confirmed the news and shared details about Kapoor’s final hours. Speaking about the loss, he told India Today, “I just came from the cremation, it was done at 6:30 pm. He died at 3pm today in Sion Hospital, Mumbai. He was not feeling well from last three days. From last three days his multiple organs started failing.” Bharat Kapoor was a recognizable presence in Hindi films, particularly through the 1970s, 1980s, and 1990s...
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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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