EXCLUSIVE: CBFC blurs condom brand names in Hai Jawani Toh Ishq Hona Hai; visually edits shots with names of Ben Stokes, Jos Butler

IPL has ended and the flow of releases will now begin in full force this Friday, June 5. The first major Bollywood release of the season is Hai Jawani Toh Ishq Hona Hai and it has generated excitement due to its fun-filled trailers, songs, casting and also because it is directed by the veteran filmmaker, David Dhawan. The makers completed the censor process last week, well in time; in this article, Bollywood Hungama will exclusively focus on the cuts given to the comic caper. The Central Board of Film Certification (CBFC) passed Hai Jawani Toh Ishq Hona Hai with a U/A 16+ certificate. However, the makers asked for several modifications. At four places, the CBFC’s Examining Committee (EC) asked for a word to be replaced with an appropriate term. A visual of a vulgar hand gesture was also asked to be replaced. Then, the name of the condom brand was blurred while the word indicating the flavour names was asked to be muted. A shot featuring the names of Jos Butler and Ben Stokes was visua...

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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