SCOOP: Makers of Bhooth Bangla host exclusive fan screening of Akshay Kumar’s film teaser ahead of launch

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The excitement around the upcoming horror-comedy Bhooth Bangla starring Akshay Kumar continues to build, and the makers have now taken a unique step to involve fans in the film’s promotional journey. Ahead of the official teaser launch scheduled for tomorrow, the team organized a special fan screening event where attendees got an exclusive first glimpse of the much-anticipated teaser. The event, hosted by the makers of Bhooth Bangla, brought together a select group of fans who were treated to the teaser before its official digital debut. The initiative was aimed at creating early buzz around the film while also rewarding fans who have been eagerly waiting to see Akshay Kumar return in a spooky yet comedic avatar. Sources close to the development reveal that the atmosphere at the screening was electric, with fans reacting enthusiastically to the first look of the film’s tone, visuals, and Akshay Kumar’s character. The teaser reportedly blends eerie elements with the signature humour t...
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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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