Valentine's Day 2026: Dilwale Dulhania Le Jayenge, Veer-Zaara, and Saiyaara among 12 films in PVR INOX Valentine’s special showcase

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PVR INOX, one of India’s leading multiplex chains, has announced its ‘Valentine’s Special Showcase’, a curated re-release of 12 popular romantic films across Hindi, Tamil, Telugu, and Malayalam. The initiative aims to bring timeless love stories back to the big screen, offering both nostalgia for long-time viewers and discovery for younger audiences. The line-up features a mix of Hindi blockbusters and regional classics, including Dilwale Dulhania Le Jayenge, Veer-Zaara, Mohabbatein, Saiyaara, Devdas, Sanam Teri Kasam and Yeh Dil Aashiqanaa. The Tamil titles include Minnale, Mounam Pesiyadhe, Kadhalar Dhinam and Uyirullavarai Usha, while the Telugu romantic drama Love Story and the Malayalam hit Premam complete the pan-Indian selection. Shah Rukh Khan’s romance returns to theatres Several films in the showcase prominently feature Shah Rukh Khan, whose performances in Dilwale Dulhania Le Jayenge, Veer-Zaara, Mohabbatein, and Devdas have played a defining role in shaping mainstream Hin...
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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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