Madras High Court restrains illegal broadcast of Dhurandhar The Revenge till April 15

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The Madras High Court on Wednesday passed an ad interim injunction restraining internet service providers and cable TV operators from unlawfully broadcasting Dhurandhar The Revenge ahead of its theatrical release on March 19, 2026. Justice Senthilkumar Ramamoorthy issued the order while hearing applications filed by Reliance Industries Limited and its media arm Jio Studios. The producers had approached the court seeking urgent protection against potential copyright infringement. In its plea, Reliance alleged that several intermediaries, including internet service providers and cable TV operators, may illegally stream or transmit the film without authorisation. The company also submitted the certification issued by the Central Board of Film Certification, identifying it as the producer of the film. The court noted that the film is scheduled for release on March 19 and observed that in such cases, the risk of irreparable harm is significant if interim relief is not granted. At the sam...
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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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