Celina Jaitly shares emotional video cleaning late son Shamsher’s grave in Austria, opens up on her divorce procedure ordeal: “The only child I got to meet was my son Shamsher”

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Actor Celina Jaitly has shared an emotional account of her ongoing divorce struggle and separation from her children through a heartbreaking Instagram post. Along with the note, the actor posted a video of herself cleaning the grave of her late son Shamsher, saying she had “no option” but to make her pain public. “I had no option but to share this devastating video to show the world my trauma as a mother,” Celina wrote at the beginning of her post. Opening up about the legal battle, she revealed that she had recently travelled to Austria for divorce proceedings. “The last few weeks were the most difficult of my life. I was in Austria for my divorce hearing,” she wrote. Celina alleged that despite assurances given before an Austrian judge, her children were not brought back to the marital residence. “Despite an undertaking before an Austrian judge, my children who were removed to an undisclosed location were not brought back to the marital residence,” she claimed. The actor added that ...
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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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