Sanjay Leela Bhansali on joining hands with Ketan Mehta for Jai Somnath, "Always been a huge fan of Ketan Mehta's cinema"

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The biggest Bollywood news is the coming together of two epic filmmakers. Sanjay Leela Bhansali and Ketan Mehta are joining hands for Jai Somnath, a film that cinematizes the legend of the famous temple. Jai Somnath is described as a “seminal tale of Indian civilisation”. The lavish period drama is slated for release in 2027. Mehta is writing and directing the project, which will be produced by Bhansali Productions and Ketan Mehta’s Maya Movies. Speaking exclusively on the project to this writer, Sanjay Leela Bhansali said, “I’ve always been a huge huge fan of Ketan Mehta’s cinema. His Mirch Masala is one of my 10 most favourite Indian films of all times. We’ve been toying with the idea of working together. This project seems the best way to collaborate on something special.” The project was announced on Maha Shivratri as it is the cinematic manifestation of one of the most sacred pilgrimage sites located in Gujarat. Also Read: Karan Johar calls Sanjay Leela Bhansali an “A...
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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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