Ranbir Kapoor leases five floors in Andheri for 20 years to revive RK Studios

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Bollywood star Ranbir Kapoor and his family are taking a major step toward reviving their cinematic legacy by leasing five floors in a commercial complex in Andheri East, Mumbai, for 20 years to establish a new iteration of the legendary RK Studios. The development, reported by multiple outlets, signals a significant return for a brand that once defined Hindi cinema. The original RK Studios, founded by Ranbir’s grandfather, the late “Showman” Raj Kapoor — was located in Chembur but was sold in 2018 after a devastating fire and mounting maintenance challenges. This new lease is seen as a bold attempt to bring the prestige and infrastructure of the studio back to life in a modern setting. According to industry reports, the five-floor space at Kanakia Wall Street will be transformed into a cutting-edge production and creative hub. Plans include soundstages equipped for virtual production, editing and post-production suites, screening rooms, VFX facilities and dedicated offices for the Ka...
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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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