Saiyami Kher joins shoot of Vikram Phadnis’ next with Tahir Raj Bhasin and Vineet Kumar Singh in Mumbai

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Actress Saiyami Kher is all set to begin the new year on an exciting note as she comes on board an untitled new project directed by ace designer-turned-filmmaker Vikram Phadnis. This project is produced by Reel Euphoria in association with Knight Sky Movies, has officially gone on floors, marking yet another significant milestone in Saiyami’s growing body of work. The upcoming project is a drama, with Saiyami headlining it in a powerful leading role along with Vineet Kumar Singh and Tahir Raj Bhasin. Announcing the project, Saiyami took to her Instagram to share a glimpse from her first day on set along with a spiral-bound copy of the film’s script. Captioning the post, she wrote, “And today every silent prayer finds its way home,” followed by another heartfelt note that read, “New Year, New Beginning. As always, I need all the wishes.” The post reflects both gratitude and excitement as she embarks on this new journey. This will be Vikram’s third directorial venture and his first di...
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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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