EXCLUSIVE: Sajid Khan’s horror flick Hundred goes on floors; stars Yashvardhan Ahuja, Nitanshi Goel

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Sajid Khan’s directorial journey began successfully and he delivered three back-to-back hits. After a hiatus, he has once again worn the director’s hat. Bollywood Hungama has learned that the filmmaker quietly began shooting for his next film, titled Hundred. Interestingly, while all his previous films were comic capers, Hundred is a horror flick. A source told us, “The makers of Hundred began the shoot of the film in Mumbai’s Film City on Friday, January 23. They purposely chose this day to coincide with the commencement of the filming on the occasion of Basant Panchmi.” Bollywood Hungama has further learned that Hundred marks the launch of Yashvardhan Ahuja, son of Govinda and Sunita Ahuja. Nitanshi Goel, of Laapataa Ladies (2024) fame, has come on board as the female lead. Hundred is produced by Amar Butala’s Guilty By Association Media and Ekta Kapoor and Shobha Kapoor’s Balaji Telefilms. Amar Butala has earlier produced Sidharth Malhotra-Rashmika Mandanna starrer Mission Majnu ...
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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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