Shanaya Kapoor-Adarsh Gourav starrer Tu Yaa Main trends in 12 countries on Netflix Top 10

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Actor Shanaya Kapoor, who made an impressive debut with Aankhon Ki Gustakhiyan, followed it up with yet another standout performance this year—this time in a role vastly different from her first. Teaming up with director Bejoy Nambiar for Tu Yaa Main opposite Adarsh Gourav, Shanaya earned widespread appreciation for her portrayal of influencer Avnee, with audiences particularly praising her screen presence, performance range, and crackling chemistry with Adarsh. One of her dialogues from the film—“Tu yedi ho gayi kya, bachi?”—has especially struck a chord online, quickly turning into a fan-favourite pop culture moment and finding its way into memes, reels, and internet conversations. Following its theatrical run, Tu Yaa Main premiered on Netflix a few days ago and has continued to build momentum ever since. The film has been trending strongly on the platform, even reaching the No. 1 spot in India, while also charting in several international markets. Clips featuring Shanaya’s scenes ...
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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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