Sandeep Reddy Vanga’s Spirit, starring Prabhas and Triptii Dimri, to release on March 5, 2027

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Filmmaker Sandeep Reddy Vanga has officially announced the theatrical release date of his much-anticipated project Spirit, starring Prabhas and Triptii Dimri. The film is slated to reach cinemas worldwide on March 5, 2027, bringing an end to months of speculation about its launch window. Vanga shared the news alongside a new poster on social media, confirming the release with a post by lead actor Prabhas, who wrote on his Instagram handle, “#Spirit is set for a World release on March 5, 2027.”   View this post on Instagram   A post shared by Prabhas (@actorprabhas) The official first look was unveiled at midnight on New Year’s Day, generating a strong buzz online. The poster showcases a rugged, battle-scarred Prabhas alongside Triptii Dimri in an atmospheric frame, reinforcing the film’s intense and raw visual tone.   View this post on Instagram   A post shared by Prabhas (@actorprabhas) Spirit marks the first collaboration between Prabhas and Vanga, the dir...
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American Graffiti at 50: a classic hangout comedy with a surprising melancholy

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George Lucas’s 60s-set tale of California teens offers some freewheeling fun but also a lingering sadness

Ninety-nine times out of 100, the postscripts that get tucked in before the closing credits, telling us where the characters’ lives have gone from there, are totally unnecessary, especially in a fictional story where their fates are better left to the viewer’s imagination. But in George Lucas’s American Graffiti, which turns 50 this week, they are the most important part of the film, not least because two of the four characters don’t have much longer to live. We can feel that darkness lingering around the edges of Lucas’ dusk-till-dawn nostalgia piece about the last night of summer vacation in 1962 Modesto, California, even while its teenagers are getting into mostly light-hearted forms of trouble. This night has to end, and when the sun comes up, their entire world turns back into a pumpkin.

From the opening shot of Mel’s Drive-In, set to Bill Haley and His Comets’ Rock Around the Clock, American Graffiti seems to unfold inside a snow globe, an idealized past with invisible borders that separate it not only from the outside world, but from the future itself. It’s one of those films, like its spiritual successor Dazed and Confused, that has the quality of a hangout comedy, loose-limbed and goofily episodic, but laced with an air of melancholy that’s so subtle you miss it entirely. (That’s why the postscript is such a slap in the face.) It aches for a scene that had passed just a decade earlier, before the tumult of the Vietnam war and counter-culture, but must have seemed, even then, like ancient history.

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