Ramayana FIRST LOOK Teaser introduces Ranbir Kapoor as Lord Rama; sets stage for epic Diwali 2026 release

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The much-anticipated magnum opus Ramayana has finally revealed its most crucial element — the first glimpse of Ranbir Kapoor as Lord Rama. Backed by filmmaker and producer Namit Malhotra and directed by Nitesh Tiwari, the two-part cinematic franchise is being mounted on a global scale, with the teaser offering audiences their first look at the iconic character. Positioned as a landmark cinematic moment, the ‘Rama’ teaser introduces one of mythology’s most enduring figures to a worldwide audience. The film aims to present the story with a fresh perspective while retaining the emotional depth that has made it timeless across generations. Speaking about the essence of the story, Nitesh Tiwari said, “Ramayana’s greatness lies in its emotional richness. At its heart, it is not just about good and evil, but about choices, consequences, and the weight of doing what is right. Rama’s journey is deeply human and that is what we have tried to stay true to.” Sharing his experience of stepping i...
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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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