Bombay High Court dismisses PIL seeking change in Raja Shivaji’s title

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The Bombay High Court has dismissed a public interest litigation (PIL) that sought a stay on the theatrical release of the Marathi-Hindi bilingual film Raja Shivaji, clearing the way for the movie’s scheduled release on May 1, 2026. The petition had objected to the omission of the honorific “Chhatrapati” from the film’s title and claimed it was disrespectful to the legacy of Chhatrapati Shivaji Maharaj. The plea was filed by NGO Sree Chhatrapati Shivaji Maharaj Foundation, which argued that leaving out the title “Chhatrapati” hurt the sentiments of followers of the iconic Maratha ruler. The petitioner requested the court to direct the makers to rename the film Chhatrapati Raja Shivaji and also sought restrictions on the release, screening, and public exhibition of the movie until changes were made. A division bench led by Chief Justice Shree Chandrashekhar and Justice Gautam Ankhad rejected the petition, observing that the matter did not involve any real public cause. The court also n...
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Streaming: the best films set in Venice

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As the Venice film festival turns 80, we pick the titles that capture the city’s allure, from desolate Don’t Look Now to romantic Summertime and Top Hat’s cheery glamour

This time next week I’ll be packing my bags for Venice, where the 80th edition of its annual film festival will unveil new films by Sofia Coppola, Ava DuVernay, Yorgos Lanthimos, David Fincher, Ryusuke Hamaguchi, Bradley Cooper, the late William Friedkin – an especially glistening lineup for an event never short on gloss. But even without such attractions, Venice would remain my favourite festival: it’s the faintly unreal allure of the city itself, the spray from the Vaporetto as you leave the airport, the sense that you’re arriving into an eternal film location rather than just an industry event.

You can’t arrive on the Lido, the drowsy barrier island where the festival unfolds, and not recall the yearning melancholy and faded finery of Luchino Visconti’s Death in Venice – that the Grand Hotel des Bains, where Dirk Bogarde’s wilting composer Gustav von Aschenbach saw out his days, has been unoccupied since 2010 underlines the isle’s ghostly air of glamour. Although Visconti’s film is set in summer, you’d be forgiven for remembering otherwise. It’s Nicolas Roeg’s devasted, desolately wintry Don’t Look Now (ITVX), of course, that best captures Venice in its off-season. Its misty, depopulated maze of alleys and canals laden with threat match the mindset of Donald Sutherland’s grief-stricken parent.

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