Siddhant Chaturvedi’s Netflix film Ramree, backed by Ajay Devgn, shelved due to budget constraints: Report

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After earning acclaim for his performance in Dhadak 2, Siddhant Chaturvedi seemed set to continue his momentum with Ramree, a two-hero OTT project backed by Ajay Devgn. However, the ambitious period drama has now reportedly been shelved before going on floors. According to a report by Mid-Day, Ramree was conceived as a large-scale film set in 1945. The project, which had been under development for over a year, aimed to blend historical events with cinematic storytelling. However, given its elaborate setting and production requirements, the film’s mounting budget became a major hurdle. A source close to the development told the publication, “For an OTT film, this would have set a benchmark in scale and imagination, but budget constraints caught up with it. Even though the platform heads were excited about the story, there was too much at stake financially. So, they decided not to move forward with it.” Another insider offered a different perspective, suggesting that Ramree never reac...
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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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