SCOOP: Love & War REAL budget revealed; Sanjay Leela Bhansali's epic costs Rs 350 cr, not Rs 425 cr.

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Sanjay Leela Bhansali is among the most celebrated directors of Indian Film industry, whose cinema has stood the test of time. His next, Love And War is a casting coup of the decade as the maverick filmmaker has brought Ranbir Kapoor, Alia Bhatt and Vicky Kaushal together for the first time. Earlier in the week, there were viral reports on how Love and War budget has shot up to Rs. 425 crores, and the production has gone into turmoil. However, our reliable sources close to the project confirm that Love And War is proceeding as planned. "Love And War budgets have shot up for sure, but it happens with all Sanjay Leela Bhansali films. Initially, it was planned as a Rs. 250 crore epic, and the costs through the shoot have now shot up to Rs. 350 crores. SLB doesn't compromise on his vision, and he is passionately filming this, which he believes could be his best work to date. The Rs. 425 crore figure of cost of production is trying to harm the project on purpose, and there is no t...
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After 10 years, I'm stepping down as the Observer's film critic. Here are my top films from the decade | Mark Kermode

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As I leave the post, I look back on how cinema has changed since 2013 and, below, pick a favourite movie from each year of my tenure – as well as a turkey

This week, I filed my final column as chief film critic for the Observer. I’m stepping down after exactly 10 years in the role, making way for the brilliant Wendy Ide to take over the reins and put her own inimitable stamp on the paper. A longstanding colleague and friend, Wendy is an exceptional critic and I look forward to reading her insightful and elegant reviews in these pages for years to come. In the meantime, looking back at my own experiences over the past decade, I’m struck by how much the moviegoing landscape has changed.

When I took over from the great Philip French in September 2013, Kathryn Bigelow was still the only woman to have won the Oscar for best director, having made history when she triumphed with her tense war drama The Hurt Locker in 2010. The Academy Awards have, of course, always been inherently ridiculous (remember: Citizen Kane didn’t win best picture, but Driving Miss Daisy did). For better or worse, however, this very American shindig tells us something about the way the mainstream film industry views itself. And since the first Oscars ceremony back in 1929, the Academy has overwhelmingly celebrated and prioritised white male film-makers. Yet in the past 10 years, things have at least begun to shift in encouraging ways.

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