Bombay High Court dismisses copyright claim against Dream Girl 2; calls allegations ‘far-fetched’

The Bombay High Court has thrown out a copyright infringement plea against Balaji Telefilms over its 2023 comedy Dream Girl 2, ruling that the film’s storyline is entirely different from the applicant’s work and that the claim of breach of confidence was ‘far-fetched’. The case was filed by writer Ashim Kumar Bagchi, who claimed the Ayushmann Khurrana-starrer was based on his script originally titled Kal Kisne Dekha and later re-registered as The Show Must Go On. Bagchi alleged that his story — a gender-swap comedy about a man impersonating a woman and navigating hilarious situations whenever his real identity was at risk — had been shared in confidence with one of the film’s credited writers years ago. He argued that elements of his work had been used without permission. However, the court observed that what Bagchi was seeking amounted to a monopoly over generic ideas and common comedic tropes — such as mistaken identity and disguise — that cannot be protected under copyright law. T...

Apolonia Apolonia review – artist and film-maker evolve together in artworld memoir

The hypocrisies of the art world are exposed in this epic undertaking that sees the development of both the film’s subject and its director

Filmed over the course of 13 years, Lea Glob’s dynamic and intimate portrait of figurative painter Apolonia Sokol also charts the twin evolution of two women: the one in front of the camera and the one behind it. Having grown up in a bohemian Parisian theatre founded by her parents, Sokol seems destined to make her name as an artist, though her journey to recognition is far from rosy.

A graduate from the ultra prestigious École Nationale Supérieure des Beaux-Arts de Paris, Sokol however carries a more underground sensibility. When threatened with eviction, she turned the run-down theatre – her childhood home – into a haven for performers and activists. Her large-scale paintings of friends and acquaintances show them in a state of repose, yet Sokol’s energy is anything but placid. Forever sprinting from one adventure to another, she travels to America to be sponsored by collector Stefan Simchowitz, famously dubbed “The Art World’s Patron Satan” by the New York Times. His assembly-line approach to artistic patronage, which requires Sokol to produce 10 paintings within one month, soon leaves her disillusioned.

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