Govinda announces comeback with self-produced film Roopa; says, “People kept saying, ‘Now he won’t appear in films anymore’”

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Veteran Bollywood star Govinda is all set to return to the big screen with a brand-new project. The actor recently hosted a press conference to officially announce his comeback film, Roopa, marking his return to cinema after a prolonged gap. At the event, Govinda unveiled the first poster of the film, introduced newcomer Rani Swarankar as the leading lady, and revealed that he is also producing the project. Once among the biggest superstars of the 1990s, Govinda has largely stayed away from films in recent years after a string of releases failed to leave an impact at the box office. However, the actor appeared confident and optimistic as he spoke about embarking on a fresh journey with Roopa. Opening up about the challenges he has faced over the years and his determination to keep moving forward, Govinda said, “Maybe it was destiny that I was written off so many times. People kept saying, ‘Now he won’t appear in films anymore.’ But I always started again. I pray to God that this film ...
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Apolonia Apolonia review – artist and film-maker evolve together in artworld memoir

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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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