Trade predicts Hai Jawani Toh Ishq Hona Hai can open at Rs. 7-8 cr; experts open up on David Dhawan's possible retirement: "What a career he has had…"

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As Hai Jawani Toh Ishq Hona Hai is all set to release this Friday, June 5, Bollywood Hungama spoke to trade experts to understand the buzz for the film. Trade veteran Taran Adarsh said, “David Dhawan is returning after quite a gap, that too, with his son again. I want to watch this film for him. I just hope that he doesn’t churn out something that has been repeated and over-repeated. This is because the audience today has seen all his films. He is a director with a great filmography who has made the most-watched films. At the same time, he’s not going to direct films after Hai Jawani Toh Ishq Hona Hai. What a career he has had! That calls for celebration and I hope it matches upto those expectations.” Trade analyst Atul Mohan added, “The buzz is there and it looks like a light, entertaining film. There hasn’t been a solo Varun Dhawan film in a long time. Also, its music has become popular. Moreover, David Dhawan is associated with the film. So, we hope it’ll be a fun comic caper.” Gir...
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Best films of 2023 in the UK: No 7 – Saint Omer

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Alice Diop’s award-winning courtroom drama doubles as an unsentimental study in empathy with one of the year’s most mesmerising performances

At this year’s Venice film festival, Alice Diop’s unblinking stunner Saint Omer was handed the prize for best debut film – a reward that would have seemed inadequate if it hadn’t shortly afterwards taken the grand prix in the main competition, and inaccurate under any circumstances. Diop’s film is only a debut if you’re happy to disregard documentary as a lesser branch of cinema that somehow doesn’t count; as her first dramatic feature, Saint Omer merely extends the clear-eyed gaze and burning social interest of her non-fiction work into new narrative terrain, with nary a tremor of uncertainty. Films like We showed Diop has form in braiding truth, storytelling and intense human scrutiny; Saint Omer isn’t so very different.

The surprise is that Diop’s entry into fiction takes the form of a courtroom drama, among the most rigidly procedural and rule-bound genres in the medium – only to strip it of its expected structures and rhythms, centring disordered interior feeling amid unyielding legal process. The case, drawn from a real-life 2016 headline-maker in France, is stark and horrifying: legally straightforward, perhaps, but psychologically tumultuous. Young Senegalese Frenchwoman Laurence Coly (Guslagie Malanda, often scarcely moving a muscle while giving one of the year’s most mesmerising performances) is accused of murdering her infant daughter. She doesn’t deny the act, but claims sorcery was to blame, sticking calmly to her story over days of frustrating testimony – shot by Claire Mathon with penetrating stillness, allowing the viewer to take in her micro-shifts in expression and intonation, her consistency of comportment, her occasionally lofty turns of phrase, as she repeats her awful confession over and over.

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