Rajesh Khanna-Dimple Kapadia’s granddaughter Naomika Saran to be launched opposite Vedang Raina

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The third generation of the illustrious Khanna family is all set to enter the movie industry. Yesteryears’ superstar Rajesh Khanna and Dimple Kapadia’s granddaughter Naomika Saran will make her screen debut in film being produced by Dinesh Vijan of Maddock Films. Naomika is the daughter of Rajesh and Dimple’s younger daughter Rinke Khanna who was once an aspiring actress in Filmistan. Rinke did films like Pyar Mein Kabhi Kabhi and Jis Desh Ganga Mein Rehta Hai. When she was removed by Ram Gopal Varma from his film Company and replaced by Manisha Koirala, Rinke quite the film industry, got married and migrated to the West. Now, her daughter is all set to rekindle the Khanna magic on screen. Naomika’s co-star in her debut film is the talented Vedang Raina, Alia Bhatt’s co-star in Jigra, currently shooting for a film with Imtiaz Ali in Punjab. Also Read: Naomika Saran, Rajesh Khanna’s granddaughter, to debut in romantic comedy opposite Vedang...
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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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