Bhooth Bangla trailer sneak peek: The return of Akshay Kumar, Priyadarshan and the comedy OGs promises loads of entertainment; Tabu emerges as the surprise package

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Last night, Bollywood Hungama got a sneak peek of the trailer of the much-awaited film of the month, Bhooth Bangla, more than 12 hours before its launch today (April 6). The film has already created a buzz due to its horror-comedy genre, casting and more, and the trailer is expected to further enhance the hype around it. The trailer is around 2 minutes and 58 seconds long and offers a better idea of the premise. The focus, of course, is on the humour quotient. As expected, Akshay Kumar steals the show. There’s no one like him when it comes to comedy, and he proves it yet again. He is ably supported by a stellar cast comprising Rajpal Yadav, Paresh Rawal and the late Asrani. Just seeing all of them together, that too in a Priyadarshan film, is sure to make fans nostalgic and excited. To add to the nostalgia, the makers have used two famous dialogues from Priyadarshan’s memorable comedies of the past, which are sure to be lapped up. Wamiqa Gabbi and Mithila Palkar get limited screen ti...
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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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