Rita Bhattacharya BREAKS SILENCE after Kumar Sanu’s Rs 50 crores defamation suit, calls for peace

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Singer Kumar Sanu and his former wife Rita Bhattacharya are once again in the spotlight as a legal dispute unfolds years after their divorce. The veteran playback singer filed a defamation suit in the Bombay High Court against Bhattacharya, alleging that recent interviews she gave contained defamatory remarks that harmed his reputation and violated the terms of their divorce agreement. In his petition, Sanu’s legal team, led by advocate Sana Raees Khan, has sought damages reported to be Rs 50 crores and has demanded that the interviews in question be taken down from various entertainment platforms. The suit claims that Bhattacharya’s statements breach a clause from their 2001 divorce settlement that prohibited either party from making allegations against the other in public. Reacting publicly for the first time since the notice was issued, Bhattacharya described her shock at the legal action, particularly the financial demand involved. In an interview with ETimes, she said, “The pape...
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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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