Neena Gupta reacts to pregnancy rumours after viral photos

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Veteran actress Neena Gupta was seen looking radiant at the wedding reception of Rashmika Mandanna and Vijay Deverakonda. However, what truly caught the internet’s attention was a noticeable bump that quickly sparked pregnancy rumours on social media. When this writer reached out to the outspoken actress, Neena Gupta burst into laughter. “This is all I need, a real-life Badhai Ho,” she joked. For those who may recall, Neena Gupta famously played a woman who becomes pregnant in her 60s in the hit film Badhaai Ho. Turning serious after the joke, the actress clarified, “There is no Badhai Ho. I am not pregnant. The truth is, the saree material was thick, so it made me look bulky at the reception. But I must say, I love all this speculation about my pregnancy at my age. It shows we are evolving as a nation.” Also Read: Neena Gupta and Sanjay Mishra overwhelmed as Vadh 2 enters 3rd week: “The love is pouring in the form of messages, reviews, recommendations” from Latest Bollywood News...
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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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