Raja Shivaji sells 40,000 tickets in advance booking; Pune goes on overdrive as 7:00 am shows open due to huge demand

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Two days ago, Bollywood Hungama reported that the ticket sales of The Devil Wears Prada 2 were very encouraging. Raja Shivaji releases on the same day as the Hollywood comedy drama and this film, too, seems all set for a flying start, especially in its Marathi version. According to data accessed by Bollywood Hungama, Raja Shivaji had sold more than 40,000 tickets as of 8:00 am on April 29. By 4:30 pm on April 28, PVR Inox sold 9,800 tickets for the historical entertainer’s Marathi version. Cinepolis sold 3,000 tickets, MovieMax saw sales of 2,400, while Miraj Cinemas sold more than 4,100 tickets. The Marathi version has far more appeal due to its local flavour, ensemble cast, and the correct release period. Raja Shivaji releases on May 1, which is Maharashtra Day. Hence, the film will enjoy a three-day weekend in the state. Several films have been made on Chhatrapati Shivaji Maharaj in Marathi, but Raja Shivaji seems like the grandest of them all. This has further encouraged audience...
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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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