Shiv Sena (UBT) warns Shah Rukh Khan over signing a Bangladeshi cricketer in his IPL team KKR

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A political storm is brewing around Shah Rukh Khan’s IPL team Kolkata Knight Riders (KKR) after the franchise signed Bangladeshi fast bowler Mustafizur Rahman ahead of the Indian Premier League (IPL) 2026 season. The controversial decision has drawn sharp criticism not only from political leaders but also from the Shiv Sena (Uddhav Balasaheb Thackeray faction) — which warned that the player’s IPL earnings could potentially be diverted to fund terrorism. The issue erupted after KKR selected Mustafizur Rahman, the only Bangladeshi cricketer picked in the 2026 IPL auction for Rs 9.2 crores. While some commentators have framed the move as a purely sporting decision, it quickly became a political flashpoint, with critics linking the signing to broader concerns about national security and religious sentiments. Mumbai, Maharashtra: On KKR buying a Bangladeshi player, Shiv Sena (UBT) spokesperson Anand Dubey says, "...If Shah Rukh Khan removes him from his team, we will all respect him,...
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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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