Jio Studios and Collective Studios’ Historyverse unveil teaser of Krishna at NAB 2026 in Las Vegas

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Jio Studios and Collective Studios’ Historyverse today unveiled the global first teaser of Krishna, an upcoming theatrical feature directed by Manu Anand, at the NAB Show 2026 in Las Vegas. At the heart of Krishna lies a new cinematic pipeline developed by Galleri5, Collective Artists Network’s in-house AI platform, built on Microsoft Azure’s advanced AI and cloud capabilities. This collaboration brings together cutting-edge technology with Jio Studios’ scale, storytelling expertise, and commitment to creating globally resonant Indian content. The film’s first look and Collective Artists Network’s AI platform were featured in Microsoft’s keynote at NAB, “Powering Intelligent Media; From AI Experimentation to Real-World Impact.” Collective was highlighted as a leading Frontier organization that is moving AI beyond experimentation into real, production-scale deployment in cinema. The technology is also featured in Microsoft’s NAB booth (West Hall, Booth W1731). Krishna represents a dep...
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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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