Singer-Composer Leslee Lewis makes Bollywood playback comeback after 26 years

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Veteran singer-composer Leslee Lewis is set to make a comeback as a playback singer in Hindi cinema after a gap of 26 years, marking a significant moment in his long musical journey. Known for shaping India’s Indi-pop movement in the 1990s, Lewis is returning with the song Zorr Ka Dhakka, which will mark his re-entry into Bollywood playback singing. Lewis rose to national fame as part of the iconic duo Colonial Cousins alongside Hariharan. Their fusion of Indian classical and Western pop in the mid-1990s helped redefine the independent music scene in India and earned them international recognition, including the MTV Asia Viewer’s Choice Award and the Billboard Viewer’s Choice Award. Speaking about his return, Lewis shared his excitement about reconnecting with Bollywood after decades. “I was relevant then and I’m still relevant now,” he said while discussing his comeback and his continued passion for music. He added that singing for a composition by another musician after so many yea...
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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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