SCOOP: Batwara’s special promo, featuring Sunny Deol and Karan Deol, expected to be unveiled on Father’s Day

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About two months remain before the release of Batwara, and the film's team is gearing up in full force to unveil the much-anticipated teaser. Recently, it was reported that the asset will be launched on June 15. Bollywood Hungama has now learned that the makers are putting together another interesting promo, which will also be out this month itself. A source told Bollywood Hungama, “Batwara stars Preity Zinta, Shabana Azmi and Ali Fazal, and it also features Sunny’s son, Karan Deol. This is the first time that the father and son will share screen space, and they have an interesting dynamic in the film. The makers wanted to present the same to the audience. Hence, a special promo is being designed to highlight their bond.” The source continued, “Father’s Day will be celebrated on June 21. Hence, the team of Batwara 1947 felt that it would be an apt day to bring the father-son asset out. A final call will be taken in the coming week, but as of now, the Father’s Day asset plan is on....
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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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