BREAKING: Reliance Industries Ltd moves Bombay High Court to halt release of Carry On Jatta 4

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The upcoming Punjabi film Carry On Jatta 4 has landed in legal trouble ahead of its scheduled theatrical release on June 26, 2026. According to a report in the May 23, 2026 issue of Atul Mohan’s Complete Cinema magazine, Reliance Industries Ltd. has approached the Bombay High Court seeking to restrain the release of the much-awaited comedy entertainer. As per the article, the matter reportedly arises from a contractual dispute linked to a tripartite arrangement involving Reliance Industries Ltd., Panorama Studios International Ltd. and Humble Motion Pictures. The dispute has now reached the court, with Reliance seeking urgent protection in connection with the film’s rights and release. The matter came up before Justice Abhay Ahuja, who permitted Reliance to correct certain procedural defects in its commercial plaint. The court also granted Reliance liberty to approach the Vacation Court for appropriate relief. During the hearing, the defence raised objections to the maintainability of...
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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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