SCOOP: Aamir Khan's next with Rajkumar Hirani hits a roadblock; Perfectionist asks for script to be rewritten

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Aamir Khan and Rajkumar Hirani's reunion on the Dadasaheb Phalke biopic created a stir like never before. And why not? Two stalwarts are teaming up for the third time after cults like 3 Idiots and PK. But we have some disappointing news for all the fans of this duo. According to very reliable sources close to the actor, the Dadasaheb Phalke Biopic has been put on hold. A source informed Bollywood Hungama on anonymity, "Aamir Khan heard the script of Dadasaheb Phalke from Rajkumar Hirani and Abhijat Joshi. He felt that the script didn't have enough elements to make for a theatrical watch. He expected Raju and Abhijat to have a typical approach of mixing laughter with emotion and drama. But the script was devoid of comedy. This raised a doubt in the mind of Aamir, and he requested Raju to rewrite the script and come back." The source tells us further, "Raju and Abhijat were shocked by Aamir's reaction, and are now figuring out what to do next. The film, which...
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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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