MTV Splitsvilla X6 to premiere on January 9 with new format; details inside!

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Finding love has just been taken a notch higher as India’s biggest youth dating reality show, MTV Splitsvilla, returns with its 16th season, i.e. bigger, bolder and spicier. Hosted by the ultimate Queen of Hearts - Sunny Leone, who recently celebrated a decade of her iconic journey with the show, joined by her charming co-host, the King of Hearts - Karan Kundrra. This time the drama dose has doubled up with our Mischief Maker duo - Nia Sharma and Uorfi. Gear up for MTV Splitsvilla X6: Pyaar ya Paisa, set against the scenic coast of Mahabalipuram, Tamil Nadu, where 32 hot & single girls and boys step up their game to win 'Pyaar ya Paisa'. Instax Fujifilm presents MTV Splitsvilla X6 Co-powered by Sofy, NEWME, Envy Perfumes and Philips Body Groomer starting 9th January on Fri, Sat & Sun at 7 pm on MTV India and JioHotstar. ‘MTV Splitsvilla X6: Pyaar Ya Paisa’ brings a new twist, picking up from where ex-contestants Digvijay and Kashish left off last season. This time, con...
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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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