Sharvari leads her generation's biggest film line-up; 2 massive theatrical releases set to arrive in just 28 days

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Sharvari is fast emerging as one of the most exciting talents of her generation, and her growing filmography is proof that the industry’s biggest filmmakers and banners are betting big on her. The young actress has built an enviable line-up that includes Imtiaz Ali’s Main Vaapas Aaunga, Aditya Chopra’s Alpha, Sooraj Barjatya’s Yeh Prem Mol Liya, and YRF and Ali Abbas Zafar’s untitled next, in which she is paired opposite Ahaan Panday. What makes her upcoming slate even more remarkable is that Sharvari has two major theatrical releases within a span of just 28 days. While Main Vaapas Aaunga is set to arrive on June 12, Alpha will hit cinemas on July 10, giving her a huge opportunity to consolidate her place among the most promising young stars in the industry. Sharvari has already sparked a strong conversation with the teaser of Main Vaapas Aaunga, where her innocence and screen presence have stood out instantly. In fact, many on the internet are already calling her the “best-kept sur...
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Pigeons! Superheroes! Farts! The best movie moments of 2023

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From angry confrontations to romantic reunions, Guardian writers pick the big-screen moments that have stayed with them the most

Martin Scorsese’s Killers of the Flower Moon is frequently enthralling over the course of its three-and-a-half-hour runtime, sinking into the depths of American shame as it follows William Hale (Robert De Niro) and his unofficial lieutenant Ernest Burkhart (Leonardo DiCaprio) as they grasp for the money and land controlled by the Osage tribe in 1920s Oklahoma, which involves slowly poisoning Ernest’s wife Mollie (Lily Gladstone) as they kill off members of her family and community. But just when it seems like the story’s final dominoes are tumbling over with inevitability, Scorsese jumps ahead for his final scene – maybe the most audacious in American movies this year. Rather than a series of solemn title cards explaining what happened to the people whose lives we’ve seen dramatized, the movie cuts to a true-crime radio show in the 1940s, with major figures from the film reduced to cartoonish voiceovers and sound effects. And then, to detail Mollie’s post-narrative life, Scorsese himself appears. It’s not a Hitchcockian wink of a cameo, but a show of respect, as he steps from behind the camera to essentially read Mollie’s obituary; the mood changes from playful to stark in an instant. Seeing this master film-maker visibly grapple with the limits of artistic expression took my breath away. Jesse Hassenger

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