REVEALED: Kiara Advani’s character Kavya in Hrithik Roshan-Jr NTR starrer War 2 is the daughter of Colonel Luthra played by Ashutosh Rana

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The trailer of the biggest Hindi film of 2025, War 2, was finally unveiled earlier in the day. Unlike promos of other big-scale films, it doesn’t follow the set template. Most of the dialogues are in the form of voiceovers. Also, as reported by Bollywood Hungama earlier, it has a duration of less than 3 minutes (2 minutes and 35 seconds). As expected, it further touches upon the face-off between Hrithik Roshan and Jr NTR. But if you observe closely, it also gives out a clue about the character of Kiara Advani. In the teaser of War 2, which was unveiled on May 20, 2025, Kiara Advani’s bikini-clad avatar stole the show, though she appeared for a mere two seconds. But in the trailer, she gets a lot of relevance. The trailer hints that she is the love interest of Hrithik’s cool spy character, Kabir. But she’s not just an arm candy in the film. She also gets a chance to do action and that also stands out in the trailer. However, one quick shot that is significant is whe...
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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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