Shanaya Kapoor-Adarsh Gourav starrer Tu Yaa Main trends in 12 countries on Netflix Top 10

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Actor Shanaya Kapoor, who made an impressive debut with Aankhon Ki Gustakhiyan, followed it up with yet another standout performance this year—this time in a role vastly different from her first. Teaming up with director Bejoy Nambiar for Tu Yaa Main opposite Adarsh Gourav, Shanaya earned widespread appreciation for her portrayal of influencer Avnee, with audiences particularly praising her screen presence, performance range, and crackling chemistry with Adarsh. One of her dialogues from the film—“Tu yedi ho gayi kya, bachi?”—has especially struck a chord online, quickly turning into a fan-favourite pop culture moment and finding its way into memes, reels, and internet conversations. Following its theatrical run, Tu Yaa Main premiered on Netflix a few days ago and has continued to build momentum ever since. The film has been trending strongly on the platform, even reaching the No. 1 spot in India, while also charting in several international markets. Clips featuring Shanaya’s scenes ...
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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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