CONFIRMED: S S Rajamouli-Mahesh Babu-Priyanka Chopra's film titled Varanasi

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S S Rajamouli recently released Baahubali: The Epic, which was a combined version of Baahubali: The Beginning (2015) and Baahubali 2: The Conclusion (2017). November is here and all his focus is on his upcoming ambitious film, starring Mahesh Babu, Priyanka Chopra and Prithviraj Sukumaran. There are reports that the name of the film, which is referred to as SSMB29, is Globetrotter. A few reports reveal that the film has been titled Varanasi. Bollywood Hungama has learned that the team of the film has locked a title. A source told us, “The name of the film is indeed Varanasi. It is said that the title rights were with somebody, but S S Rajamouli’s team reached out and secured the rights.” The source further said, “It is an apt title as per the story of the film. Hence, they were very keen on naming their film Varanasi.” Reports also state that a grand announcement event will be held on November 15 in Ramoji Rao Film City, Hyderabad. Along with S S Rajamouli, Mahesh Babu, Priyanka Cho...
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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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