Mother’s Day 2026: Isha Koppikar says she wants daughter Rianna to achieve her dreams independently

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On the occasion of Mother’s Day 2026, Isha Koppikar shared a message about parenting, independence and responsibility through a video posted on social media. Speaking about her daughter Rianna, the actor reflected on the importance of raising children to become self-reliant individuals rather than depending on others for emotional or personal security. In the video, Isha revealed that a conversation with her daughter prompted her to think more deeply about modern parenting. According to the actor, Rianna asked her what she wished for her, to which she responded that she wanted her daughter to achieve her dreams independently and become a strong individual. Speaking further, Isha questioned whether parents sometimes send mixed messages to children by encouraging independence while also raising them with the idea that someone else will eventually “take care” of them. She added that this mindset applies equally to both boys and girls. The actor also spoke about how she views independence...
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Streaming: Past Lives and the best immigrant stories on film

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One of the year’s best films, Celine Song’s Korean-American love story, now on streaming and DVD, continues cinema’s rich tradition of immigrant stories, from Chaplin to Persepolis

Awards season often tends to benefit the newer, shinier end-of-year releases that are freshest in voters’ memories, but Celine Song’s lovely, low-key Past Lives appears to be quietly staying the course. Having premiered way back in January, hit cinemas in the summer and since become available to stream – with the DVD out last week for physical media loyalists – it is now routinely popping up on best-of-2023 lists, and scooped best feature at the Gotham awards in the US. Something sticks in the mind and heart about Song’s melancholic, gentle but emotionally acute tale of a rekindled relationship between a Korean-American immigrant and the childhood friend she left behind in Seoul. Anyone whose life has been split across countries can relate to its study of the split identities and frayed possibilities of immigrant existence.

It’s those infinitely complex internal tensions – at once universally recognisable and particular to each individual – atop external fish-out-of-water challenges that make the immigrant experience such a rich and recurring film subject. As early as 1917, English émigré Charlie Chaplin distilled all those dynamics in his 22-minute short The Immigrant (Internet Archive), playing his signature Little Tramp character’s calamitous voyage to, and overwhelmed arrival in, New York for maximum comedy and pathos. Nearly 100 years later, American director James Gray took the same title for a rather more solemn look at a European ingenue seeking a new life in the Big Apple, meeting with ugly exploitation and poisoned ardour. Gray’s The Immigrant (2013) plays as symphonically grand tragedy, but retains that old romantic mythos around the US as a place to make or remake yourself.

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