EXCLUSIVE: Genelia Deshmukh features in a cameo in Masti 4

Almost a week ago, it came to light that Masti 4 has gone on floors, as evident by the pictures posted by the film’s makers. The unit of the naughty comedy at present is in Birmingham, United Kingdom and is shooting a dance number on a huge scale. If the leaked assets from the sets are to be believed, this track will be a highlight as it features a special appearance by none other than Genelia Deshmukh. Earlier in the day, the unit of Masti 4 was present at Victoria Square, Birmingham. The three leads of the film – Riteish Deshmukh, Vivek Oberoi and Aftab Shivdasani - were seen filming a song along with hundreds of extras. Since Victoria Square is a public place, a lot of onlookers were also present, and they recorded videos and took pictures. These images and videos made their way to social media. In some of these pictures, Genelia Deshmukh can be seen present on the sets. At first, it was thought that she was merely present to witness the shoot. Her presence was also no secret as s...

Rojek review – unsettlingly intimate portraits of Islamic State militants

Documentary collects sequence of interviews with prisoners, not all repentant, alongside footage of war-blasted Syrian Kurdistan

Here is an astringent, devastating and truly extraordinary film that is hard work to watch, but entirely worth it. Rojek probes the roots and fallen leaves of the Syrian civil war, a conflict the western media has practically forgotten as news of Ukraine and Gaza-Israel-Yemen dominates international reporting. Director Zayne Akyol, heard off-camera throughout, interviews members of Islamic State, now being held in high security prisons by the Syrian Democratic Forces, about their lives, with some recalling more innocent days when they hunted goldfinches to sell in markets or liked Canadian pop music. Many recount how they were recruited into IS by cells in local mosques in assorted countries – Germany, say, or Saudi Arabia – and came to have positions both high-ranking and menial in the organisation in the part of Syria with a dense Kurdish population.

In the film’s present, some are still unrepentant, believers that they fought honourably in a holy war; others see things differently and are riven with regrets. Some are women who recall their time of service to IS as the happiest days of their lives. In stately procession, each person speaks straight to the camera in almost disconcerting closeup, and however repugnant some of the things they say might be, it’s impossible to not recognise and see most of them as broken human beings.

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