Eetha teaser attached with Cocktail 2; Shraddha Kapoor seen in an all-new avatar 

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On June 16, Bollywood Hungama was among the first to inform readers that the teasers of Rajkummar Rao’s Prahaar – The Ujjwal Nikam Story and Shraddha Kapoor’s Eetha would be attached to Cocktail 2. The romcom released this Friday and, as predicted, both assets have indeed been hard-locked into the prints of the Shahid Kapoor-Kriti Sanon-Rashmika Mandanna starrer. In this article, we take a look at the Eetha teaser. Eetha features Shraddha Kapoor in the role of legendary Marathi Tamasha artist Vithabai Narayangaonkar. Directed by Laxman Utekar of Chhaava (2025) fame, the film also stars Randeep Hooda and Mohd Zeeshan Ayyub. It is scheduled to release in cinemas on August 28 on the occasion of Raksha Bandhan. The teaser was passed by the CBFC with a U/A 13+ rating on June 17 and has a runtime of 2 minutes and 18 seconds. The teaser opens with a crowd demanding a performance from a dancer named Eetha. One expects a typical massy entry for the lead actress. Instead, Shraddha Kapoor appear...
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Rojek review – unsettlingly intimate portraits of Islamic State militants

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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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