CBFC makes subtitles mandatory for all Indian films from March 15

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In a move aimed at making the movie-going experience more inclusive, the Central Board of Film Certification has made subtitles mandatory for films across languages. The CBFC’s directive will come into effect from March 15, 2026. Henceforth, all Indian films will be required to include subtitles, along with audio descriptions wherever applicable. The move is intended to improve accessibility for audiences who are hearing or visually impaired, allowing them to experience films more fully regardless of language or physical limitations. However, not all netizens are happy with the CBFC’s decision to make subtitles mandatory. Many have taken to social media to express their dissatisfaction, arguing that subtitles can be distracting and interfere with the immersive movie-viewing experience. Also Read: EXCLUSIVE: CBFC asks for 15 cuts and modifications in The Kerala Story 2: Goes Beyond; reduces kiss and rape visuals by 50% from Latest Bollywood News | Hindi Movie News | Hindi Cinema N...
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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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