MEGA EXCLUSIVE: Vashu Bhagnani faces fresh heat; PVR Inox Pictures likely to initiate legal proceedings over alleged dues from Rs. 100 crore three-film deal

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Vashu Bhagnani has been in the news over the past few weeks after initiating legal proceedings against the makers of Hai Jawani Toh Ishq Hona Hai over the alleged unauthorised use of the songs Chunari Chunari and Ishq Sona Hai from Biwi No. 1. The producer has claimed that the iconic tracks have been used without his authorisation, allegedly amounting to copyright infringement. Now, Bollywood Hungama has exclusively learned that the veteran producer may be staring at another major legal flashpoint this time involving PVR Inox Ltd. A source told Bollywood Hungama, “PVR Inox Ltd, which also has a distribution arm PVR Inox Pictures, had entered into a three-film arrangement with Vashu Bhagnani’s production house, Puja Entertainment. As part of the understanding, PVR Inox Pictures had reportedly paid around Rs. 100 crores as a refundable advance to Puja Entertainment and agreed to release Mission Raniganj, Ganapath and Bade Miyan Chote Miyan. The understanding was that if the films failed...
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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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