Madras High Court restrains illegal broadcast of Dhurandhar The Revenge till April 15

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The Madras High Court on Wednesday passed an ad interim injunction restraining internet service providers and cable TV operators from unlawfully broadcasting Dhurandhar The Revenge ahead of its theatrical release on March 19, 2026. Justice Senthilkumar Ramamoorthy issued the order while hearing applications filed by Reliance Industries Limited and its media arm Jio Studios. The producers had approached the court seeking urgent protection against potential copyright infringement. In its plea, Reliance alleged that several intermediaries, including internet service providers and cable TV operators, may illegally stream or transmit the film without authorisation. The company also submitted the certification issued by the Central Board of Film Certification, identifying it as the producer of the film. The court noted that the film is scheduled for release on March 19 and observed that in such cases, the risk of irreparable harm is significant if interim relief is not granted. At the sam...
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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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