Anurag Kashyap, Nikkhil Advani, Vikramaditya Motwane, Vasan Bala-backed Dug Dug locks May 8 India release

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Filmmaker Ritwik Pareek’s comedy mystery satire Dug Dug is set to release in Indian theatres on May 8 following a widely appreciated run across international film festivals. The film now has the backing of filmmakers Anurag Kashyap, Nikkhil Advani, Vikramaditya Motwane and Vasan Bala, who have come on board as executive producers ahead of its India release. Inspired by true events, Dug Dug follows a strange development in a village where a deceased man’s motorbike begins to be worshipped after locals believe it can grant wishes if devotees pray to it and offer alcohol. As reports of wishes being fulfilled spread, the belief gradually turns into a full-fledged commercialised religion. The feature is produced by Bottle Rocket Pictures, led by Prerna Pareek and Ritwik Pareek, and will be released theatrically in India in association with Ranjan Singh’s Flip Films. Speaking about the film, Anurag Kashyap said, “I was blown away by Dug Dug, its storytelling, cinematography and music. It ...
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Camouflage review – the dark past of Argentina’s dirty war detention centres

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Author Félix Bruzzone fronts this haunting film about Campo de Mayo, where his mother was among tens of thousands of people who ‘disappeared’ under the dictatorship

The dark past of Campo de Mayo, a military camp that once served as a vast detention centre during Argentina’s so-called dirty war, is excavated in Jonathan Perel’s haunting documentary. Following noted author Félix Bruzzone as he jogs alongside the infamous site, the film is structured around the writer’s run in which the past and the present entwine. His encounters with witnesses of the dictatorship’s atrocities show that history is far from dormant, but a living, breathing thing.

Having lived in the area, Bruzzone was only recently made aware of his family ties to the site. Abducted by the secret police and taken to Campo de Mayo, his mother was among the tens of thousands who “disappeared” under the military regime. This painful memory is mirrored by Bruzzone’s conversation with an archaeologist, who talks about the human bones buried under the base, as well as the lush vegetation that flourishes above ground. The juxtaposition is startling if morbid. Indeed, as an estate agent tells Bruzzone: in spite of the camp’s horrific legacy, the prices of nearby properties have steadily risen over the years.

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