Aryan Khan reveals that he DUBBED for Salman Khan in The Ba***ds Of Bollywood; adds, “When Shah Rukh Khan’s on set, EVERYONE behaves exceptionally well

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It’s been more than two months since the release of The Ba***ds Of Bollywood and it continues to be talked about. It was Aryan Khan’s debut vehicle, and he impressed one and all not just with its storytelling but also with its humour and subtle Bollywood references. He recently gave an interview to GQ India, where he shared a very fascinating trivia. The GQ Interview India revealed that Aryan Khan can mimic really well. On this, Aryan said, “Fun fact, in the show, when Salman Khan says, ‘What party? Bullshit party,’ that’s actually me!” Besides Shah Rukh Khan, The Ba***ds Of Bollywood had cameos by several other stars including his father, superstar Shah Rukh Khan. The others who make a special appearance are Karan Johar, Ranveer Singh, Siddhant Chaturvedi, Disha Patani, Orry, Shanaya Kapoor, Ibrahim Ali Khan, Rajkummar Rao, Sara Ali Khan, Aamir Khan, S S Rajamouli, Badshah and Ranbir Kapoor. Emraan Hashmi had an extended special appearance and that also became a rage. The actors wit...
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Grace review – monumentally odd father-daughter odyssey via mobile cinema

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Travelling across Russia in mostly silence, Ilya Povolotsky’s debut feature has a strange confidence in its own insistent dispiritedness

With long journeys in a red camper van, long unbroken shots of shattered Caucasian landscapes, and very long silences between its alienated father and daughter, Ilya Povolotsky’s debut feature has a strange confidence in its own monumental dispiritedness. “I want to know that you have a plan,” says the teenager. “And that we won’t get stuck somewhere outside Khabarovsk with a chicken and a sad librarian woman.” This being a Russian art film, you wouldn’t bet against it.

The two unnamed characters, played by Maria Lukyanova and Gela Chitava, are making their way across the country for unspecified reasons, other than her desire to see the sea. They run a small mobile cinema out of their van for wan residents of purgatorial steppe towns and flog snacks and porn by night at sketchy truck stops for the hauliers who aren’t with sex workers. The father has transient liaisons of his own, adding an accusatory edge to his daughter’s faraway gaze, frequently fixed on nothing. Things aren’t looking up when they reach the sea; local people are scooping dead fish off the foreshore. “Fish plague,” says a police officer. “You’d better leave now.”

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