FWICE calls for ban on Diljit Dosanjh’s projects after Pakistani actress Hania Aamir appears in Sardaar Ji 3 trailer

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After the recent terror attack in Pahalgam, the Indian film industry is treading cautiously, distancing itself from collaborations with Pakistani artists. The first major casualty was Abir Gulaal, which was set to mark Fawad Khan’s much-awaited Bollywood comeback alongside Vaani Kapoor. The film was shelved just days before its release. Another film under scrutiny is Sardaar Ji 3, starring Diljit Dosanjh. Speculation around Pakistani actress Hania Aamir’s casting in the project was confirmed when the trailer dropped on June 23. In the same announcement, the makers clarified that the film would release exclusively overseas. However, the move sparked widespread backlash online. Several netizens criticised both Diljit and the producers for casting a Pakistani actress amid heightened tensions between the two nations, especially following Hania Aamir’s condemnation of India’s counter-operation, Operation Sindoor. Now, the Federation of Western India Cine Employees (FWICE) has called for a...
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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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