Farhan Akhtar’s Don 3 finally gets rolling: Ranveer Singh - Kiara Advani to shoot from January 2026, Priyanka Chopra may return

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The long-awaited Don 3, directed by Farhan Akhtar, which had been delayed for various reasons, is finally set to begin shooting in January 2026. Confirming this development, a source told Subhash K Jha, “Yes, there’s been a delay—but it couldn’t be helped. Ranveer Singh, who replaced Shah Rukh Khan in the franchise, had to deal with a wave of online trolling for ‘daring’ to step into SRK’s shoes. Farhan and Ranveer mutually decided to lie low and let the heat die down. Ranveer also needed time to physically and mentally prepare for the role, which requires rigorous martial arts training.” The source further added, “After that, Kiara Advani—who was signed on to replace Priyanka Chopra as the female lead—got pregnant. Farhan had to halt the film’s progress due to her changed circumstances. To add to that, Farhan got deeply immersed in his own acting schedule for the intense war film 120 Bahadur, where he plays Major Shaitan Singh. That film is scheduled to release on November 21, 2025.”...
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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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