EXCLUSIVE: Vikram Bhatt reveals why Haunted - Ghosts Of The Past was renamed as Haunted - Echoes Of The Past: "You can't make a ghost film without believing in superstition"

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Vikram Bhatt struck gold with Haunted 3D (2011). It’s a film that kick-started the 3D trend in Bollywood and became a sleeper hit at the box office. Hence, there are high expectations for the next film in this franchise, which is set to release on June 12. Interestingly, the film was earlier titled Haunted – Ghosts Of The Past. As per the motion poster that dropped yesterday to announce the release date, the film was renamed to Haunted – Echoes Of The Past. Bollywood Hungama exclusively spoke to director Vikram Bhatt about this aspect. This was probably the director’s first interaction with the media after he faced a major personal turmoil in his life. Vikram Bhatt told Bollywood Hungama, “The Haunted films are not just about ghosts. At its heart, it’s a poignant love story. Meanwhile, the film was getting delayed for some reason or another and also, I had to face incarceration. A very close friend of mine said that this is probably happening due to the word ‘Ghost’ in the title. He t...
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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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