EXCLUSIVE: In a RARE development, Tu Meri Main Tera Main Tera Tu Meri front-row seats priced HIGHER than back rows at PVR Oberoi Mall, Goregaon and yet SOLD OUT

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Tu Meri Main Tera Main Tera Tu Meri, starring Kartik Aaryan and Ananya Panday, is all set to release tomorrow. The advance booking has picked up since Monday night and the romcom is all set to take a decent start at the box office. Interestingly, an interesting development has happened, probably for the first time ever, with Tu Meri Main Tera Main Tera Tu Meri. It’s generally understood that in most multiplexes, the front-row seats are priced the lowest, and the ticket rates steadily rise as you move towards the middle and back rows. But in the case of PVR Oberoi Mall Goregaon East, the unthinkable has happened. Here, you’ll have to shell out a higher price if you want to see the musical entertainer in the first three rows. But your ticket will be cheaper if you select the middle or the back rows! For the 8:00 am and 10:45 am show of Tu Meri Main Tera Main Tera Tu Meri on December 25, the first three rows, which come under the Classic category, are available for Rs. 370. But the Prim...
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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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