Saif Ali Khan Case: Auto-rickshaw driver who rushed Saif Ali Khan to hospital unaware of actor’s identity; says, “A man who was covered in blood came out…”

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A day after actor Saif Ali Khan was stabbed by an intruder at his Bandra residence, an auto-rickshaw driver Bhajan Singh Rana, who took him to the Lilavati Hospital, said he was not aware that the passenger he was taking to the Hospital was film actor Saif Ali Khan. He said, “I drive my vehicle at night. It was around 2-3 am when I saw a woman trying to hire an auto but nobody stopped. I could also hear calls for a rickshaw from inside the gate. After I took a U-turn and stopped my vehicle at the gate, a man who was covered in blood came out. 2-4 people also accompanied him.” He added, “They put him in the auto...They decided to go to Lilavati. I dropped them off there...I then came to know that he is Saif Ali Khan...I saw him bleeding from his neck and back.” #WATCH | Attack on #SaifAliKhan | Mumbai: Bhajan Singh Rana, autorickshaw driver who rushed the actor to Lilavati Hospital after the attack, says, "I drive my vehicle at night. It was around 2-3 am when I saw a woman tryi...
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In Short, Europe: Best of Best review – heady celebration of European short film-making

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This year’s edition of the festival, Best of Best, will show a collection of 28 award-winning short films across five strands offering dystopian visions and ideological bite

With the EU recently passing the world’s first artificial intelligence law, this year’s trawl of European shorts from cultural organisation Eunic London doesn’t miss a trick by dwelling on matters algorithmic in much of its first section, Smile You’re on Camera – most prominently the ongoing wrangle between tech and labour in the workplace. It’s the one overtly topical strand alongside four others (Hard Decisions; People on the Precipice; Psychodrama; and the kids’ animation section Why’s the Sky Blue?) that stick to the more abstract themes into which Eunic typically packages up Europe’s film-making grassroots.

The longest work here, the 23-minute I’m Not a Robot, by the Netherlands’ Victoria Warmerdam, doesn’t quite live up to a canny premise: the music-company worker whose inability to pass a Captcha test means that she is, in fact, a robot. Ellen Parren, in a sharp performance, twitches with affront at the suggestion in this sitcom-y spin on Blade Runner’s existential riddle. But, as her boyfriend weighs in and mansplains her newfound dronedom, it devolves into a talky slog that adds little beyond MeToo frills to the black box of the sentience question. And – through no fault of the film-makers – it’s also the one most tenuously related to the theme of being watched.

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