Alia Bhatt’s former assistant accused of leaking confidential production house data to foreign entity

The investigation into the financial fraud case involving Alia Bhatt’s former personal assistant, Archana Shetty, has taken a serious turn with fresh allegations surfacing. Sources within the Juhu Police have confirmed that Shetty allegedly leaked confidential information related to Bhatt’s production house, Eternal Sunshine Productions, to an unidentified individual based in the United States. According to officers familiar with the probe, the data leak is believed to have involved sensitive business documents, financial reports, and potentially unreleased project details. The motive behind the leak is currently being examined, with authorities suspecting it may be linked to financial gains or the exploitation of proprietary content. In parallel, Shetty is also accused of transferring large sums of money from Alia Bhatt’s personal and company-linked accounts into those belonging to multiple individuals. Among the recipients named in the preliminary investigation are Satvik Sahu, Sim...

Streaming: High & Low: John Galliano and the best films about fashion

Kevin Macdonald’s finely balanced portrait of the disgraced Dior designer, on Mubi from Friday, is the newest arrival on a catwalk of fashion industry movies, from Funny Face to Zoolander

For those who bleat on about the iniquities of supposed “cancel culture”, the career of British fashion designer John Galliano is a useful counterpoint. Sacked in 2011 as the creative director of Christian Dior after an appalling incident of antisemitic abuse on his part, he spent two years in the wilderness before being hired by Oscar de la Renta and subsequently Maison Margiela, where he has been for a decade. A-listers still wear his gowns on red carpets. Life goes on. Kevin Macdonald’s documentary High & Low: John Galliano (streaming on Mubi from 26 April) chronicles Galliano’s rise and fall and rise with a more distanced, critical eye than you may expect from a film co-produced by Vogue publisher Condé Nast. There’s due appreciation of his distinctive design sensibility, but sharp scrutiny of personal flaws enabled by an unruly, permissive industry.

With its loucheness and capacity for bad behaviour, the rag trade has always made a great film subject: the clothes provide the visual dazzle while the volatile business of it all provides the drama. Macdonald’s film is the latest in a recent run of fine fashion docs: Ian Bonhôte and Peter Ettedgui’s ravishing McQueen told the markedly more tragic story of Alexander McQueen, the ill-fated enfant terrible of the industry, with a formal flamboyance well matched to his extravagant aesthetic and a humane consideration of his demons. Frédéric Tcheng’s Dior and I isn’t as burdened by pathos in its spectacular overview of designer Raf Simons’s debut season for the venerable French fashion house, but is compelling in its detailing of creative process. The same film-maker also made Halston, a tricksily framed but compulsive portrait of the disco-era American designer, who went from ubiquitous tastemaker to sellout by the time of his Aids-related death in 1990.

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