SCOOP: After Saiyaara, Mohit Suri and Ahaan Panday's next is a twisted love story for Aditya Chopra

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In 2025, Saiyaara redefined the box office, as the film marked the launch of two superstars - Ahaan Panday and Aneet Padda. The film went on to become the biggest launch pad of the modern era, and ever since, there has been curiosity to learn more about Ahaan Panday. The young superstar signed his second feature film with YRF and Ali Abbas Zafar, and the film is presently on the floor. And now we have learnt that Ahaan's next after the Ali Abbas Zafar directorial will be a twisted love story with Saiyaara director Mohit Suri. "Mohit Suri was initially looking to make an older guy and younger girl love story. But when the logistics didn't work out, he decided to redesign the project for his leading hero Ahaan Panday. The script organically flew to perfection, and gave Mohit the wings to come up with a rather twisted love story," a trade source shared with Bollywood Hungama on anonymity. The source promises that this isn't a project designed to capitalise on the p...
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The Animal Kingdom review – Romain Duris leads post-Covid fantasy of virus-triggered mutants

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Duris stars as a father protecting his son, who may or may not be mutating, in Thomas Cailley’s well-crafted thriller

Thomas Cailley’s sci-fi fantasy has too much sensitivity and good taste to be the proper horror-thriller or creature feature that it almost resembles. It’s a drama of emotions and ideas about post-Covid society – which is welcome enough – but with a dash of prosthetics and CGI and some scares. I felt something very similar about Bong Joon-ho’s monster film The Host back in 2006: the worthiness operates against the excitement and I found myself wanting something more gleefully crass and shocking, something more ironic or thrillingly callous. The Animal Kingdom seems squeamish about going for the jugular in the way a proper genre movie would – or a Marvel movie.

The scene is a France of the near future in which there has been an outbreak of some disease which has caused humans to mutate into animals. The government is just about on top of the situation, having established high-security clinical holding units to confine the “bestioles” (“critters”) as local people heartlessly call them. François (Romain Duris) is a stressed guy keeping his emotions in check since his wife became a “bestiole” and now has to be a single-dad to his tricky teen son Émile, in which role Paul Kircher indicates that he might be succumbing to the disease with unnervingly subtle bovine and simian mannerisms, camouflaged within classic adolescent sulkiness. Adèle Exarchopoulos rather phones in the role of a uniformed female cop who appears to have a tendresse for François.

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