Resul Pookutty refutes AR Rahman's communal remark, "He shouldn't have said that. I have never faced anything like that in my entire career"

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Oscar winning sound designer has much common in A R Rahman. They both won Oscars for Danny Boyle’s Slumdog Millionaire and they are both Muslim. So, has Resul also felt the “communal thing” that Rahman says he has experienced? Said Resul, “He shouldn’t have said that. I have never faced anything like that in my entire career. I think film industry is one sector where such thoughts haven’t gone deep rooted and we see things way beyond sectarian thoughts. I’m very proud of that aspect of my industry.” Defending Rahman’s remarks Resul Pookutty said, “If you listen to what he said about this is, when he was removed from projects he ‘heard’ whispers from people referring to it as ‘that might be communal’. Now what he said is what people told him. In the same breath he said, people are too mature to not see things beyond all these factors. It seems we are very quick to pin Rahman down. I think he said things with sincerity. Let’s not crucify him for what he felt ab...
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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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