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

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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...
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Oh, Canada review – Paul Schrader looks north as Richard Gere’s draft dodger reveals all

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Cannes film festival
A dying director who fled from the US to Canada agrees to make a confessional film in Schrader’s fragmented and anticlimactic story

Muddled, anticlimactic and often diffidently performed, this oddly passionless new movie from Paul Schrader is a disappointment. It is based on the novel Foregone by Russell Banks (Schrader also adapted Banks’s novel Affliction in 1997) and reunites Schrader with Richard Gere, his star from American Gigolo. Though initially intriguing, it really fails to deliver the emotional revelation or self-knowledge that it appears to be leading up to. There are moments of intensity and promise; with a director of Schrader’s shrewdness and creative alertness, how could there not be? But the movie appears to circle endlessly around its own emotions and ideas without closing in.

The title is partly a reference to the national anthem of that nation, which is a place of freedom and opportunity which may have an almost Rosebud-type significance for the chief character, an avowed draft-resister refugee from the US in the late 60s, who becomes an acclaimed documentary film-maker in his chosen country. Maybe Vietnam was his real reason for fleeing and maybe it wasn’t. This central point is one of many things in this fragmented film which is unsatisfyingly evoked.

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