Farhan Akhtar’s Don 3 finally gets rolling: Ranveer Singh - Kiara Advani to shoot from January 2026, Priyanka Chopra may return

The long-awaited Don 3, directed by Farhan Akhtar, which had been delayed for various reasons, is finally set to begin shooting in January 2026. Confirming this development, a source told Subhash K Jha, “Yes, there’s been a delay—but it couldn’t be helped. Ranveer Singh, who replaced Shah Rukh Khan in the franchise, had to deal with a wave of online trolling for ‘daring’ to step into SRK’s shoes. Farhan and Ranveer mutually decided to lie low and let the heat die down. Ranveer also needed time to physically and mentally prepare for the role, which requires rigorous martial arts training.” The source further added, “After that, Kiara Advani—who was signed on to replace Priyanka Chopra as the female lead—got pregnant. Farhan had to halt the film’s progress due to her changed circumstances. To add to that, Farhan got deeply immersed in his own acting schedule for the intense war film 120 Bahadur, where he plays Major Shaitan Singh. That film is scheduled to release on November 21, 2025.”...

Rome, Open City review – Rossellini’s blazingly urgent masterpiece from a city in ruins

Roberto Rossellini’s 1945 neorealist drama is unsparing in its depiction of the heavy price of both resistance and collaboration with the Nazi occupation

Roberto Rossellini’s 1945 film is a blazingly urgent and painful bulletin from the frontline of Italy’s historical agony: the Axis power that had belatedly turned against the Mussolini fascists only to be humiliatingly occupied by Nazi Germany on whose orders the dictator was reinstalled in the northern Salò puppet state, resplendent in contemptible impotence and pathos, with Rome at its defeated and compromised centre. It was a film that used the so-recently-devastated real streets and people of Rome on location for a project on which Rossellini started script work well before the end of the war, building on ideas by screenwriter Sergio Amidei with dialogue contribution by the young Federico Fellini.

Rome, Open City is revived as part of the BFI Southbank’s Chasing the Real season of Italian neorealism, along with the two other movies from his “war” trilogy: the episodic portmanteau film Paisà (1946) and Germany Year Zero (1948). This is the first time I have revisited the film since its rerelease 10 years ago, when the locations seemed as vivid and compelling as the Vienna of Carol Reed’s The Third Man or the (fabricated) Casablanca in Michael Curtiz’s Hollywood classic. Rome was “open” in the sense that that the Allies had agreed not to bomb it in deference to its historic and architectural importance and in return for the Italian authorities’ undertaking not to defend it militarily. In fact, Rome had been bombed before its “open” status was agreed on; one figure asks Anna Magnani’s character here if the Americans really exist, and she shruggingly gestures at the (genuine) bomb damage and says: “Looks like it.”

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