Boney Kapoor adds Mercedes-Benz V-Class worth up to Rs 1.7 crore to his garage

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Film producer Boney Kapoor has expanded his garage with the addition of a premium new vehicle, the Mercedes-Benz V-Class, a model widely known for its emphasis on comfort, space and chauffeur-driven luxury. The acquisition reflects a growing preference among film personalities for high-end multi-purpose vehicles designed to double as mobile work and relaxation spaces. A luxury MPV designed for comfort and privacy The Mercedes-Benz V-Class is often described as a private lounge on wheels because of its spacious cabin layout and executive-focused interiors. It is especially popular among celebrities and business leaders who rely on chauffeur-driven travel and require both comfort and discretion during commutes. In India, the vehicle is available in multiple variants, with prices typically ranging between Rs 1.4 crore and Rs 1.7 crore depending on specifications and customization options. Premium interiors with executive seating One of the defining highlights of the V-Class is its six-s...
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The Second Act review – Quentin Dupieux’s likable meta comedy of actors’ private lives

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Cannes film festival
With help from an A-list cast, Dupieux brings his customary mischief to an amiable tale of imposture and role play

Cannes can always do worse than choose a comedy for its opening gala, and the festival is off to an amiable, entertaining start. Quentin Dupieux brings the wackiness onstream with this cheerfully mischievous, unrepentantly facetious fourth-wall-badgering sketch. It’s a sprightly meta gag, a movie about a movie, or perhaps a movie about a movie about a movie – or perhaps just a movie, full stop, whose point is to claim that reality as we experience it inside and outside the cinema is unitary despite the levels of imposture and role-play we bring to it. It is all just one unbroken skein of experience like the endless dolly-track (the temporary rail that lets the camera move smoothly) that Dupieux finally shows us.

There are plenty of laugh lines, though The Second Act would be a bit thin were it not for the rich, creamy thickness of the alpha-grade French acting talent involved. We see a nervy, unhappy guy called Stéphane (Manuel Guillot) open up his restaurant in the middle of nowhere, quibblingly called The Second Act. Two young men are seen walking towards the restaurant: David (Louis Garrel) and his pal Willy (Raphaël Quenard, from Dupieux’s previous film Yannick). David has a date there with a beautiful woman, whose clinginess and neediness he nonetheless finds a turnoff, so he’s brought Willy along to seduce her and take her off his hands. This woman, Florence (Léa Seydoux) is preparing to meet David, unaware of his plans to palm her off on someone else, and so confident is she that David is the One that she has actually brought her dad with her, Guillaume, played by Vincent Lindon.

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