MEGA EXCLUSIVE: Vashu Bhagnani faces fresh heat; PVR Inox Pictures likely to initiate legal proceedings over alleged dues from Rs. 100 crore three-film deal

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Vashu Bhagnani has been in the news over the past few weeks after initiating legal proceedings against the makers of Hai Jawani Toh Ishq Hona Hai over the alleged unauthorised use of the songs Chunari Chunari and Ishq Sona Hai from Biwi No. 1. The producer has claimed that the iconic tracks have been used without his authorisation, allegedly amounting to copyright infringement. Now, Bollywood Hungama has exclusively learned that the veteran producer may be staring at another major legal flashpoint this time involving PVR Inox Ltd. A source told Bollywood Hungama, “PVR Inox Ltd, which also has a distribution arm PVR Inox Pictures, had entered into a three-film arrangement with Vashu Bhagnani’s production house, Puja Entertainment. As part of the understanding, PVR Inox Pictures had reportedly paid around Rs. 100 crores as a refundable advance to Puja Entertainment and agreed to release Mission Raniganj, Ganapath and Bade Miyan Chote Miyan. The understanding was that if the films failed...
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The Shrouds review – David Cronenberg gets wrapped up in grief

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Cannes film festival
Elaborate necrophiliac meditation on loss and longing stars Vincent Cassel as an oncologist who has founded a restaurant with a hi-tech cemetery attached

David Cronenberg’s new film is a contorted sphinx without a secret, an eroticised necrophiliac meditation on grief, longing and loss that returns this director to his now very familiar Ballardian fetishes. It’s intriguing and exhausting: a quasi-murder mystery and doppelganger sex drama combined with a sci-fi conspiracy thriller which comes very close to participating in that very xenophobia it purports to satirise. And among its exasperating plot convolutions, there is a centrally important oncologist who was having a possible affair with the hero’s dead wife and who had also been her first sexual partner as a teenager – but who never appears on camera.

Yet for all this, the film has its own creepy, enveloping mausoleum atmosphere of disquiet, helped by the jarring electronic score by Howard Shore. We are in Toronto of the present or near future in which a wealthy and stylish widower and entrepreneur called Karsh (Vincent Cassel) has founded a restaurant with a cemetery attached: a state of the art burial place where people can bury their loved ones with a new “shroud” whose thousands of tiny cameras can record and transmit real time, 8K pictures of the body’s decay, which you can watch on your smartphone.

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