BREAKING: The RajaSaab ends with the promise of a sequel titled RajaSaab 2: Circus 1935

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The Prabhas-starrer The RajaSaab has sprung a major surprise on audiences, with the film ending on a clear hint that the story is far from over. In a move that will set social media buzzing, the makers reveal in the final moments that the film will continue in a sequel titled RajaSaab 2: Circus 1935. While The RajaSaab largely plays out as a horror-comedy mounted on a lavish scale, its closing stretch opens the doors to a much bigger universe. The title Circus 1935 suggests that the sequel will travel back in time, promising a blend of vintage aesthetics, mystery and spectacle, elements that align well with director Maruthi’s penchant for mixing genre thrills with mass entertainment. With The RajaSaab already generating strong buzz for its scale, visuals and Prabhas’ larger-than-life presence, the announcement of RajaSaab 2: Circus 1935 has only amplified the excitement among fans. Interestingly, the title hints at a darker, more enigmatic setting, with a circus backdrop from the 19...
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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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