Celina Jaitly BREAKS SILENCE after Peter Haag and father-in-law sent legal notices; calls it “an attempt to divert attention”

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Actress Celina Jaitly has issued a detailed statement in response to legal notices sent by her estranged husband Peter Haag and his father, Wolfgang Haag, who have threatened to initiate defamation proceedings against her. The development comes days after Semwal & Co., acting on behalf of Peter Haag and Wolfgang Haag, confirmed that two separate legal notices had been served to the actress. The notices alleged that Celina had circulated false, defamatory and misleading statements through social media, interviews and media interactions while matrimonial and child custody proceedings remain pending before courts in Austria. Responding publicly, Celina said her legal team at Karanjawala & Co. has already submitted a formal reply. "Two legal notices have recently been sent to me by my estranged husband Peter & his father Wolfgang Haag, threatening to sue me for defamation. A response has aptly been submitted through my legal representatives, advocates at Karanjawala &...
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Vaychiletik review – beautifully-shot Mexican folk music study in the high arthouse style

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A tender film about the music of Mayan descendants is hampered by the alofty adherence to a documentary aesthetic where nothing is explained

This film about a flute player and farmer named José Pérez López from Zinacantán in Chiapas, Mexico, teems with beautifully shot images of folks playing music, embroidering, participating in days-long community rituals, and tending their crops of flowers in polytunnels – pretty normal everyday stuff. It feels a little more elevated because it affords a glimpse into the life of descendants of the Mayans who practice ancestor worship and polytheistic beliefs but also have shrines with Catholic saints. The film’s website has a handy chunk of text about Bats’i son ta Sots’leb, the traditional music of Zinacantán, described in fascinating musicological detail.

It’s a shame that kind of explanatory background can’t be found anywhere in the movie. In fact, the subtitles and dialogue never even give the names of the people we are observing for most of the running time. You can only work out that the old guy is named José, and the woman who laughingly scolds him for drinking so much is Elvia Pérez Suárez, presumably his wife, and that they also live with a hard-working younger man named Esteban Pérez Pérez (presumably José and Elvia’s son) and some even younger kids: Esteban’s children? Random kids from next door? Who knows, because this scrupulously verité-style film is determined to adhere to the high-arthouse documentary aesthetic wherein nothing is explained, nothing is contextualised, and there’s no sense of what point or purpose this all serves other than a little digital tourism to a far-flung corner of the globe.

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