Rajesh Khanna-Dimple Kapadia’s granddaughter Naomika Saran to be launched opposite Vedang Raina

The third generation of the illustrious Khanna family is all set to enter the movie industry. Yesteryears’ superstar Rajesh Khanna and Dimple Kapadia’s granddaughter Naomika Saran will make her screen debut in film being produced by Dinesh Vijan of Maddock Films. Naomika is the daughter of Rajesh and Dimple’s younger daughter Rinke Khanna who was once an aspiring actress in Filmistan. Rinke did films like Pyar Mein Kabhi Kabhi and Jis Desh Ganga Mein Rehta Hai. When she was removed by Ram Gopal Varma from his film Company and replaced by Manisha Koirala, Rinke quite the film industry, got married and migrated to the West. Now, her daughter is all set to rekindle the Khanna magic on screen. Naomika’s co-star in her debut film is the talented Vedang Raina, Alia Bhatt’s co-star in Jigra, currently shooting for a film with Imtiaz Ali in Punjab. Also Read: Naomika Saran, Rajesh Khanna’s granddaughter, to debut in romantic comedy opposite Vedang...

Vaychiletik review – beautifully-shot Mexican folk music study in the high arthouse style

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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