BREAKING! Post-midnight shows of Dhurandhar added in Mumbai, Pune, Ahmedabad due to unprecedented demand

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The buzz around Dhurandhar has been translating into packed theatres, with post-midnight shows being introduced across Maharashtra due to overwhelming public demand. In Mumbai, cinemas have begun screening the film from as late as 12:45 am onwards, marking a rare but telling response to the unstoppable excitement surrounding the release. The decision to add post-midnight shows was taken after advance bookings surged across multiplexes and single screens alike. The move underlines the strong word-of-mouth and pre-release anticipation that Dhurandhar has managed to generate. The trend is not limited to Mumbai alone. Pune has also joined the celebration, with post-midnight shows commencing from 12:20 am onwards starting today due to similar reasons—heavy booking and consistent inquiries from moviegoers keen to catch the film at the earliest possible hour. Similarly, the trend of post-midnight shows is also seen in Ahmedabad. But this is not the first time that Dhurandhar’s post-midnight ...
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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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