SCOOP: Sunny Deol-Akshaye Khanna's Netflix film Ikka expected to have fan screenings before release

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Veteran actors Sunny Deol and Akshaye Khanna are clearly on a high right now. Sunny’s career got a boost with the blockbuster success of Gadar 2 (2023). Jaat (2025) was a decent grosser while Border 2 (2026) was a huge hit, which proved that Gadar 2’s success was not a fluke. Meanwhile, Akshaye Khanna went on another level with his performance as Rehman Dakait in Dhurandhar (2025). Both these stars will now share screen space in Ikka. The film will release directly on Netflix on July 10; however, lucky fans are expected to get a chance to catch the film on the big screen. A Twitter handle named ‘LegendDeols’ revealed on June 19 that fan screenings of the film will be held in July 8 in 3-4 cities, that is, two days before the release. The handle further asked the fans to show interest in the post so that they can get tickets to this screening. Bollywood Hungama enquired about it and learned that such a screening is indeed in the works. A source told us, “The makers are indeed planning ...
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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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