Pratibha Ranta not a part of Kartik Aaryan’s Naagzilla; confirms source

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Rumours suggested that Pratibha Ranta might be the “frontrunner” for Kartik Aaryan’s Naagzilla. However, a source close to the film has clarified that the Laapataa Ladies actress has not been approached for the project. As per the source, “There’s no truth to the speculation. Pratibha Ranta has not been approached for Naagzilla. Currently, she's reading a lot of scripts and is busy working on her next big project.” Pratibha Ranta may be reading plenty of scripts, but sources confirm that Naagzilla isn’t one of them. Instead, she’s eagerly awaiting The Revolutionaries, her most ambitious upcoming project. The recently unveiled first look highlights turbulent moments of the Indian freedom struggle while shedding light on lesser-known stories. Pratibha will star alongside Rohit Saraf, Bhuvan Bam, Gurfateh Pirzada, and Jason Shah. Directed by Nikkhil Advani, The Revolutionaries is slated for release on Amazon Prime Video in 2026. She also has another exciting project lined up with K...
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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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