BREAKING: Don 3 matter reaches court; producer T P Aggarwal files petition against FWICE's non-cooperation directive against Ranveer Singh

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The Don 3 controversy involving Farhan Akhtar and Ranveer Singh has been ongoing since the beginning of the year. It took a major turn last Monday, on May 25, when FWICE (Federation of Western India Cine Employees) declared that they have passed a non-cooperation directive against Ranveer. They proclaimed that the directive will remain in place until the dispute is resolved and until Ranveer Singh meets the FWICE head officials. Now, exactly a week later, another significant development has taken place in this matter. Veteran producer T P Aggarwal filed a petition in the Bombay Civil Court at Dindoshi against FWICE and IMPPA (Indian Motion Picture Producers' Association), stating that no individual or organization has the authority to impose a ban or issue a non-cooperation directive against members of the film industry. T P Aggarwal served as the President of IMPPA for 17 years and was also elected President of the Film Federation of India (FFI) on four occasions. He is currently...
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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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