Ranbir Kapoor starrer Ramayana trailer to launch Worldwide on July 24

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The makers of Namit Malhotra’s Ramayana have officially announced that the film’s trailer will premiere worldwide on July 24, 2026. Positioned as one of the biggest cinematic projects inspired by Indian mythology, the film aims to bring one of the country’s most celebrated epics to audiences across the globe. Earlier, the makers unveiled the Rama glimpse, offering viewers a first look at the film’s visual scale and interpretation of the timeless epic. The preview generated significant buzz and heightened anticipation for the project. With the trailer release date now confirmed, excitement surrounding the film has grown even further. Planned as a two-part theatrical event, Ramayana: Part One seeks to present the revered story on a grand cinematic canvas through large-scale visuals, emotional storytelling, and advanced visual effects. The upcoming trailer is expected to offer audiences a deeper look into the world created by the filmmakers.   View this post on Instagram   A...
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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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