SCOOP: Kartik Aaryan and Luv Ranjan's next to go on floors in October 2026

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Kartik Aaryan is among the busiest actors of B-Town, signing on for films left, right, and centre. While he is presently juggling between Anurag Basu's next film and Kabir Khan's directorial, we have exclusive scoop that Kartik and Luv Ranjan have been meeting off late to strategise on their next collaboration after the historic success of Pyaar Ka Punchnama Franchise and Sonu Ke Titu Ki Sweety. Reliable sources confirm that Kartik Aaryan has given a go-ahead to Luv Ranjan's next film, and it will go on floors towards the end of 2026. "Luv Ranjan has been keen to partner with Kartik Aaryan for a while now, and the duo have been jamming on multiple subjects over the last 6 months. After multiple rounds of discussions, they have finally locked in on an exciting idea, which falls right in the world of the Punchnama franchise. Kartik has okayed the script and has tentatively allotted dates from the end of 2026, starting in October," a source shared with Bollywood Hun...
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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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