BREAKING: Mumbai Police files FIR against Dhurandhar The Revenge location manager for flying drone in high security Fort area of South Mumbai without permission

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A few days ago, leaked images from the sets of Dhurandhar The Revenge dropped online and quickly spread like wildfire. The images featured Sanjay Dutt and Arjun Rampal shooting in South Mumbai’s Ballard Estate. The locality can also be seen being transformed into Karachi’s Lyari locality. However, two days ago, the shoot was abruptly halted by the Mumbai Police for flying a drone without permission. As per a report in Mumbai Mirror, a First Information Report (FIR) was filed against location manager Rinku Rajpal Valmiki under Section 223 of the Bharatiya Nyaya Sanhita (BNS) for “knowingly disobeying lawful orders from officials”. The FIR mentioned that the crew used drones but did not have permission. What added to the seriousness, as per the report, was that Fort is considered a high-security area of the city. The Mumbai Mirror article then revealed on February 1, Sanjay Dutt had arrived on the set and was shooting a crucial scene of Dhurandhar The Revenge. He was wearing a white pa...
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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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