Kriti Sanon no longer CCO of Hyphen, skincare brand confirms decision

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Actor-entrepreneur Kriti Sanon is no longer serving as the Chief Customer Officer of her skincare brand Hyphen, the company confirmed in a recent statement. The development comes nearly three years after the brand’s launch in 2023, during which Kriti had been closely associated with its positioning and outreach. The announcement was made through Hyphen’s official social media handle on April 24. In its statement, the brand acknowledged the significance of the decision and described it as part of a broader transition. “This is not a statement we make lightly. After careful study, we believe that this should be addressed honestly. The road ahead represents a tremendous transition. Certain painful but important decisions were taken. With that, we publicly announce that Kriti Sanon is no longer functioning as our Chief Customer Officer,” the statement read. The update quickly gained traction online, with users expressing a mix of surprise and curiosity about the move. Given Kriti Sanon’s...
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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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