REVEALED in Madras High Court order: Scenes in Vijay’s Jana Nayagan that triggered CBFC complaint – National Flag visuals, Army references, foreign powers provoking religious conflict

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On Friday, January 9, the Madras High Court ruled in favour of Jana Nayagan’s makers and asked the CBFC (Central Board of Film Certification) to grant the film a U/A 16+ certificate. The CBFC immediately challenged that decision and requested a fresh review. Following the appeal, the court put its earlier order on hold for now. It also noted that the producers of the Vijay-starrer appeared to have created an unnecessary sense of urgency about the film’s release date, which may have pressured the court, as reported by Live Law. The case will be heard again on January 21, which puts a question mark on whether the much-awaited flick would be able to make it in cinemas this month. Bollywood Hungama has a copy of the court order, which revealed that the producer had applied for certification on December 18, 2025. The film was screened for the Examining Committee on December 19, and the committee unanimously recommended U/A 16+ subject to modifications. The makers carried out the cuts and s...
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Dance Revolutionaries review – performers dance like nobody’s watching

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This two-part homage to dance greats Robert Cohan and Kenneth MacMillan captures the intimacy of live performance

Here is a two-part documentary that pays homage to dance greats Robert Cohan and Kenneth MacMillan. Directed by David Stewart, Dance Revolutionaries essentially presents two pieces performed by dancers from the Yorke Dance Project and the Royal Ballet, and with the noble intention of making modern dance immersive and accessible.

The first part, Portraits, is choreographed by Cohan (who died in 2021) and aims to “explore life’s private moments” in six solo performances created in collaboration with its cast. In theory, you’d think a dance film would fail to capture the intimacy of a live performance, but somehow Portraits accentuates it; the uninhibited passion of the dancers and lack of direct performance to the camera make it borderline voyeuristic. Each dance is set in a public but desolate place, from office buildings, and a seafront to a graffiti-scrawled tunnel, creating a sense of vulnerability and familiarity. You feel you are peeking in on an individual’s emotional turmoil that can only be expressed through dance, and it’s hard to look away.

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