Mohammed Zeeshan Ayub distances himself from Shraddha Kapoor starrer Eetha; says his voice was used without context

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Actor Mohammed Zeeshan Ayub has publicly distanced himself from the upcoming Shraddha Kapoor-starrer Eetha, claiming that his voice was used in the film's teaser without his knowledge of the context. The actor took to social media to issue a detailed clarification, asserting that he has no association with the project and had objected to the use of his voice immediately after the teaser was released. Although Zeeshan Ayub did not explicitly mention the name of the film in his note, it was widely inferred that he was referring to Eetha, whose teaser had opened with a narration in his voice. According to the actor, he had agreed to dub a single line months ago after being approached by people he knew personally, without being informed about the larger context in which it would eventually be used. Sharing his statement on X aka Twitter, Mohammed Zeeshan Ayub wrote, “Few weeks back, a film teaser released with the opening line in my voice. I wish to put on record that I am not part of...
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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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