Trade predicts Hai Jawani Toh Ishq Hona Hai can open at Rs. 7-8 cr; experts open up on David Dhawan's possible retirement: "What a career he has had…"

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As Hai Jawani Toh Ishq Hona Hai is all set to release this Friday, June 5, Bollywood Hungama spoke to trade experts to understand the buzz for the film. Trade veteran Taran Adarsh said, “David Dhawan is returning after quite a gap, that too, with his son again. I want to watch this film for him. I just hope that he doesn’t churn out something that has been repeated and over-repeated. This is because the audience today has seen all his films. He is a director with a great filmography who has made the most-watched films. At the same time, he’s not going to direct films after Hai Jawani Toh Ishq Hona Hai. What a career he has had! That calls for celebration and I hope it matches upto those expectations.” Trade analyst Atul Mohan added, “The buzz is there and it looks like a light, entertaining film. There hasn’t been a solo Varun Dhawan film in a long time. Also, its music has become popular. Moreover, David Dhawan is associated with the film. So, we hope it’ll be a fun comic caper.” Gir...
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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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