EXPLOSIVE: Kumar Mangat Pathak BLASTS Akshaye Khanna - "He insisted on a wig, signed an agreement, took advance and left Drishyam 3 just 10 days before the shoot; he has STOPPED taking my calls; success has gone into his head after Dhurandhar…I have sent him a legal notice"

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Since a few days, there have been reports that Akshaye Khanna is not a part of Drishyam 3. Bollywood Hungama also reported on the same on December 26, creating a stir online. Now, Drishyam 3’s producer Kumar Mangat Pathak has spoken exclusively to Bollywood Hungama to set the record straight. The reputed producer complained of Akshaye’s unprofessionalism and also revealed that he plans to sue the Dhurandhar actor. He also confirmed that Jaideep Ahlawat has replaced Akshaye. Kumar Mangat Pathak began by saying, “We had signed an agreement with Akshaye Khanna. His fees also got locked after a lot of renegotiations from his side. He insisted that he would like to wear a wig. But (director) Abhishek Pathak convinced him that it wouldn’t be practical, as it would result in continuity issues since Drishyam 3 is a sequel. He understood his point and agreed to let go of that demand. However, the chamchas around him advised him that he would look smarter if he donned a wig. So, he again reques...
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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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