Akshay Kumar's Ghis Ghis Ghis is not here to win critics; it's here to hijack weddings, reels and meme pages

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There are songs that arrive with mood lighting, designer costumes, international locations, 400 background dancers, drone shots, neon frames and a marketing deck longer than the screenplay. And then there is Ghis Ghis Ghis from Welcome To The Jungle, which seems to have arrived with only one mission: Boss, speaker phaadna hai. In an industry that has become painfully obsessed with looking cool, sleek, premium, curated and Instagram-safe, Ghis Ghis Ghis feels like that one loud baraati who enters the wedding before the groom, dances with the band, argues with the dholwala, eats two plates of chaat and still becomes the most memorable person of the evening. The recently released song from Welcome To The Jungle features Akshay Kumar with Bhojpuri star Akshara Singh has clocked more than 6 million views in the past 24 hours. But the bigger story is not just the song. The bigger story is what the song represents. Bollywood has spent the last few years trying very hard to decode virality. T...
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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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