SCOOP: No Eid release for Battle Of Galwan; Salman Khan-starrer to probably release in January or June 2026

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After Sikandar (2025), Salman Khan is now geared up to bring his next film, Battle Of Galwan, to cinemas. The first look of the film has been appreciated as it showcased Salman Khan in a never-before-seen avatar. As the war film is all set to go on floors, the trade, industry, and fans are asking when Battle Of Galwan will be released. As is widely known, Salman’s films are typically released on Eid. Hence, can the superstar’s war drama be expected to arrive next year on the festival? A source told Bollywood Hungama, “The makers are not looking at releasing the film on Eid. This is because three films are already scheduled for release on March 19, 2026 – Yash-starer Toxic, the comic caper Dhamaal 4 and Sanjay Leela Bhansali’s intense romantic drama Love & War, starring Ranbir Kapoor, Alia Bhatt and Vicky Kaushal. Love & War might not make it on Eid and even if we take this film out, two other movies have already taken the slot. Salman is fair in such matters and hence, doesn’t...
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Donald Sutherland was an irreplaceable aristocrat of cinema

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The late actor was a commanding and versatile presence on the big screen, perfecting everything from villainy to sensuality in films such as Don’t Look Now and Klute

Donald Sutherland was an utterly unique actor and irreplacable star: possessed of a distinctive leonine handsomeness that the white beard of his latter years only made more majestic: watchful, cerebral, charismatic, with a refinement to his screen acting technique comparable perhaps only to Paul Scofield and his Canadian background (together with his early stage training and experience in England and Scotland) gave his American roles a certain touch of Anglo-international class. Sutherland was commanding and exacting, he gave each of his roles and films something special: he addressed his co-stars and the camera itself from a position of strength.

Even playing a weak or absurd character, as he did starring as the preposterous womaniser in Federico Fellini’s Casanova in 1976, finally reduced to the job of a librarian in a German count’s castle, brooding grotesquely over the phantoms of past lovers, Sutherland was still strong, still mesmeric, his intelligent face still sympathetic as Casanova, even though resembling a non-priapic gargoyle. For Bertolucci in his Italian epic 1900, he played an actual fascist, the gruesomely named Attila, and though certainly very far from sympathetic, he played the role with a sickeningly twinkle-eyed dynamism.

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