Anurag Kashyap reacts to CJP protest controversy with cryptic post questioning police action

Filmmaker Anurag Kashyap has weighed in on the ongoing controversy surrounding the Cockroach Janata Party (CJP) protest near Parliament in Delhi, which reportedly turned violent and has triggered a political debate across the country. Known for speaking candidly on social and political issues, Kashyap took to Instagram to express his views through a strongly-worded note, adding his voice to the growing reactions surrounding the incident. Sharing a post on his Instagram Stories, the filmmaker wrote in Hindi, “Wardi pehenne ke liye aatma ka, aatmiyta ka, sabka sauda karna padta hai. Maloom nahi tha. Kya ek police wala hai is desh mein jo khada ho ke bol sake main iss aadesh ka palan nahin karoonga kyonki ye galat hai (I did not know that wearing a uniform requires one to sell their soul, compassion, and everything else. Is there even one police officer in this country who can stand up and say, ‘I will not follow this order because it is wrong).”   View this post on Instagram ...

Donald Sutherland was an irreplaceable aristocrat of cinema

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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