Spirit first look unveiled: Sandeep Reddy Vanga drops special New Year treat for Prabhas fans

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The much-anticipated Pan-India film Spirit, bringing together director Sandeep Reddy Vanga and Prabhas for the first time, has officially kicked off 2026 with a major reveal. As the clock struck midnight welcoming the New Year, the makers unveiled the first look of the film, instantly sending fans into a frenzy and reaffirming the project’s status as one of the most talked-about upcoming releases. Spirit has been under the spotlight ever since its announcement, largely due to the powerful combination of Prabhas and Vanga, both known for delivering intense, high-impact cinema. The first-look reveal at the turn of the year was a calculated promotional move, and one that Vanga has successfully employed in the past. Ahead of the reveal, the filmmaker teased audiences on social media on December 31 by writing, “People… A few hours more for SPIRIT – First Poster,” sparking widespread excitement and speculation. Interestingly, this strategy mirrors the promotional approach Vanga used years ...
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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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