Avatar: Fire And Ash shows to be CUT by 30% on Christmas Day for Kartik Aaryan’s Tu Meri Main Tera; exhibitors pick Kartik as their first choice

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As Dhurandhar is continuing to rule the box office in India, the battle for the Christmas 2025 period is getting intense between the Kartik Aaryan led Tu Meri Main Tera Main Tera Tu Meri and the James Cameron film, Avatar: Fire and Ash. And in a surprising turn of events, exhibitors have decided to reduce the show count of Avatar: Fire and Ash on Christmas Day to accommodate the Kartik Aaryan rom-com at their properties. "Jio Star Studios (Distributor of Avatar: Fire and Ash in India for Disney India) has permitted exhibitors to move the Christmas Day programming for Avatar: Fire and Ash as the exhibitors had strong pressure from the stakeholders of Tu Meri Main Tera Main Tera Tu Meri headlined by Kartik Aaryan with Ananya Panday. The show reduction process has already begun at independent chains, and approx. 30 per cent of the shows will be reduced for Avatar: Fire and Ash on Christmas Day, which will give a very good release to the Kartik Aaryan film," a trade source share...
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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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