Prasanth Varma’s Mahakali to also release in Hindi following Akshaye Khanna’s popularity after Dhurandhar

Akshaye Khanna is being very selective after Dhurandhar, as he used to be even before his resurrection. In his next release Mahakali, Akshaye Khanna plays Shukracharya, a manipulative sage, marking his entry into Tollywood. The film, part of the Prasanth Varma Cinematic Universe (PVCU), is directed by Puja Aparna Kolluru. Said producer Prashanth Varma, “We had signed Akshaye Sir much before Dhurandhar. He is the highlight of Mahakali.” Varma intends to highlight Akshay Khanna’s presence in the North Hindi speaking belt. Earlier, the plan was to release Mahakali in Telugu only. But now after Dhurandhar, there will be a Hindi version highlighting Akshaye Khanna in the marketing. Also Read: Feroz Abbas Khan on birthday boy Akshaye Khanna’s performance in Gandhi My Father, “His emotional investment to play the part was palpable, he has made Harilal memorable in cinema” from Latest Bollywood News | Hindi Movie News | Hindi Cinema News | Indian Movies | Films - Bollywood Hungama h...

The Investigator review – harrowing documentary details search for justice after Balkan wars

Viktor Portel’s film follows Czech investigator Vladimír Dzuro as he returns to sites of torture and death, and meets survivors as well as supporters of perpetrators

Revisiting the blood-soaked conflicts that followed the breakup of Yugoslavia in 1991, Viktor Portel’s harrowing documentary follows Vladimír Dzuro, a Czech investigator committed to bringing war criminals to justice. Drawing from Dzuro’s bestselling book The Investigator: Demons of the Balkan War, the film primarily focuses on the atrocities committed by Serbian forces; as Dzuro returns to sites of torture and death, his encounters with the survivors as well as supporters of the perpetrators are at once riveting and heartbreaking.

The Vukovar massacre, one of the most infamous incidents of the war, is recounted in eye-opening detail. In 1991, in the final days of a battle between the Croatian National Guard and the Serb-controlled Yugoslav People’s Army (JNA) during the Croatian war of independence, the latter vetoed an agreement to evacuate the Vukovar hospital and turned it over to Serbian paramilitaries. In the end, nearly 300 people were executed in cold blood and dumped in mass graves. In 1996, Dzuro was a part of a mission to exhume the victims. Flickering archival footage of the campaign shows piles of bodies laid beneath the ground, a chilling visual manifestation of how history can be buried and erased. In contrast with the lo-fi quality of these newsreels, contemporary footage of Dzuro has the stylisation of a crime thriller. The look creates a gripping atmosphere, even if it also occasionally verges on overdramatisation, which the film’s already shocking true stories don’t necessarily need.

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