Dhurandhar actor Nadeem Khan arrested for alleged 10-Year sexual exploitation of domestic worker on false marriage promise

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Actor Nadeem Khan, who was recently seen in the film Dhurandhar, has been arrested by Mumbai Police following serious allegations made by his former domestic worker. The case pertains to claims that the actor repeatedly sexually assaulted the woman over nearly a decade, allegedly luring her with a false promise of marriage. Khan, who portrayed the character Akhlak—cook to the dacoit Rahman—in Dhurandhar, was taken into custody by Malvani Police on Thursday. Officials confirmed that he is currently in police custody as the investigation progresses. According to police sources, the complainant is a 41-year-old woman who has worked as a domestic help at the residences of several actors over the years. In her statement, she said she first came into contact with Khan in 2015. What began as a professional association allegedly developed into a personal relationship, during which the actor is said to have assured her that he would marry her. Relying on this assurance, the woman claimed she...
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‘It’s like Game of Thrones!’ The return of India’s ancient superhero fantasy epic

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In the 1980s, Peter Brook’s adaptation of The Mahabharata enchanted audiences on stage and screen. As Brook’s son presents a restored print at the Venice film festival, he and his team discuss the work’s extraordinary journey

When Antonin Stahly was nine years old, his mother took him to the Théâtre des Bouffes du Nord in Paris to see a production of the ancient Indian epic The Mahabharata, which translates loosely as “the great story of mankind”. More than 20 actors from 16 countries performed on a stage steeped in red earth and scarred by a water-filled trench; fire also played a leading role. Directed by Peter Brook, whom the RSC founder Peter Hall called “the greatest innovator of his generation”, and adapted by Luis Buñuel’s former co-writer Jean-Claude Carrière, this spectacular Mahabharata weighed in at nine hours, plus intervals. Even at that length, it represented a massive compression of its source text, which runs to 1.8m words. Brook and Carrière’s version has been likened to summarising the Bible in 40 minutes.

Audiences could devour The Mahabharata in three parts over successive evenings or as an all-day weekend marathon; in some outdoor venues, such as the limestone quarry in Avignon where the production premiered in 1985, it began at dusk and climaxed just as the dawn sun lit up the sky. Stahly saw it in a single noon-to-midnight sitting. “It was like a superhero fantasy,” he says, still sounding awestruck. “It had Bhima, the strongest man on Earth, and Bhishma, who has the power to live for ever. Arjuna was the best warrior. And then there were all the gods. It was amazing for me, because I’m half Indian, but I wasn’t brought up in an Indian context.”

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