EXCLUSIVE: Anupria Goenka to make her Cannes debut with Bombay Stories; reveals, "Proud of War and Tiger Zinda Hai; thoroughly enjoyed shooting for them…Dhurandhar was a fabulous film"

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May is a significant month for Anupria Goenka. Her film, IIZ: Indian Institute Of Zombies, was released on May 15, marking her first theatrical outing after four years. She’ll end the month on a celebratory note as she rings in her birthday on May 29. That’s not all. She has another reason to celebrate this month – the talented and gorgeous actress will make her debut at the Cannes Film Festival this year. Anupria Goenka exclusively told Bollywood Hungama, “I am going to Cannes for the premiere of the film called Bombay Stories. It’s being screened at the market section; it’s not in the official selection. Nevertheless, this will be my first visit to Cannes.” She continued, “After that, I plan to travel around. I haven’t explored Europe much; I have only been to the United Kingdom. So, this birthday, I want to break my pattern and visit other countries (smiles).” She also revealed, “I am leaving for Cannes on May 18, after IIZ: Indian Institute Of Zombies releases on May 15. Wish me l...
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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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