BREAKING: The RajaSaab ends with the promise of a sequel titled RajaSaab 2: Circus 1935

The Prabhas-starrer The RajaSaab has sprung a major surprise on audiences, with the film ending on a clear hint that the story is far from over. In a move that will set social media buzzing, the makers reveal in the final moments that the film will continue in a sequel titled RajaSaab 2: Circus 1935. While The RajaSaab largely plays out as a horror-comedy mounted on a lavish scale, its closing stretch opens the doors to a much bigger universe. The title Circus 1935 suggests that the sequel will travel back in time, promising a blend of vintage aesthetics, mystery and spectacle, elements that align well with director Maruthi’s penchant for mixing genre thrills with mass entertainment. With The RajaSaab already generating strong buzz for its scale, visuals and Prabhas’ larger-than-life presence, the announcement of RajaSaab 2: Circus 1935 has only amplified the excitement among fans. Interestingly, the title hints at a darker, more enigmatic setting, with a circus backdrop from the 19...

Maria review – Angelina Jolie plays the diva in magnificent stroll around the cult of Callas

Venice film festival
Jolie is a painting to be stared at in Pablo Larraín’s opulent drama, tottering around Paris in the 70s and drawing us in to tragedy as thoroughly as Bellini or Pucchini

Hide the overflowing ashtrays and move that infernal grand piano – Maria Callas, La Diva, is granting a valedictory TV interview. She’s pacing the halls of her Paris apartment, feeding her poodles and strung out on pills. The visiting journalist is called Mandrax, named after her favourite medication. He takes a seat and checks the mic. By way of introduction, he says, “I’d like to walk with you through your life.”

Callas’s life whisked her from the slums of Nazi-occupied Athens to the concert halls of Europe and the US, through a torrid relationship with Aristotle Onassis to collaborations with Pasolini and Zeffirelli. But Pablo Larraín’s opulent Maria shrewdly homes in on the soprano’s final days, showcasing a stiffly dignified Angelina Jolie as the lioness in winter, four years retired and a legend in her own lunchtime. “Make me an appointment with a hairdresser who doesn’t speak,” she orders her doting servants. “Book me a table at a restaurant where the waiters know who I am.” She is in the mood, she adds, for adulation.

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