EXCLUSIVE: In a SHOCKING development, CBFC deletes a WHOPPING 8 minutes of Sydney Sweeney’s frontal nudity scenes in The Housemaid

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The year 2026 will begin on a thrilling and erotic note for Indian cinegoers, thanks to the release of The Housemaid. The film released in the West on December 19 and has been appreciated for its subject, twists and turns and performances, especially that of Sydney Sweeney and Amanda Seyfried. However, Indian audiences may be disappointed to learn that the Central Board of Film Certification (CBFC) has edited out a significant portion of the film’s intimate scenes. The CBFC awarded The Housemaid an ‘A’ certificate on December 4 after asking for some modifications. The words ‘b***h’, ‘c**t’ and ‘motherf****r’ were muted, as per the recommendations of the Examining Committee. Secondly, the studio partner was asked to delete ‘nudity visuals of women's breasts…whenever it occurs’. As a result, a whopping 8 minutes of screen time have been axed, the longest cut due to censor diktats in recent times. Bollywood Hungama has learned that a long, intense lovemaking scene involving Sydney S...
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Maria review – Angelina Jolie plays the diva in magnificent stroll around the cult of Callas

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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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