CBFC censors ‘sex’ and ‘f**k’ in Steven Spielberg’s Disclosure Day

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On June 10, Bollywood Hungama reported that the Central Board of Film Certification (CBFC) sprang a pleasant surprise by passing three crucial films of the week with zero cuts – Bharat Bhhagya Viddhaata, Haunted – Echoes Of The Past and Backrooms. However, the sole exception was Disclosure Day. The film received its censor certificate at the eleventh hour and was required to make a few cuts. In a dialogue in the first act, the word ‘sex’ was muted. It occurs in the scene where Daniel Kellner (Josh O'Connor) learns that his girlfriend, Jane (Eve Hewson), was a nun. When asked whether she still follows the same religious commitments, Jane replies in the negative, pointing out that they’ve already had sex. It is in this dialogue that the CBFC made a change. The other word that got muted was ‘f**k’, and it occurred twice in the film. Once these changes were made, Disclosure Day was passed with a U/A 13+ certificate on June 11. The length of the film, as mentioned on the censor certifi...
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The Deliverance review – Lee Daniels exorcism horror brings strong cast to real-life story

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Daniels’s film starts well as it points up the social pressures that informed the Latoya Ammons case, but succumbs to tired horror tropes

Ten years ago, Lee Daniels announced he was taking on a movie project based on the real-life case of Latoya Ammons, a single mother who claimed that her house was haunted, that her children were being possessed by evil spirits and that she needed a “deliverance” – in other words, an exorcism. Well, the resulting very silly and mediocre movie has now finally arrived, with Ammons in real life having long since moved out of the house in question; it has itself been bulldozed, and some of the more excitable and credulous media coverage which helped clinch the film deal has cooled in retrospect, leaving behind, perhaps, a greater emphasis on those heartless observers who were callous enough to wonder if Ammons’ paranormal claims were a drama-queen ruse for avoiding the rent and bamboozling social services.

Daniels could have made a brilliant, heartfelt film about the Ammons case, which absorbed precisely that possibility; the possibility that it wasn’t real, but real in another sense, a film that proposed “possession” as a metaphor for the racism, sexism, poverty and class prejudice that creates dysfunction and delusion in a family in this situation. And for a while, it looks as if Daniels is doing that, with robust and potent performances from Andra Day as the mother, Mo’Nique (so powerful in Daniels’s film Precious) as her social worker, and Glenn Close as Alberta, the cranky born-again Christian grandma, with Close giving this black-comic role both barrels, just as she did playing JD Vance’s crotchety Mamaw in Hillbilly Elegy.

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