Veteran actor Kota Srinivasa Rao passes away at 83 in Hyderabad

Renowned Telugu actor and former MLA Kota Srinivasa Rao passed away on Sunday at the age of 83. He breathed his last at his residence in Hyderabad, leaving behind a legacy spanning over four decades in Indian cinema. Known for his impeccable performances across genres, Rao had acted in more than 750 films in Telugu, Tamil, Hindi, Kannada, and Malayalam. His versatility allowed him to portray a wide range of roles—from iconic villains to memorable character roles. Films like Pratighatana, Aha Naa Pellanta, Shiva, and Mahatma cemented his reputation as one of Telugu cinema’s finest actors. Born in Vijayawada, Kota Srinivasa Rao began his professional life as a banker and theatre artist before entering films in the late 1970s. Over the years, he became a beloved figure in the industry, earning accolades including the Padma Shri in 2015 for his contribution to the arts.5 Apart from acting, Rao was active in politics and served as an MLA from the Vijayawada East constituency from 1999 to...

Johatsu review – poignant account of Japan’s ‘voluntarily disappeared’

Melancholy documentary follows the owner of a ‘night moving’ business in Japan, helping people abandon their own lives

‘Johatsu” means evaporation in Japanese, and is used to refer to those people who choose to disappear, severing all ties with their past lives and their families. It became a phenomenon in Japan in the 1960s, and intensified during the 1990s as the country struggled with a debt crisis. While some plot their departures on their own, others call on the services of “night movers”: companies that help people vanish without trace.

Following the owner of one such business named Saita, Andreas Hartmann’s and Arata Mori’s poignant documentary surveys the circumstances that drive people to desperate measures. Unfolding like a suspense thriller, the opening sees a man hurriedly get inside Saita’s van, his voice trembling with fear. Unable to cope with a possessive partner, he finally manages to flee. Interviews with Saita’s other clients reveal that, besides financial catastrophes, domestic abuse is often a catalyst for escape. At the same time, the reasons for a disappearance are not always clear-cut, and the film not only lends an ear to the “evaporated” but is also sympathetic to the abandoned, who are left with gnawing questions and no answers.

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