BREAKING: Interstellar back in cinemas due to public demand; Dune: Part Two to also re-release on March 14 in IMAX

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A lot of Bollywood films have re-released off late but when it comes to Hollywood, a handful of classics have had a re-run in cinemas. Last month, Interstellar re-released and received a rocking response. However, it just had a one-week run. If you missed watching the cult film in cinemas, here’s a reason for you to rejoice. The film will be back on the big screen on March 14, that too in IMAX. Moreover, Warner Bros will also bring back Dune: Part Two on the same day in theatres. A source told Bollywood Hungama, “Interstellar has a huge demand as it’s a film worth watching in theatres, that too IMAX. However, it re-released on February 7 and had to discontinued from February 14 to accommodate the new releases, Chhaava and Captain America: Brand New World. Both these films got a release in IMAX as well.” The source continued, “Many were aware that Interstellar had just a one week run. Hence, it held very well in the weekdays, collecting Rs. 2 crore plus. Yet, there was a section of mo...
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Streaming: Steven Soderbergh’s Presence and the best haunted house films

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The director’s witty supernatural thriller joins Psycho, Hereditary, The Brutalist and more – films in which buildings are characters in their own right

The first more-or-less horror movie in the lengthy, genre-skimming career of director Steven Soderbergh, Presence is a film about grief, trauma, familial dysfunction and abusive masculinity. But it’s also, to a significant and compelling extent, about property. Beginning with a family’s first viewing of a handsome Victorian home in an unidentified stretch of suburbia, the film never ventures outside its walls for the next 85 minutes, as the ensuing chills make us consider the merits of that purchase. Wittily and unnervingly shot from the perspective of the restless spirit roaming its halls, it’s a haunted house film in which much of the tension feels determined by the shape and flow and light and shade of the house itself. It’s a while since I’ve seen a film where I could quite so exactly draw the floor plan of its primary location, even months after viewing.

Presence is the latest entry, then, in a subset of films set in a house that gradually takes on a life and personality of its own – not just a vivid or spectacular set, but a space that begins to dictate proceedings as much as any of the human characters’ actions. Horror cinema is, of course, particularly conducive to this kind of building control – a genre where every cranny is a potential threat or refuge.

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