Varun Dhawan wraps Scotland schedule for Hai Jawaani Toh Ishq Hona Hai

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Varun Dhawan has officially wrapped up the Scotland schedule of his upcoming romantic comedy Hai Jawaani Toh Ishq Hona Hai. On May 30, the actor took to Instagram to share a carousel post filled with behind-the-scenes glimpses from the shoot. “It’s a schedule wrap for us here in Scotland on #haijawaanitohishqhonahai. So many days everyone pulling together to make this happen. Bringing u all the laughs soon. Now back home,” Varun wrote in the caption, expressing gratitude towards the team. Candid Moments and Co-Star Reactions The post featured several photos with his co-stars, crew members, and producer Ramesh Taurani. Actor Arjun Kapoor couldn’t resist chiming in with a cheeky comment, calling Taurani “The hypebeast.” Meanwhile, Janhvi Kapoor, who stars opposite Varun in another upcoming film Sunny Sanskari Ki Tulsi Kumari, commented, “Sunny Sanskari is needed back in the bay asap pls.”   View this post on Instagram   A post shared by VarunDhawan (@varundvn) Varun has b...
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How did Hitler’s film-maker hide her complicity from the world?

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A new documentary delves into controversial German film-maker Leni Riefenstahl’s private archive to uncover a director who spent a lifetime covering up her central role in the Nazi propaganda machine

Leni Riefenstahl had several successes at the Venice film festival. In 1932, the festival’s inaugural year, the German film-maker’s mystical mountain drama The Blue Light made the official selection. In 1934, she picked up a gold medal for Triumph of the Will, her chronicle of the Nazi party congress in Nuremberg. In 1938, 10 weeks before Kristallnacht, she won best foreign film with Olympia, a two-part documentary of the summer Olympics in Berlin that was commissioned and financed by the Nazi government, overseen by the Reich ministry of propaganda and enlightenment, and released on Adolf Hitler’s birthday.

After the war, and until the day she died, aged 101, in 2003, Riefenstahl insisted that her films were only ever about award-winning art. Through the postwar decades, and over the course of four denazification proceedings, the film-maker presented herself as an apolitical aesthete. She had no interest in “real-world issues”. She was motivated only by beauty, creative opportunity and the perfection of her craft. Although she never disavowed her personal fascination with Hitler, she vehemently denied complicity with the atrocities of the Nazi regime. Olympia and Triumph of the Will were in no way tendentious, she told Cahiers du Cinéma in 1965. They were “history – pure history”.

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