Rhea Chakraborty announces social media break, says “I’ve been missing myself a little”

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Rhea Chakraborty has announced that she is taking a temporary break from social media, saying the constant digital noise had started affecting her mental well-being. The actor shared an emotional note on Instagram, explaining that she wanted to step away from the pressure of online life and reconnect with herself through real-world experiences. In the note shared with her 3.6 million followers, Rhea wrote, “Lately, I’ve been missing myself a little. The constant noise, the scrolling, the keeping up — it’s all started to feel heavier than I expected... So, I’m taking a step back for a while — to slow down, breathe a little deeper, and reconnect with what feels real. Choosing lived moments over posted ones, for now.” The actress has been slowly rebuilding both her personal and professional life after facing intense media scrutiny in 2020 following the death of actor Sushant Singh Rajput. Over the years, Rhea has largely stayed away from the spotlight while gradually returning to public ...
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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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