Vidya Balan named brand ambassador for Welspun’s new 360° campaign

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Vidya Balan has been announced as the new brand ambassador for Welspun, a leading name in home textiles. The collaboration marks a significant moment for the brand as it sets out to expand its presence across Indian households with a fresh and relatable face at the forefront. As part of this high-impact partnership, Vidya will feature in Welspun’s upcoming 360-degree marketing campaign, aimed at highlighting the brand’s core promises—durability, comfort, innovation, and daily relevance across its extensive home textile range. The campaign will include brand films and promotional content designed to connect with consumers across both urban and rural India. Speaking about the association, Saumil Mehta, president & business head of domestic home textile at Welspun Global Brands, said, “Welspun’s vision of ‘Har Ghar Welspun’ is about making trusted quality accessible to every Indian home. As millions of consumers move from unbranded to branded choices, we see a powerful opportunity t...
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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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