Jackky Bhagnani returns to acting after six years with Independence Day anthem 'Tere Rang Mein': "I wanted the street credibility and respect of Gen Z"

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Jackky Bhagnani has returned to acting after a six-year gap with the Independence Day anthem 'Tere Rang Mein,' released under his music label Jjust Music. The actor-producer said the song offered him an opportunity to return to the screen with a project that was personally meaningful to him. Bhagnani described himself as a patriot and said the nature of the song played an important role in his decision to face the camera again. “I am a patriot by heart. It’s been quite some time since I faced the camera. So, I thought the best way to come back is with the right cause,” Bhagnani said. The actor's return comes after several years of focusing primarily on film production. According to Bhagnani, stepping away from acting was a conscious decision as he worked behind the scenes and became more involved in producing films. Jackky Bhagnani on focusing on film production Bhagnani said his experience as a producer made him rethink the way he wanted to approach his acting career. He ...
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Is Warfare the most realistic war film ever made?

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In Alex Garland and Ray Mendoza’s brutal and immersive new film, memory informs the events that take place in real time to a unit of soldiers in Iraq

Warfare, Alex Garland and Ray Mendoza’s assiduous new film on a single episode of the American war in Iraq, opens with a title card typical to a war picture: date, location, barebones summary – 11 November 2006, in Ramadi, Iraq. Navy SEAL team alpha one is supporting Marines in insurgents’ territory. And then one final, unusual detail in place of the standard “based on a true story” – “This film uses only their memories.” The “only” is an ominous indicator: this is a film working against the Hollywood tide to gloss, simplify or narrativize. Warfare, based primarily on Mendoza’s memories of that day as a former SEAL, as well as those of fellow soldiers and civilians present, is as much an experiment of translation as a cinematic achievement, a movie defined by both what it shows and what it does not.

Much of the press surrounding Warfare has focused on this exacting verisimilitude, its mission to create the “most accurate war film possible”. If something could not be double-checked by another account, it was not included. The intricate, fully immersive soundscape, designed by Glenn Fremantle, encompasses the vast volume spectrum of conflict – civilian chatter, a hand grazing a windowsill, burps of radio, destabilizing patters of gunfire and the sonic boom of a “show of force” military flyover that had nearly the same fetal-position effect on the theater audience as it did the characters. With the exception of a first scene observing the soldiers raucously dancing to the erotic music video for Eric Prydz’s Call On Me – underscoring just how young they are, how much pressure must be released – the movie proceeds in more or less real time. Ninety-ish minutes at a house the soldiers picked because one said “I like it”, at first tracking and then fighting nameless insurgents, with dialogue primarily in undiluted military jargon.

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