Siddhant Chaturvedi’s Netflix film Ramree, backed by Ajay Devgn, shelved due to budget constraints: Report

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After earning acclaim for his performance in Dhadak 2, Siddhant Chaturvedi seemed set to continue his momentum with Ramree, a two-hero OTT project backed by Ajay Devgn. However, the ambitious period drama has now reportedly been shelved before going on floors. According to a report by Mid-Day, Ramree was conceived as a large-scale film set in 1945. The project, which had been under development for over a year, aimed to blend historical events with cinematic storytelling. However, given its elaborate setting and production requirements, the film’s mounting budget became a major hurdle. A source close to the development told the publication, “For an OTT film, this would have set a benchmark in scale and imagination, but budget constraints caught up with it. Even though the platform heads were excited about the story, there was too much at stake financially. So, they decided not to move forward with it.” Another insider offered a different perspective, suggesting that Ramree never reac...
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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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