Netflix unveils Operation Safed Sagar at Sekhon Indian Air Force Marathon 2025, honoring IAF’s daring Kargil mission

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The spirit of India soared high as Netflix unveiled its upcoming series, Operation Safed Sagar —an ambitious retelling of the Indian Air Force’s pivotal role in the Kargil War — at the first-ever Sekhon Indian Air Force Marathon 2025 (SIM-25) in New Delhi. Created by Abhijeet Singh Parmar and Kushal Srivastava and directed by Oni Sen, the series is headlined by Siddharth, Jimmy Shergill, Abhay Verma, Mihir Ahuja, Taaruk Raina, and Arnav Bhasin, among others. The marathon, held at Jawaharlal Nehru Stadium, New Delhi, brought together serving officers, veterans, dignitaries, including Air Chief Marshal AP Singh- Chief of the Airstaff, members of the press, and thousands of civilians united in pride for the Indian Air Force. Amid an atmosphere charged with patriotism, Netflix India’s VP of Content, Monika Shergill, and Series Head, Tanya Bami, unveiled the teaser of what promises to be Netflix’s biggest Indian series of 2026. Produced by Matchbox Shots and Feel Good Films, and created w...
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Highest 2 Lowest review – Spike Lee and Denzel Washington remake Kurosawa in fine style

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Cannes film festival
Akira Kurosawa’s downbeat noir High and Low is retooled with Washington on magnificent form as a record producer whose godson is kidnapped by mistake

Spike Lee has made a brash, bold, big-city movie with this pulsing New York adventure that doubles as a love letter to NYC’s sports and its music. It is a remake (or maybe cover version) of Akira Kurosawa’s classic downbeat noir High and Low from 1963, transplanting the action from Yokohama to New York – or rather returning it there, because the original source material, Ed McBain’s novel King’s Ransom, is set in a fictional city based on the Big Apple.

It’s got a terrific throb of energy and life, moving across the screen with the rangy grace of its superstar Denzel Washington – though a little of the minor-key sombreness and complex pessimism and cynicism of the first film has been lost and the modern technology of GPS (unknown in Kurosawa’s day) has indirectly left it with a very small plausibility issue.

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