Preity Zinta approaches Bombay High Court to take down AI deepfake content; next hearing scheduled on July 6

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Actor Preity Zinta has approached the Bombay High Court seeking the removal of AI-generated deepfake videos, morphed images and other unauthorised content featuring her from social media and online platforms. The actress has also sought an injunction to prevent the publication and circulation of such content in the future. The matter came up for hearing before a single bench of Justice Madhav Jamdar on Friday. After hearing preliminary submissions, the court directed the parties, including the online platforms concerned, to work out a mechanism for taking down the allegedly offending material. The matter has now been listed for further hearing on July 6. Preity Zinta seeks removal of AI-generated content In her civil suit, Preity Zinta has referred to multiple instances of AI-generated deepfakes, morphed visuals and chatbot-style interactions that allegedly use her likeness without authorisation. According to the plea, the actress has sought urgent directions from the Bombay High Cour...
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Exodus review – broadside against Erdoğan’s Turkey takes the multi-narrative, multi-character route

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Serkan Nihat’s story follows a group of Turkish fugitives, but it bites off rather more than it can chew

The cinematic response to populism and incipient fascism worldwide over the last decade hasn’t fully mobilised – but this broadside on the authoritarian leanings of Erdoğan’s Turkey doesn’t pull its punches. (Unsurprisingly, it’s produced by a UK-based team.) It’s a shame then that, lambasting the effects on education, policing, freedom of expression and the demonisation of minorities, director Serkan Nihat is wedded to a hectoring, didactic method that dulls the audience’s engagement, instead of firing us up.

Nihat opts for the fragmented, multi-character narrative beloved of big-picture global film-makers in the 00s (think 21 Grams or Babel). Academic Hakan (Denis Ostier) becomes a fugitive after his pro-democracy lecture is invaded by regime goons. Hakan is later assaulted by vengeful cop Yilmaz (Murat Zeynilli), his one-time school bully, and then hooks up with another policeman, Mehmet (Umit Ulgen), also on the lam after a crisis of conscience about the politicisation of his work. The pair hole up in a safehouse full of migrants being chivvied to Greece by people-smuggler Sahab (Doga Celik). Meanwhile, Hakan and Mehmet’s wives find themselves targeted by the security forces in a clampdown.

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