Sandeep Reddy Vanga’s Spirit, starring Prabhas and Triptii Dimri, to release on March 5, 2027

Filmmaker Sandeep Reddy Vanga has officially announced the theatrical release date of his much-anticipated project Spirit, starring Prabhas and Triptii Dimri. The film is slated to reach cinemas worldwide on March 5, 2027, bringing an end to months of speculation about its launch window. Vanga shared the news alongside a new poster on social media, confirming the release with a post by lead actor Prabhas, who wrote on his Instagram handle, “#Spirit is set for a World release on March 5, 2027.”   View this post on Instagram   A post shared by Prabhas (@actorprabhas) The official first look was unveiled at midnight on New Year’s Day, generating a strong buzz online. The poster showcases a rugged, battle-scarred Prabhas alongside Triptii Dimri in an atmospheric frame, reinforcing the film’s intense and raw visual tone.   View this post on Instagram   A post shared by Prabhas (@actorprabhas) Spirit marks the first collaboration between Prabhas and Vanga, the dir...

Sofonisba’s Chess Game review – pioneering female Renaissance artist gets her due

Documentary analysis of benchmark 16th-century painting is absorbing but focus on a single work misses the chance to reveal an extraordinary life

Like its predecessors from the Ideas Roadshow series, this essay film looks like a high-grade PowerPoint presentation but shines because of its exceptional subject: the pioneering female Renaissance artist Sofonisba Anguissola and her psychologically luminous portraiture. The film is centred on this queen’s gambit: her c 1555 portrait of her three sisters and housemaid playing chess, which clocked up numerous firsts. Apart from being the first Renaissance all-female group painting and the first to juxtapose women of different classes, its most groundbreaking accomplishment was depicting real-life – rather than symbolic or idealised – women.

Narrated by Elizabeth van Sebelle, the film sticks to basic summaries to relay the context. Born around 1532 into a lapsed aristocratic family from Cremona, as the eldest child Anguissola got a fancy Carthaginian first name (her father was Amilcare) and artistic training a cut above the average woman of the time. Initially schooled by distinguished local painters, she impressed Michelangelo in her early 20s when he challenged her to draw a weeping boy. Her artistic apprenticeship was meant in part to bolster her marriage chances rather than to give her a career in her own right – a career she had, nevertheless, becoming court painter to Philip II of Spain, and subtly influencing her peers.

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