SCOOP: After Salman Khan’s Maatrubhumi, Ayushmann Khurrana-Sharvari’s Yeh Prem Mol Liya likely to be renamed Yeh Prem Moh Maya Hai

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A few days ago, the industry and fans got a surprise when it was announced that Salman Khan’s much-awaited next film, Battle Of Galwan, has been renamed Maatrubhumi. And now, as per the buzz in the trade, another awaited film might also go for a title change – Yeh Prem Mol Liya, directed by Sooraj Barjatya. A source told Bollywood Hungama, “There have been discussions over changing the title of the film to Yeh Prem Moh Maya Hai. If all goes well, the new title will be locked and will be announced officially in a few days.” Yeh Prem Mol Liya stars Ayushmann Khurrana and Sharvari in the lead role, along with Shaad Randhawa, Anupam Kher, Seema Pahwa, and Supriya Pathak in pivotal roles. It is presented and produced by Rajshri Productions in association with Mahaveer Jain Films and Anita Gurnani. It marks the second association for Mahaveer Jain and Sooraj Barjatya after the acclaimed flick Uunchai (2022). In December 2025, Shaad Randhawa, who left a mark with his performances in the 20...
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The Blood Countess review – Isabelle Huppert reigns supreme in a surreal vampire fantasia

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Vienna turns into a playground of camp, cruelty and aristocratic disdain in a blackly comic take on the Báthory legend – with Huppert gloriously suited to the title role

From the dark heart of central Europe comes a midnight-movie romp through the moonlit urban glades of Euro-goth and camp from German director Ulrike Ottinger. As for the star … well, it’s the part she was born to play. Isabelle Huppert is Countess Elizabeth Báthory, 16th-century Hungarian noblewoman and serial killer, legendary for having the blood of hundreds of young girls on her hands and indeed her body, in an attempt to attain eternal youth. The “blood countess” has been variously played in the past by Ingrid Pitt, Delphine Seyrig, Paloma Picasso, Julie Delpy and many more, but surely none were as qualified as Huppert who importantly does not modify her habitual hauteur one iota for the role.

Her natural aristocratic mien and cool hint of elegant contempt were never so well matched with a part. She gives us the classic Huppert opaque gaze – part dreamy, part coldly assessing – and the politely bemused half-smile of concealed distaste, merging into a pout, at the absurdity or ill manners of someone to whom she cannot avoid being introduced. Unlike the other mere mortals in this film, Huppert’s face is lit like that of a Golden Age Hollywood star, giving her impeccable maquillage a ghostly sheen of profane sainthood.

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