SCOOP: Sanjay Dutt-starrer Aakhri Sawal unlikely to release in cinemas on May 8 due to censor issues; makers eye May 15 release

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Bollywood Hungama has exclusively learned that Aakhri Sawal, which was all set to release in cinemas on May 8, is unlikely to make it to theatres on the scheduled date due to censor certification issues. We were the first ones to report last week that even the trailer has not yet been cleared by the Central Board of Film Certification (CBFC). The trailer, like the film, is still awaiting clearance from the Censor Board. A source told Bollywood Hungama, “The nature of the film and its plot is such that the CBFC members are being cautious. The makers have explained to the CBFC committee that their film is based on historical events and records and hence, deserves to be released. The discussions between the makers and the CBFC have taken a lot of time. Hence, the producers of Aakhri Sawal felt that it would be wise to push the film to a later date.” The source continued, “At present, the makers are considering releasing their film on May 15. Of course, this will be subject to receiving t...
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‘Arms and legs are very expressive, especially with bruises’: the absurdist photography of Yorgos Lanthimos

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Ditched washing machines, a woman’s bare leg, the back of Willem Dafoe’s head … the Oscar-nominated director talks us through his new photography show in Athens – made with his darkroom assistant Emma Stone

In the centre of Athens, a brand new temple has popped up. Walk around the tall white columns surrounding it and you’ll eventually find the entrance to its inner sanctum. It might not be quite as old as the nearby Parthenon but it does hold a unique kind of treasure: the personal photographs of director Yorgos Lanthimos.

Taken over the last few years as he wandered his home country, they offer a glimpse of Greece through the auteur’s absurdist eye. We see a coffin resting against a wall next to a mop, and a couple of horses with their heads chopped off by foregrounded trees. A roadside memorial is shown underneath a sign warning of danger ahead – the wiggly road symbol points directly upwards, as if suggesting the route to the next life for the poor victim. This last image is poignant, strange and funny, eliciting the same awkward clash of emotions you get from watching Lanthimos’s films.

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