Jackky Bhagnani returns to acting after six years with Independence Day anthem 'Tere Rang Mein': "I wanted the street credibility and respect of Gen Z"

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Jackky Bhagnani has returned to acting after a six-year gap with the Independence Day anthem 'Tere Rang Mein,' released under his music label Jjust Music. The actor-producer said the song offered him an opportunity to return to the screen with a project that was personally meaningful to him. Bhagnani described himself as a patriot and said the nature of the song played an important role in his decision to face the camera again. “I am a patriot by heart. It’s been quite some time since I faced the camera. So, I thought the best way to come back is with the right cause,” Bhagnani said. The actor's return comes after several years of focusing primarily on film production. According to Bhagnani, stepping away from acting was a conscious decision as he worked behind the scenes and became more involved in producing films. Jackky Bhagnani on focusing on film production Bhagnani said his experience as a producer made him rethink the way he wanted to approach his acting career. He ...
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Diabolic review – Mormon-country horror takes ayahuasca down to the creepy cellar

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Underground doors and regression therapy – it sounds like a can’t miss for the genre, but the knockout blow is never delivered

Though it features few recognisable faces, this Australian-shot, US-set indie horror displays a core competency that gets it some of the way to where it’s heading – only to collapse in the final reels into the usual hacky manoeuvres. Ten years after fleeing a fundamentalist branch of the Latter-day Saints, snub-nosed artist heroine Elise (Elizabeth Cullen) has started shunning the attentions of boyfriend Adam (John Kim), instead obsessively digging holes in the couple’s back garden and trashing the living room in the middle of the night. Could it have something to do with the grimy cellar door she feels compelled to paint, or the traumatic baptism we witness in a pre-title sequence? What are the chances?

For somewhere between half and two-thirds of its running time, we’re watching a diagnostic case study: Elise and close pals return to Mormon country – more specifically, the in-no-way ironically named hamlet of Haventon – to undergo a regression therapy involving an ayahuasca variant; this will strike anyone as ill-advised even before an actual cellar door is uncovered outside and everybody starts throwing up. (Cue the especially dreadful line: “She must have torn internally.”) Thereafter, flashbacks reveal what’s been suppressed or concealed: the younger Elise’s growing closeness to the bishop’s daughter Clara (Luca Sardelis) would seem to indicate our girl isn’t possessed, merely bisexual.

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