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"

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 ...

True North review – students take stand against racism in highly charged account of protest in 60s Canada

Interviews and archive material are elegantly stitched together in this look at a huge student uprising in 1969 Quebec

If someone mentions race riots and student protests in the 1960s and 70s, chances are that would mean, to most people, civil rights protests in the American south, sit-ins in California or the National Guard opening fire on students at Kent State University in Ohio. But revolution and resistance were ideas that crossed borders and seeded outbreaks all over the world, and supposedly friendly, polite countries such as Canada had no special immunity. This elegantly crafted documentary, directed by Michèle Stephenson, recounts a charged moment in Quebec history in 1969 when black students at Sir George Williams University, now called Concordia University, staged what would become the biggest campus protest in Canadian history; it resulted in scores of arrests and about C$2m in property damage due to fire destroying a computer lab.

Interviews with several of the protest’s key leaders – including Norman Cook, Brenda Dash and Rosie Douglas – are stitched together with extensive archive material, all of which, including the interviews, were shot in black and white. The older material has the very fine grain and fragile silvery sheen characteristic of the superb 16mm film stock of the time; it goes brilliantly with the soundtrack of deliberately discordant jazz and vintage gospel tunes for which a shoutout is due to composer Andy Milne and music supervisors Sarah Maniquis-Garrisi and Michael Perlmutter, who between them create a soundscape as bewitching as the visuals.

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