(This post has been updated)
Ritesh Batra, director of the “The Lunchbox,” apologized to the Film Federation of India after accusing the group of corruption because it did not pick his movie as India’s contender for Best Foreign Language Film at the 2013 Academy Awards.
Batra said his intention was to participate in the “vigorous debate” that arose over the selection process for the country’s Oscars entry. His letter to the group came after the federation, which chooses India’s entry for the Academy Awards each year, demanded an “unconditional apology”.
Star India wants to attract English-speaking audiences with a television channel that syndicates the latest seasons of American TV shows such as the counterterrorism thriller Homeland and the comedy Modern Family.
Several channels broadcast U.S. shows in India, but Star World Premiere HD is the first to broadcast episodes a day or two after they air in the United States.
“The Good Road”, a Gujarati-language film, has been chosen as India’s entry to the 2014 Oscars, stealing attention from a critically acclaimed love story that was screened at the Cannes film festival this year.
Gyan Correa’s debut film about two children lost in the Kutch desert won a national award for best Gujarati-language film this year, but was a dark horse among the 22 movies in the running to be India’s official entry to the Oscars in the best foreign film category.
When filmmaker Pawan Kumar wrote an anguished blog post about not having enough money to make a movie, he didn’t expect hundreds of strangers to lend him their savings, no questions asked.
(Any opinions expressed here are those of the author and not of Thomson Reuters) Even if Ritesh Batra’s “The Lunchbox” had been a film with a weak script, wayward direction and too long to hold your attention, there would be still be a reason to watch the film — Irrfan Khan.
Rajkumar Santoshi‘s “Phata Poster Nikhla Hero” unapologetically harks back to Bollywood of the 80s. The characters include the upright mother, the loyal son and the air-headed but charming leading lady. Don’t forget the goofy humour, and the good vs evil fight.
As the protagonist Vishwas Rao (Shahid Kapur) tells a character at the end of the film: I have done everything by now – romanced the heroine, danced with the item girl, fought the villain, and helped the police. Santoshi certainly ticked all the boxes, and if he only knew where to stop, he might have ended up with a better-than-average film.
The film starts off intriguingly and in the first 15 minutes or so, Solomon sets up his story well.
(Any opinions expressed here are those of the author and not of Thomson Reuters)
Gayatri, on the other hand, knows exactly what she wants from life. She is an independent woman – and the man of the house – figuring out living expenses, insisting that her live-in boyfriend takes turns cooking and is unapologetic about having had relationships in the past.
While Bollywood film Chennai Express was steamrolling its way to success, another movie was on the fast train too, but not many people noticed.
Jaideep Sahni, the writer of blockbusters such as Bunty Aur Babli and Chak De! India, is getting top billing in promotions for his new project Shuddh Desi Romance, a rare honour for a screenwriter in Bollywood.
Sahni spoke to Reuters about the curse of film intermissions and the reason his movies have so many layers. Here are edited excerpts from the interview: