Conversations featuring actors Adil Hussain and Faisal Malik were moderated by film critic Saibal Chatterjee…reports Asian Lite News
Actor Adil Hussain, who is known for ‘English Vinglish’, ‘Life of Pi’, ‘Lootera’, and others, has said that cultural exposure and information flow shape our experiences and the personality of people.
Adil recently attended the Chitrashaala Short Film Festival in the national capital along with actor Faisal Malik of ‘Panchayat’ fame.
12 short films set in rural India, were showcased at the Chitrashaala Short Film Festival as they highlighted critical environmental and social issues. The festival, held as part of the fourth edition of the India Rural Colloquy, mainly focused on films revolving around pressing climate issues as well as rural India’s rich cultural and craft heritage.
Conversations featuring actors Adil Hussain and Faisal Malik were moderated by film critic Saibal Chatterjee.
During the conversation actor Adil Hussain said: “Growing up in Goalpara, one of the remotest towns in Assam, I was surrounded by a vibrant cultural scene, from local theatre to Bengali cinema, which deeply influenced my acting. I was surprised to meet a young man in Gurgaon who hadn’t heard of the National School of Drama. This highlights how cultural exposure and information flow shape our experiences. My upbringing in Assam and my studies in England have uniquely prepared me to portray diverse roles on screen.”
A panel discussion after the screening of the short films on arts and crafts dwelled upon the theme, ‘Cinema and Arts and Crafts’. The event also shed light on the challenges faced by the artisans, and the impact of climate change on rural life.
Faisal Malik said: “I can’t choose the roles I get; I don’t know if anyone will give me a role or not. I get calls about cop roles, sometimes as a ‘scoundrel,’ and it’s like a dream of becoming a police officer coming true. Growing up in Allahabad, we were obsessed with cinema, watching Amitabh Bachchan and Mithun Chakraborty repeatedly. This connection to cinema continues to influence my acting. The process involves a lot of discussion and sometimes disagreements with directors, but it’s all about the actor’s understanding and aligning with the vision for the role.”
A total of 14 short films were screened at Chitrashaala under four categories – Culture, Climate, Student Films and Film Critics Guild Choice.
The event culminated with the screening of short films like ‘Giddh’ and ‘Bittu’ which were among the 10 films shortlisted for the Best Live Action Short Film segment of the 93rd Academy Awards.
An interview by Asad Ahmad at this year’s India Week UK with one of the most influential figures in the global business landscape, Mr. Pankaj Munjal. As the Chairman and Managing Director of Hero Motors, Pankaj Munjal has propelled the company to extraordinary heights, establishing it as a leading player in the automotive industry. Under his visionary leadership, Hero Motors has not only maintained its dominance in the market but has also expanded its global footprint, embodying innovation and excellence.
This insightful conversation took place during this year’s India Week, held from June 29th to July 6th in the United Kingdom. India Week is an annual celebration that showcases the rich tapestry of Indian culture, business, and innovation. It serves as a platform for fostering stronger ties between India and the UK, highlighting the dynamic contributions of the Indian diaspora and providing a stage for thought leaders and industry pioneers to share their insights.
Join us as we delve into the mind of Pankaj Munjal, exploring his perspectives on the future of mobility, his experiences at the helm of Hero Motors, and his vision for the intersection of technology and transportation. This interview promises to offer a wealth of knowledge and inspiration, reflecting the spirit of India Week in celebrating the profound impact of Indian ingenuity and leadership on the world stage.
Q; Pankaj Munjal, you’re of the wealthiest individuals in the world and chairman of Hero Motors, a giant business which is growing globally, how do you feel?
Pankaj Munjal: I don’t consider myself that rich, but I work hard. Yes, I’m on the shop floor, working diligently.
Q – You come from a family with a brand name that holds a special place in people’s hearts in India. You must be very proud of the company Hero, started by your father. Does this pride also bring pressure to maintain the brand’s reputation and loyalty across India and now globally?
Pankaj Munjal: I wouldn’t call it pressure, but rather a goal. We have set a standard and now aim to raise the bar, continuously working towards that. It’s a big brand name with significant responsibilities, certainly.
Q: People familiar with the Hero name might think you’ve moved from one success to another. However, it hasn’t always been smooth sailing, has it? The mopeds you once produced that didn’t go as planned. Rather than seeing it as a negative, you turned it into a positive. Can you tell us about that and your philosophy?
Pankaj Munjal: I’ll go back a bit. My father came from Pakistan with nothing. He and my uncle built an empire from scratch, working tirelessly to serve the customer. Throughout our journey, we faced many failures. I could write a book on them. But those failures were steps to growth. Obstacles are part of the journey to success and wisdom.
Q: How do you prevent obstacles or failures from stopping you, and instead turn them into successes? What’s your magic touch?
Pankaj Munjal: My father was a tough man, like a guru. I couldn’t look him in the eye. He always said, “Die to win, die to achieve.” You don’t have to die, but you have to live with your goals. If you face a challenge, strive to work hard, find ways, and win. That’s the path, and you keep moving forward. When you look back, you see the journey and the distance travelled.
Q: You speak of big principles. Despite being a billionaire, you seem motivated by more than money. Is it fair to say you’re driven by serving people and running a business well rather than by wealth?
Pankaj Munjal: You can’t chase money, except in a casino. You can chase a goal, new product development, change management, satisfaction, and technology. Money follows these milestones. There’s a company in Europe losing money significantly. I spoke with the owners, and we worked out a plan. If it goes through, it will be the biggest deal of my lifetime. That’s how you build wealth for all.
Q: You still have the same zest for success and building your companies as your father did. Is that fair?
Pankaj Munjal: The zest is greater now. We have a large team—33,000 people. There’s a lot to do, and we’re growing. I’m excited to say that on July 9th, We opened a tech centre here in the UK. We make bikes, motorcycles, gearboxes, braking systems for cars, and now we’re venturing into tech, design, and engineering in research and development. That’s the next level.
Q: That’s a significant investment. You’ve also invested heavily in the UK with bases in Maidenhead and Manchester, and now this tech centre. Why have you chosen Britain for investment?
Pankaj Munjal: I like the food and the people here. In other countries, you feel like a foreigner. Here, it feels like home.
Q: You don’t feel foreign here?
Pankaj Munjal: It feels very nice and comfortable here. Rationally, we did a lot of studies. We considered France and Germany, where we also have growing investments, but the UK feels like home. The cultural fit is seamless and has worked well for us.
Q: What’s the focus for Hero Motor Company now? Your father started with bicycles, and now you’re the chairman of Hero Motor Company. What’s your focus?
Pankaj Munjal: I see two worlds: the Western one, which is advanced and satisfied, and another that is hungry and developing. We aim to build a bridge between the two with a seamless supply chain. That will take us to the next level. The group will double in size, with London as the base.
Q: Some businesses were concerned about money flowing into the UK after Brexit. Has it made the UK more attractive, less attractive, or has it not changed at all for you as an investor from India?
Pankaj Munjal: There are many pluses and minuses. From the UK, we can reach the US, EU, and India. Duties and barriers exist everywhere. It’s fine; there will be pluses and minuses.
Q: Would Brexit have affected your decision to invest in the UK if we were still in the EU?
Pankaj Munjal: I don’t think it would have had a big impact. There are always pros and cons, and we make decisions based on them. These things change, but our core business remains our focus. That’s our DNA.
Q: You’ve built a strong team globally. Are you ever tempted to leave everything to them and relax, given how hands-on you are?
Pankaj Munjal: I tell my wife I’m the fireman. I’m chairman of many boards, and sometimes I don’t see those companies for weeks or months. Where there’s a fire, I have to be there. I’m the glue that keeps things together. We’ve made many successful investments and fixed many issues. I’m the fireman, managing all the fires from my dashboards.
Q: Does retirement interest you?
Pankaj Munjal: I don’t think I will ever retire!
Q: Imagine you’re on a beach in a few months, with a lovely sea and sky, and a cold drink in your hand. Is that a perfect holiday or a nightmare?
Pankaj Munjal: I’d have Wi-Fi and my phone, checking the red and yellow curves and talking to the team. And I don’t drink!
Q: You have a young team around you, focusing on social media and growth. Does the next generation give you confidence for the future?
Pankaj Munjal: The team must have young blood and fresh ideas. We work with diverse cultures, each with different approaches. Japanese want a 10-year plan, Americans seek quarterly innovation. Ideas rule the world, and that’s what we develop. We’re now into tech that reads drivers’ habits, alerting if they’re not focused. That’s our direction.
Q: You sound like India’s Elon Musk, pushing boundaries in technology. Any desire to venture into space?
Pankaj Munjal: I stick to my core. If it’s within our core, I’ll pursue it. Otherwise, I won’t. We’ll strengthen our core and become world leaders in what we do—bicycles, motorcycles, braking systems.
Q: You’re advancing in electric scooters and batteries. India faces significant pollution issues. Are you bringing these cutting-edge transport models to India?
Pankaj Munjal: India is already the world’s number one in electric scooter consumption. We’re building bridges between supply chains and product development. India has arrived, and we need the UK connection to go further.
Q: That’s what the UK offers you?
Pankaj Munjal: And good golf courses.
Q: What advice would you give to someone aiming to build a global brand?
Pankaj Munjal: My father’s philosophy guides us. Focus on one line of business and become a world leader in it. For any startup, find your edge and stick to it.
Q: If your moped business hadn’t bounced back, what would you be doing now?
Pankaj Munjal: It was embarrassing, my father shut the business. We had debts and workers to pay. I went to the factory and told everyone we were out of business, but no one left. We reached out to companies like BMW and Bombardier. Bombardier asked us to make gearboxes, and we signed a contract the next day. When sinking, grab any rope to climb. That’s what we did, and we never looked back.
Q: How would you describe the relationship between India and Britain?
Pankaj Munjal: We haven’t signed a free trade agreement yet. Goods should flow freely, benefiting both sides.
Q: Are you hopeful this might happen?
Pankaj Munjal: I’ve been hopeful for a long time.
Q: Looking at Anglo-Indian trade, are you optimistic?
Pankaj Munjal: Very optimistic and bullish. Indians love English whisky, bread—everything. We have an unmatched bond with the UK.
Parents proud as Nikhat Zareen braves all odds to attain glory.
Reflecting on her path to success, Zareen attributes much of her success to her father’s unwavering support, despite the challenges posed by societal norms in her community…reports Asian Lite News
Nikhat Zareen is setting her sights on an Olympic medal to add to her impressive collection at Paris 2024. Six Indian pugilists, four women and two men, have qualified for the Paris Olympics and five of them are training in Germany till July 22 before heading to the French capital for the Games.
The squad includes Nikhat Zareen (women’s 50kg), Preeti Pawar (women’s 54kg), Tokyo Olympics bronze medallist Lovlina Borgohain (women’s 75kg), Nishant Dev (men’s 71kg) and Amit Panghal (men’s 51kg).
Since the conclusion of India’s campaign at Tokyo 2020, Zareen has been laser-focused on Paris 2024, confident that this is her moment to shine. “When India’s campaign in the Tokyo Olympics ended, that day I decided to channel my focus into preparing for the Paris Olympics. I also posted a picture on social media about the countdown to Paris,” said Zareen. “I think everyone has their moment, and this is my moment. Whoever said I wouldn’t make it to Paris, I finally made it. I’ll take all the negativity and positivity around me positively, try to get better, and come as a different fighter inside the ring in Paris,” Nikhat Zareen told JioCinema.
Reflecting on her path to success, Zareen attributes much of her success to her father’s unwavering support, despite the challenges posed by societal norms in her community. “My journey has been a roller coaster ride, coming from a community where women lack support. But my father, an athlete himself, knew what it takes to become a champion. He always supported me in my journey. He told me to focus on boxing and said, ‘When you fulfill your dream of winning a medal for the country, that day these people will come to congratulate you and take selfies.’
Zareen emphasises the sacrifices necessary to reach the pinnacle of her sport, underscoring the unique challenge of becoming an Olympic Champion. “I have sacrificed many things to become a World Champion, but becoming an Olympic Champion is different. Whenever I am preparing for competitions, I stay away from social media. I don’t talk much with my family or friends. I spend time with myself, and I try to use it the right way. I read a lot of books also,” she shared. “This time, in preparation for Paris 2024, I’ll try to stay away from all these distractions, and I’ll try to stay as positive as possible and work harder to leave no stone unturned for Paris.”
Providing a glimpse into her pre-fight mindset, Zareen emphasised the importance of giving her all in every bout. “I go in with the motive to give my best so that whatever happens inside the ring, whatever the result might be, I shouldn’t have the regret that I could have won the bout if I had given 10% more. I don’t want that regret, so I go in with the mindset to always give my 100%.”
Nikhat Zareen’s illustrious career includes two World Championships Gold medals, a gold at the 2022 Commonwealth Games, and a bronze at the 2022 Asian Games. She is among six Indian boxers who have qualified for Paris 2024, competing in the women’s 50kg category.
Speaking about her favourite cricket players, Rakul said: “It has to be Virat Kohli. I think he is amazing. And also Rohit Sharma.”…reports Asian Lite News
Actress Rakul Preet Singh, who is currently gearing up for the release of her upcoming Tamil vigilante action film ‘Indian 2’, on Tuesday conducted an ‘Ask Me Anything’ (AMA) session with her fans on social media, and revealed about her mantra of energy, good looks, her favourite holiday spot in India, and her favourite cricket players.
Taking to Instagram Stories, Rakul answered the fun questions of the fans. She wore an off-shoulder blue jumpsuit, while she was promoting ‘Indian 2’.
During the AMA session, a fan asked the diva about her mantra of energy and good looks. Replying to the same, Rakul said: “The mantra of my energy is to keep myself away from all the negativity. I just focus on my job, my people, my life, and I am really not worried about who is thinking what, and I try to keep my karma clean.”
“And I think that what keeps me positive and kind of reflects on your skin. So, I think for each one of us, if we have a clear conscience, if we are happy from within, I think that’ what is going to reflect on your face,” she shared.
Speaking about her favourite cricket players, Rakul said: “It has to be Virat Kohli. I think he is amazing. And also Rohit Sharma.”
Rakul also revealed her favourite holiday spot in India, saying, “Goa. I just love Goa.” Rakul married actor-filmmaker Jackky Bhagnani on February 21, 2024, in Goa.
On how much time she spends in the gym, the ‘Doctor G’ actress added: “I spend about one hour and 15 minutes maximum, which also includes my mobility, and stretching in the end.”
‘Indian 2’ is directed by S Shankar, and is jointly produced by Lyca Productions and Red Giant Movies. The movie is a sequel to the 1996 film ‘Indian’, and Kamal Haasan reprises his role as Senapathy.
Apart from Rakul, it also features Siddharth, SJ Suryah, Bobby Simha, Vivek, Priya Bhavani Shankar, Gulshan Grover, Samuthirakani and Nedumudi Venu in pivotal roles.
Meanwhile, she next has ‘Meri Patni Ka Remake’, and ‘De De Pyaar De 2’ in the pipeline.
The depth of talent in Indian shooting is immense, and I am confident that we will continue to produce many champions in the years to come. As for myself, I have no intentions of getting into coaching…Abhinav Bindra speaks with Chetan Sharma
India’s 2008 Beijing Olympics gold medalist Abhinav Bindra believes that the Indian shooting contingent have the “potential to secure multiple medals” at the Paris Olympics, scheduled to kickstart from July 26.
Speaking exclusively to IANS, he further added that the depth of talent in Indian shooting is immense. Asked if he has any plans to take over the coaching role in the near future, Bindra said “no”.
The former Indian shooter also explained about the collaboration between the International Olympic Committee (IOC) and the Abhinav Bindra Foundation, designed to inspire physical activity and celebrate the 2024 Games. Below are excerpts from the interview:
Paris Games are just a month away, how many medals do you think India can win in shooting? Since Tokyo was empty!
Predicting the exact number of medals is challenging, but I am optimistic about our chances in Paris. Our shooters have been training rigorously, and with the right support and preparation, I believe we have the potential to secure multiple medals.
Who do you think can become the next Abhinav Bindra of shooting? Any chance of taking over the coach’s role in the Indian side?
The depth of talent in Indian shooting is immense, and I am confident that we will continue to produce many champions in the years to come. As for myself, I have no intentions of getting into coaching.
Indian shooters perform well in other major tournaments, but when it comes to the Olympics, they often fall short. What do you think is the reason?
We must rally and support our athletes wholeheartedly. Shooting has won Olympic medals in the past, and there is no reason why we can’t achieve this success again in the future.
How is the collaboration between the International Olympic Committee (IOC), Reliance Foundation, and the Abhinav Bindra Foundation designed to inspire physical activity and celebrate the Paris Olympics?
The collaboration between the IOC, Reliance Foundation, and the Abhinav Bindra Foundation is built around the “Let’s Move India” initiative. This program aims to inspire physical activity by engaging people of all ages in celebrating the Paris 2024 Olympics. Through a series of digital challenges and regional school initiatives, we are encouraging individuals to participate in various forms of movement, be it dance, local sports, or athletic celebrations. This partnership not only highlights the importance of physical well-being but also brings communities together in a shared celebration of our athletes heading to Paris 2024.
What role do schools play in the Olympic Values Education Programme (OVEP) as part of this collaborative effort?
Schools play a pivotal role in the Olympic Values Education Programme (OVEP) as they serve as the primary platforms for engaging young minds. Through OVEP, we integrate the core values of Olympism—excellence, respect, and friendship—into the educational framework. Schools across the country participate in physical activities, educational workshops, and community events, fostering a culture of physical fitness and sportsmanship. This involvement ensures that children not only stay active but also internalize the positive values associated with the Olympic movement. Through my foundation – ABF, we work with schoolchildren to experience these values through sport, art and activities, which helps them imbibe values and 21st century life skills.
How has the initiative positively impacted children in Odisha and Assam, and how many children have benefited from it?
The initiative has had a significant positive impact on children in Odisha and Assam, enhancing their physical activity levels, promoting gender inclusivity, and improving educational outcomes. Through our collaborative efforts, we have reached and benefited over 7 million children. These children have gained access to better sports facilities, training, and educational resources, fostering a holistic development that combines physical fitness with academic growth.
In what ways does the Abhinav Bindra Foundation contribute to promoting physical well-being?
The Abhinav Bindra Foundation contributes to promoting physical well-being through various initiatives focused on sports science, athlete training, and community engagement. Our high-performance training centers provide grassroots athletes with access to state-of-the-art facilities and professional coaching. Additionally, our STEAM and Sport4Her initiatives aim to develop young athletes, particularly girls, while our Sport of Life and Athlete Mental Wellness programs offer surgical assistance and mental health support, respectively. We also focus on addressing environment and climate change through the Olympic Forest Project. By integrating global best practices, we strive to create a supportive environment that nurtures physical and mental well-being.
What is the Olympic Movement’s mission in terms of enhancing physical and mental health through sport?
The Olympic Movement’s mission is to make the world a better place through sport by enhancing both physical and mental health. This mission is accomplished by promoting regular physical activity, fostering community spirit, and encouraging healthy lifestyles. The “Let’s Move” initiative exemplifies this mission by inspiring millions of people worldwide to engage in daily physical activity, which in turn improves overall well-being and creates a more active, healthier global community.
Why is it important to support Indian athletes for the Paris 2024 Olympics, and how does this collaboration aim to achieve that goal?
Supporting Indian athletes for the Paris 2024 Olympics is vital to highlighting the incredible talent and dedication within our sports community on a global platform. Through initiatives like “Let’s Move India,” we aim to generate widespread support and enthusiasm, significantly boosting our athletes’ morale. The Olympic movement is gaining traction in India, and with Honorable Prime Minister Shri Narendra Modi’s vision of hosting the Olympics in 2036, programs like OVEP and Let’s Move India are crucial in connecting young audiences with the global community. Furthermore, our efforts to promote physical activity at the grassroots level are essential in nurturing a strong pipeline of future Olympians.
Suresh Gopi has confirmed the much-speculated rumours about his collaboration with Mammootty in an upcoming film…reports Asian Lite News
Actor Suresh Gopi, who turned out to be the dark horse in the Kerala Lok Sabha polls by winning the first-ever seat for BJP, has said that he will complete the projects he had committed to earlier.
Gopi registered a stunning win at the Trissur Lok Sabha constituency by defeating seasoned veterans — V.S. Sunil Kumar of the CPI and sitting Congress MP, K. Muraleedharan.
He won with a margin of 74,686 votes.
Since acting was his principal vocation, even when he was a nominated member of the Upper House until last year, he continued to don the grease paint. When the question was posed to him on Wednesday about his continuing to be in the film world, he said he wished to finish already committed projects.
Suresh Gopi has confirmed the much-speculated rumors about his collaboration with Mammootty in an upcoming film. Speaking during a media interaction following the election results, Gopi expressed his excitement about joining a project under Mammootty’s home production, Mammootty Kampany. The film is slated to commence filming in August, adding a new dimension to the dynamic duo’s on-screen chemistry.
“I have one project with the production company of Mammootty and they have already started the work. Then I have three projects with the production firm of businessman Gokulam Gopalan. One of them is a pan-Universe film with a budget as high as Rs 100 crore. So I wish just as I did films being a Rajya Sabha member, the ones that are committed I will be able to do,” said Gopi.
Adding to his slate of upcoming projects, actor Suresh Gopi is set to intrigue audiences with Pravin Narayanan’s legal thriller “Janaki v/s State of Kerala (JSK).” Co-starring alongside Anupama Parameswaran, the film is currently in its post-production stages, promising a captivating cinematic experience. Gopi, who was last seen in Arun Varma’s “Garudan” (2023), written by Midhun Manuel Thomas, continues to diversify his roles, keeping fans eagerly anticipating his next on-screen endeavours.
And in response to a question about a likely cabinet berth, Gopi said he will always abide by what the party says.
He repeated what he has often said in response to the question of which portfolio he would prefer, “a portfolio which can look into 10 different departments”.
Gopi who resides in the state capital city is reaching Trissur on Wednesday afternoon as the party is gearing up to give him a huge welcome.
“I will pray at a few places as soon as I reach my constituency,” added Gopi.
I try to explore how religious values and institutions are often intertwined with societal norms and expectations. This can lead to both positive and negative consequences, such as fostering a sense of community and belonging but also potentially reinforcing patriarchal structures or stifling individual expression…Film maker Don Palathara speaks withKrishnaja T. S. and Aswin Prasanth
Don Palathara, an Indian filmmaker, working in the Malayalam film industry, has helmed six full-length feature films and numerous short films. His distinctive storytelling approach has garnered him acclaim, leading to accolades at various international film festivals. Palathara’s debut film Shavam (2015) shot entirely in black and white, employing location-recorded sound, featured a significant cast of inexperienced actors. Despite these unconventional choices, the film emerged as one of the most acclaimed experimental endeavours in Indian cinema, earning widespread appreciation. Palathara’s second film, Vith (2017), was financed through crowdfunding platforms. This innovative approach to film financing gained traction among younger filmmakers, illustrating a departure from traditional methods and showcasing Palathara’s pioneering spirit within the industry. Another experimental venture by Palathara, Santhoshathinte Onnam Rahasyam (2021), stars Rima Kallingal and Jitin Puthanchery in an 85-minute single-take car journey undertaken by a young journalist and an aspiring actor. Captured entirely within the confines of the car, the film, shot during the COVID-19 pandemic, delves into the theme of social entrapment. Its portrayal of the human condition resonated deeply, earning it a nomination for the prestigious Golden George for Best Film at the 43rd Moscow International Film Festival. His Everything Is Cinema (2021) is a first-person narrative drama that exclusively stars Sherin Catherine. It debuted in the Cinema Regained section of the 50th International Film Festival Rotterdam. The film tells the story of Chris, a young, independent filmmaker from Kerala who wants to make his modern version of Louis Malle’s 1969 documentary Calcutta. Like many of his other films showcased at international film festivals, 1956, Central Travancore (2019) made its debut at the Moscow International Film Festival. Palathara’s 2022 film Family, with Vinay Forrt playing the protagonist, was an official selection for the Rotterdam International Film Festival; renowned for its artistic merit, the film showcases unique aesthetics and employs natural sound mechanisms to a remarkable effect.
This interview delves into Don Palathara’s body of work and thematic concerns, with a particular emphasis on the cinematic methodologies he employs across his films.
Shavam depicts the cultural nuances and emotional intricacies around death within a Malayali Christian family by striking a careful balance between humour and melancholy. How do you establish this equilibrium, and how does this subtle depiction subvert popular cinematic myths about death and grief?
While living in Kerala, I have always felt that the grief displayed by people around me was not always an honest expression of their true feelings. There are certain expectations surrounding the performance from relatives and friends. I wanted to focus on the superficiality of these performances in everyday life. During the making of Shavam, I realized that what brings out humour is not a conscious effort to be funny, but rather an objective portrayal of life.
How does Vith portray the interplay between tradition and modernity within the rural context of Central Travancore, specifically examining the divergent attitudes towards work and life embodied by Joseph, the steadfast religious farmer, and his son Jose, who challenges conventional norms by leaving a regular job?
While developing Vith, the intention was to communicate about these two characters and the relationship between them through minimal use of words. Shavam was very loud that way, I felt. So, I wanted to make a calmer and quieter film. So, I decided to employ long takes of mundane life and silence as the characters would experience it. The conflict between the two generations is, for most of the film, internalised. The outward expression occurs only sparsely. Religion is an overarching institution throughout the film and a subtle tool for control between these two people.
In 1956, Central Travancore, the depiction of the protagonist’s desperate plan to engage in illegal hunting of a gaur serves as a metaphor for the broader socio-economic challenges faced by early migrants to Kerala’s Idukki region. Within this framework, how does this metaphor intricately weave together themes of sibling relationships and migration, shedding light on the complexities and hardships faced by individuals navigating familial ties amidst the turbulent backdrop of migration and social change?
While making 1956, Central Travancore, I wanted the film to reflect the spirit of those times rather than be a factual representation of the events. Most of these stories told by various characters in the film, as well as the major plot, are based on some stories told by my grandfather about his younger days. He, like many others, migrated from Kottayam district in the 1950s to Idukki. I am someone who constantly thinks about the nature of relationships between individuals and the societies they are part of. In this film, we also try to explore some themes related to that particular concept. For example, these are characters who do not fully conform to societal norms. But, they have their confusions, personal struggles, and baggage that they bring in from outside the time and space they share.
In Everything is Cinema, your exploration of intertextuality, drawing from Louis Malle’s Calcutta, enriches the reinterpretation of the documentary for a modern audience. Could you elaborate on how texts interplay to portray the present cultural and socio-political landscape? What inspired you to undertake such a comprehensive exploration?
In Everything is Cinema, I aimed to create a dialogue between different texts to reflect the complexity of the present cultural and socio-political landscape. By drawing from Louis Malle’s Calcutta as well as the self-reflective films of Jean-Luc Godard and intertwining it with contemporary elements, I sought to offer a fresh perspective on fictional filmmaking. The interplay of texts allows for a multilayered exploration of themes and issues.
How does the innovative single-shot technique enhance the audience’s immersion into Maria and Jitin’s relationship in Santhoshathinte Onnam Rahasyam, offering a deeper understanding of the complexities in their communication, identity, and social expectations?
As you might be aware, this film was shot during the COVID lockdown. It reflects a reality where the characters are stuck in time and space together and are destined to face each other. That state of being stuck had to be communicated through cinema, and I didn’t want to resort to the techniques that we see very often in cinema from this part of the world.
When scrutinizing the intricate portrayal of Sony’s facade and his family’s complicit silence in concealing his transgressions, how does the film Family navigate the complexities of morality, culpability, and loyalty within the context of rural central Kerala? What underlying cultural or sociopolitical commentary does this nuanced exploration reveal about the dynamics of power and accountability within familial structures?
I’d say that in Family, I wasn’t aiming to deliver a straightforward condemnation or absolution of any character. Instead, I wanted to present a microcosm of rural Kerala, where traditional values, unspoken loyalty, and the weight of societal expectations often clash with individual desires and the pursuit of truth.
By showcasing the discrepancy between Sony’s public image and his private actions, the film compels viewers to question the reliability of appearances and the potential for manipulation within familial structures. The family’s silence can be interpreted in multiple ways. It could be seen as a form of protection, a fear of disrupting the family unit, or even a reflection of the societal pressure to maintain appearances. The film doesn’t provide a definitive answer but rather invites viewers to grapple with the moral implications of such silence.
The film avoids painting characters as purely good or evil. Instead, it portrays them as individuals grappling with their own desires, societal expectations, and the consequences of their actions. This complexity forces viewers to confront their own moral compass and consider the various factors that influence human behaviour.
The question of who is ultimately culpable for the film’s events is left open-ended. Is it Sony for his transgressions? The family for their silence? Or is there a broader societal context that contributes to the situation? By raising these questions, the film encourages viewers to engage in critical reflection. The film explores the concept of loyalty from multiple angles. We see the unwavering loyalty of the family towards Sony, even in the face of his wrongdoings. However, we also see the potential dangers of blind loyalty, how it can cloud judgement and perpetuate harmful dynamics.
The film subtly critiques the power dynamics within traditional family structures, particularly in rural communities. It highlights the potential for abuse of power and the challenges faced by individuals, especially women, in speaking out against authority figures. By portraying the consequences of the family’s silence, the film suggests that there’s a need for individual accountability, even within the close-knit bonds of a family. It compels viewers to question whether protecting familial harmony should come at the cost of condoning wrongdoings.
Ultimately, Family is not a film that delivers easy answers. It’s a nuanced exploration of human complexities, societal pressures, and the grey areas of morality. I hope this response sheds some light on my approach to filmmaking and the themes I explore in this particular film.
Your films, deeply rooted in the ethnographic context of central Kerala, often feature Christianity and its cultural values as prominent visual motifs. Could you discuss how you approach the critique of religion within your narratives and what themes you aim to convey through this exploration?
I try to explore how religious values and institutions are often intertwined with societal norms and expectations. This can lead to both positive and negative consequences, such as fostering a sense of community and belonging but also potentially reinforcing patriarchal structures or stifling individual expression. As an extension of this theme, there is the conflict between individuals and religion. The conflict becomes unhealthy when one of the two parties becomes too powerful. When one social institution is more powerful than everything else and the individual freedom itself, they control every aspect of human life. Unfortunately, we live in a country where religion overpowers all aspects of life. I grew up in a place and community where religion was considered to be very important. Hence this conflict is something that keeps bothering me.
In filmmaking, how do you reconcile the difference between commercial and arthouse cinema? Could you discuss the current state of parallel cinema or independent filmmaking in Malayalam?
I don’t see these terms in binaries. Some films have more commercial elements and some less. But, when someone’s intention is more business related and less artistic, that is the sort of cinema I cannot personally resonate with. And I guess you can call them commercial films.
There is no proper distribution channel for films with more arthouse components even now. It is impossible to reach the intended audience at the intended intensity through conventional distribution channels. So, it is important to find a new distribution model for independent films with less mainstream elements.
Your cinematic style diverges significantly from that of your contemporaries. Could you discuss your inspirations that led you to filmmaking? How have these formative influences sculpted you as a filmmaker?
Even though I grew up watching commercial Malayalam films, my aspirations in filmmaking were shaped by the films and filmmakers I got exposed to during my film school years. Gradually I got attracted to the ideas of minimalism, naturalism, and social commentary. But my attempt is not to fall into any particular label and keep on trying new things.
A lot of filmmakers have found creative space and freedom in the era of streaming platforms and television. Have you ever thought of helming a TV series/web series?
Nothing is planned as of now.
Are you currently working on anything new?
I’m just in the early writing stages of a couple of films.
The first thing starts with a great base with very good skin skin. So I use the hyaluronic acid from L’Oreal Paris, I love it. I use it a lot on skin I like I literally bathe in it because I think it’s very good for hydration and it keeps my skin very supple and bouncy and then you know you can put a very light I like like my skin to shine through so I don’t do a lot of good prep for my skin…Aditi Rao Hydari interacts with Lothungbeni Humtsoe
BibbojaanakaAditi Rao Hydari is delighted to be part of the L’Oreal Paris family at the Cannes Film Festival. The actress who shone in her latest performance in Sanjay Leela Bhansali’s Heeramandi, knows her appearance is eagerly anticipated at the world’s most glamorous red carpet. IANSlife spoke to the actress about her role in the Netflix series, her Cannes outing and her association with the cosmetic giant.
Read Excerpts:
Many Indian celebrities have taken a turn on the Cannes red carpet, what do you believe it requires to create a fashion statement that endures?
ARH: Representing L’Oreal Paris at Cannes is a significant honor for me. L’Oreal Paris has been the official partner of the Cannes Film Festival for 27 years. As a spokesperson for L’Oreal Paris, I feel a great responsibility, but I also believe I align with their brand philosophy, which emphasizes self-worth and confidence. Finding confidence from within, being comfortable with your uniqueness, and being authentic are qualities that make a lasting impression.
To me, that’s what matters most, whether in fashion, work, or just being yourself. It’s about being authentic and enjoying the process. Making an appearance can be daunting and nerve-wracking, but I remind myself that it’s a beautiful opportunity and part of my personal journey to truly feel worthy.
Can you tell us about your association with L’Oréal Paris and what values of the brand which make it a suitable alignment?
ARH: To me, it is a tremendous honor to serve as the spokesperson for a legacy brand like L’Oreal Paris. This brand embodies not just external beauty but also the inner beauty that stems from confidence and self-assurance. Representing beauty with confidence is what makes L’Oreal Paris truly special. The alignment of countless women with the brand’s philosophy speaks volumes. For me, this partnership has been seamless and something I’ve always aspired to. Being the face of this brand is a moment of pride for me, and I hope my association with L’Oreal Paris continues.
What are the inspirations behind your looks for the Cannes 2024 season?
ARH: Well, look number one is out of the bag and the rest will be revealed in real time. You know, and there’s a time for it to be out and it’s nice for it to come out when it should come up.
Your recent performance in Heeramandi has been lauded as one of your best… Do you believe the director and producer play a pivotal role in bringing out the best in the actor?
ARH: There are six leads, and I’m one of them, and all of us have been appreciated a lot. I’m so overwhelmed that, you know, Bibbojaan has been called a standout performance, it’s also a very beautiful character. And every heroic character arcs, I think that has touched a chord with people and resonated and connected, and I’m very, very grateful for that. I do believe I’m a directors actor, and I credit Sanjay Leela Bhansali, completely for creating the Bibbojaan journey, which has challenged and nurtured me. So all the praise that I’m getting and all the credit that I’m getting, I credit him for it.
What aspects of Bibbojaan do you believe capture the essence of the L’Oréal woman?
ARH: I think that she’s very comfortable with being who she is. She stands for what she believes in. Despite her circumstances. I think that makes very beautiful from within. I also think the Bibbojaan is a perfect combination of fire and grace. She is beautiful. In every way, she’s kind, she’s generous, she’s loving, she’s loyal, but there’s a fire in her, a fire towards a higher purpose, which makes her stand up for any kind of injustice and that makes her live a life of purpose with complete fearlessness. She’s actually a very relevant modern woman who I think we can all relate to.
Your personal favourite products from L’Oréal Paris to achieve an iconic look, and more.
ARH: The first thing starts with a great base with very good skin skin. So I use the hyaluronic acid from L’Oreal Paris, I love it. I use it a lot on skin I like I literally bathe in it because I think it’s very good for hydration and it keeps my skin very supple and bouncy and then you know you can put a very light I like like my skin to shine through so I don’t do a lot of good prep for my skin.
I also feel you know something that can take you from the girl next door to glam is the L’Oreal Paris infallible resistance liquid lipstick, I always have it my bag. It’s a great formula, it’s got incredible pigment and it just doesn’t move from your lips. It just stays, so there’s no transfer to glasses and stuff like that. You know, when I’m on the go, the event days are long the interview days are long days. So I really I mean I think it’s really amazing lipstick and I really I think the great formulation that they’ve come up with these are the two things that are my favourite and that I really count on when it comes to makeup.
Can you share expectations about the Cannes Film Festival 2024 in one sentence.
ARH: Me being in Cannes is a legacy and it’s the home of cinema and it’s magical; it’s like being in Wonderland.
My journey is a testament to perseverance, from knocking on doors with nothing but a prototype and a dream to facing the harsh realities of retail rejection. Yet, it was the rejection from mainstream retailers that propelled the innerwear brand towards its destiny – a digital frontier that was still in its infancy…says Sean Ashby, the Founder and Managing Director of aussieBum
The innerwear market in India holds a significant value of approximately Rs 48,123 crore and is anticipated to experience a compound annual growth rate (CAGR) of 11.5%, projecting a market value of Rs. 26,952 crores by 2025. Despite its substantial size, the market is predominantly dominated by options that lack functionality in terms of quality, fabric, and regional suitability. There exists a noticeable void in terms of innovation, fabric diversity, density, and opportunities for personal expression.
aussieBum, an Australia-based Men’s Innerwear and Athleisure Wear Brand foraying into the Indian market aims to fill the lacuna and cater to all aspects of the wardrobe needs of Indian men. Specifically, the newer generation who aren’t enticed by the conventional designs and fabrics.
Sean Ashby, the Founder and Managing Director of aussieBum, shares insights with IANSlife about the brand’s vision and its strategy for meeting the evolving preferences of Indian customers in the realm of innerwear.
How was aussieBum born, the story behind the brand?
Ashby: A brand born on the shores of Australia’s famous Bondi Beach, has a rich history that began in 2001. As the founder and former Marketing Manager for Warner Music along with other credible entertainment industries in Australia, I decided to create a swimwear, clothing, and lifestyle brand that reflected my love and passion for the surf, sun, and sea. The brand’s inception was sparked by a seemingly trivial inconvenience: the discontinuation of my favourite swimwear style. Discontent with the alternatives and driven by a deep-seated resolve, I decided to take matters into my own hands, marking the inception of aussieBum.
The word AUSSIEBUM is derived from my Australian background and the time spent at the beach, often referred to as a beach bum. Embarking on this venture was no easy feat. With no formal education in fashion or business, the journey was fraught with trials and errors, ranging from sourcing the perfect nylon fabric to partnering with craftsmen who shared my vision. The road was long, filled with rejections and learning curves, but it was these very challenges that forged the brand’s identity and values.
My journey is a testament to perseverance, from knocking on doors with nothing but a prototype and a dream to facing the harsh realities of retail rejection. Yet, it was the rejection from mainstream retailers that propelled the innerwear brand towards its destiny – a digital frontier that was still in its infancy. With a newfound focus on e-commerce, the brand not only found its audience but created a global community, a tribe of like-minded individuals united by a love for quality, design, and the Aussie way of life.
As the innerwear brand grew, so did its offerings, expanding from swimwear to underwear and beyond, each product echoing the brand’s commitment to quality, innovation, and authenticity. The brand’s success is not just measured in sales but in the impact it has had on its customers and the fashion industry at large.
What is the idea, mission, and vision behind the brand in India?
Ashby: In 2023, I was approached by a Singaporean representative of wealthy Indian families interested in acquiring aussieBum after Earnst & Young (EY) conducted research to source brands for the Indian market. This marked a pivotal moment in aussieBum’s journey, signalling our entry into the vibrant Indian market. However, aussieBum’s venture into India is not merely about entering a new market; it’s about embracing a vibrant culture and celebrating individuality.
For us, aussieBum has always stood for more than just clothing; it’s a lifestyle choice that resonates with people who dare to be different. Recognizing India’s potential as a global fashion hub and inspired by the country’s rich cultural tapestry, I envisioned aussieBum establishing a business entity in India. This move aligns with the Indian government’s focus on boosting the economy and keeping revenue within the country.
We aim to be more than just a clothing brand in India; we want to be a part of people’s lives, offering them quality products that reflect their personality and style. Our mission is to cater to the evolving fashion needs of modern Indian men, offering them a diverse range of apparel that combines style with sustainability. At aussieBum, we believe in empowering individuals to express themselves through fashion, regardless of their body type or size.
aussieBum’s presence in India signifies a deeper commitment to mutual growth and prosperity. Through partnerships with local stakeholders, we aim to contribute to skill development, job creation, and community empowerment. We see India not just as a market but as a partner in our journey towards a more inclusive and sustainable fashion industry.
Why middle-class Indians are an important touch point for your brand?
Ashby: The middle-class segment in India is a pivotal focus for the brand due to its sheer size, burgeoning potential, and evolving tastes. At aussieBum, we are strategically positioned to bridge this gap by offering innovative, high-quality products tailored to the evolving needs and preferences of Indian men, especially the newer generation disenchanted with conventional designs and fabrics. With an unwavering commitment to quality and creativity, we are not just redefining but setting new standards in modern menswear. Our diverse range of products caters to various wardrobe needs, reflecting our strong commitment to quality and creativity.
Targeting the middle-class segment allows us to offer affordable yet stylish and functional garments that resonate with this burgeoning consumer base. By focusing on innovation, fabric diversity, and personal expression, it emerges as the preferred choice for middle-class Indian men seeking quality innerwear that aligns with their evolving style and personality.
Product and process innovation taken up by the brand to cater to the needs and tastes of the Indian market.
Ashby: The brand’s entry into the Indian market is driven by our commitment to innovation and a desire to redefine menswear. With a strong focus on sustainability and cutting-edge technology, we aim to offer more than just innerwear; we aspire to revolutionize the Indian wardrobe.
Leading this journey, I have always been passionate about creating groundbreaking products. One of our key achievements is the Men’s Wonderwork for comfort. This pioneering technology, although often imitated, remains a hallmark of our dedication to quality and sustainability. Additionally, we’ve developed unique products like the world’s only 24-carat gold men’s underwear and Vitamin-infused men’s underwear, combining comfort with health benefits.
Innovation is central to aussieBum’s approach to the Indian market. We strive to provide Indian men with the best in comfort, support, and performance, tailored specifically to their needs. From ‘Ultra Pouch-Enhancing Technology’ and ‘4D Framing Technology’ to anti-chafe technology in our ‘Comfy Bamboo’ range, each product is designed with care. Our use of natural fibers like Merino Wool, Modal, and Bamboo reflects our dedication to sustainability and high standards.
Understanding the unique demands of the Indian market, we are focused on creating products that resonate with local preferences. We also recognize the importance of strong bilateral relations and have streamlined our export methods to expedite shipping to India within just five days. This approach not only strengthens trade ties but also highlights our commitment to sustainability and efficiency.
Through these efforts, it aims to meet the evolving needs and tastes of Indian men, offering high-quality, innovative, and sustainable menswear that enhances their wardrobe choices.
Jubin has sung four songs for Rajkummar — ‘Kiston’ from ‘Roohi’, ‘Meri Tum Ho’ from ‘Ludo’, ‘Tinka’ from ‘HIT: The First Case’, and ‘Tu Mil Gaya’ from ‘Srikanth’…reports Asian Lite News
Singer Jubin Nautiyal, who has belted out hit tracks like ‘Humnava Mere’, ‘Lut Gaye’, ‘Bedardi Se Pyaar Ka’, among others, shared that he loved singing for actors Sidharth Malhotra and Vicky Kaushal.
Jubin’s latest track ‘Agar Ho Tum’ from ‘Mr & Mrs Mahi’ has been released, and the ‘Dil Pe Zakhm’ singer talked about working with Rajkummar Rao for the song, along with revealing which actors he loved most working with.
Jubin, who has lent his voice to actors like Hrithik Roshan, Emraan Hashmi, Aditya Roy Kapur, and many others said: “I loved working with Sidharth Malhotra for sure. We have done some brilliant songs like ‘Rabba Janda’, ‘Raataan Lambiyan’ and many others. Then I did this song with Vicky Kaushal also ‘Bana Sharabi’, which I really enjoyed watching – Vicky, Kiara’s chemistry, it was lovely.”
“But now coming back to ‘Agar Ho Tum’ this is brilliant. This is so effortless, just flows through, I am enjoying this journey I am having with Rajkummar right now. I think he is a brilliant actor, and a brilliant actor needs a brilliant voice for romance, and my voice kind of works with him, because of some kind of innocence, some reality that he has, when he is playing any character… so, it’s brilliant. I am enjoying it. I did one more song with Rajkummar for ‘Srikanth’. Again my voice there also is working for him,” shared Jubin.
Jubin has sung four songs for Rajkummar — ‘Kiston’ from ‘Roohi’, ‘Meri Tum Ho’ from ‘Ludo’, ‘Tinka’ from ‘HIT: The First Case’, and ‘Tu Mil Gaya’ from ‘Srikanth’.
Talking about his latest track ‘Agar Ho Tum’, Jubin shared: “In this song the romance and passion between Rajkummar and Janhvi, you can’t deny it’s special. Both of them look very natural, so much in love. and hum musicians ko iske alawa kuch chahiye hi nahi hota hai.”
The song showcases the beautiful chemistry between Rajkummar and Janhvi, celebrating the love found in life’s simple joys. Composed by Tanishk Bagchi, and penned by Kausar Munir, the song is set against the picturesque backdrop of Jaipur, capturing Mahima (Janhvi) and Mahendra’s (Rajkummar) relationship’s journey, showcasing love and companionship.
“We work hard on the song and when actors come on the screen and create magic, we are just sitting and smiling at our song all over again. So, that’s what we live for. So much love to Rajkummar and Janhvi for that insane performance, and the director who has shot it so well. I think we are moving towards a big big hit,” added Jubin.
Directed by Sharan Sharma, and produced by Zee Studios and Dharma Productions, ‘Mr & Mrs Mahi’ is scheduled for release on May 31.
‘Agar Ho Tum’ Captures Love’s Essence
The makers of Rajkummar Rao and Janhvi Kapoor-starrer ‘Mr & Mrs Mahi’ on Monday unveiled the second song titled ‘Agar Ho Tum’ filled with emotions, emphasising the sentiment of love and partnership.
The three-minute and 26-second song showcases the beautiful chemistry between Rajkummar and Janhvi, celebrating the love found in life’s simple joys.
Composed by Tanishk Bagchi, sung by Jubin Nautiyal, and penned by Kausar Munir, the song is set against the picturesque backdrop of Jaipur, capturing Mahima (Janhvi) and Mahendra’s (Rajkummar) relationship’s journey, showcasing love and companionship.
Sharing the song on social media, Rajkummar wrote: “Experience love in all its pureness & power in #AgarHoTum.”
Music composer Tanishk said: “’Agar Ho Tum’ is a fresh romantic element to the album. Kausar Munir’s beautiful lyrics and Jubin’s melodious voice will connect with the audience. It brings out the right kind of emotions and feelings, we hope audiences resonate with the song and enjoy it.”
Jubin Nautiyal shared that the song is about being in companionship and feeling like nothing else matters ‘if I have you’.
“The emotions and the words align with the situation in the film, and Rajkummar and Jahnvi’s chemistry has shined through the song. The lyrics instantly resonate, and we have tried to infuse the song with deep emotions to truly honour its essence. The perfect choice of words and the brilliant composition bring out the best. Collaborating again with Tanishk was wonderful, and I hope audiences like it,” Jubin said.
Lyricist Kausar said that while writing the lyrics for this song, they aimed to capture the right blend of emotions, expressing the feelings of belonging and togetherness.
“Working with Jubin and Tanishk was an absolute delight. ‘Agar Ho Tum’ has a little bit of each one of us and I am looking forward to seeing everyone’s response to it,” the lyricist said.
The makers had earlier released the first song from the movie titled ‘Dekhha Tenu’.
Directed by Sharan Sharma, and produced by Zee Studios and Dharma Productions, ‘Mr & Mrs Mahi’ is scheduled for release on May 31.
