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The 77th edition of the Cannes Film Festival will take place from May 14 to May 25 at the French Riviera. This year, the prestigious film festival is jam-packed with premieres, star-studded press conferences, and lavish parties. \
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Bollywood shorts break
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The character Kabir Singh, or Arjun Reddy for that matter, is basically an updated Devdas, a loser in love, with additional anger management issues, who hits the bottle at the drop of the hat. There’s even a Chunni babu in his life in the form of bestie Shiva who keeps coming to his rescue and appears to have no life whatsoever of his own. In fact not a single character in the apology of a script — from his college principal to the family to the hospital staff — seems to have any raison d’etre other than pandering needlessly to a man, who, instead of any sympathy or indulgence for his “troubled” mind needs some serious treatment and therapy to control the inherent noxiousness he is spreading in the world around him. The entire arc of the film is to somehow make his negativity attractive, explain it away as “unconventional” and have him find redemption despite his unforgivable ways. Well, he is a genius at everything after all, even at performing surgeries when he is sloshed and coked out.<br/><br/>Having watched and balked at Arjun Reddy for its celebration of a misogynistic, infantile bully of a hero, Kabir Singh felt like a doubly suffocating experience. One that makes you feel violated. Devdas at least had the headstrong Paro and graceful Chandramukhi, two beholden women alright but with personalities of their own, to bring some sense of balance to the man-woman game. Here the woman is denied any agency whatsoever. She is a property, marked and owned by the man. She will meekly follow him wherever he takes her, eyes always down, is masochistic in allowing herself to bear with his violent ways. While the soulful ditty in the background plays “tujhpe hi to mera haq hai (I have the right on you)”. He is the protector and the saviour.
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Sexy queen 💍👸
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Credit: SWNS / Kiara Duprey<br/><br/>A mum says trolls tell her she is \
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BH SHORTS
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Asif, a Muslim married to a Hindu, who, for reasons too convoluted to explain, becomes possessed by the spirit of a transwoman Laxmii. When he is under her spell, Asif ferociously clicks his teeth and even lets out a sort of war cry. We get so many close-ups that I started admiring how clean Akshay's teeth are. As I watched, I also wondered, how many communities will Akshay save? In Airlift, he saved Indian migrants in the Middle East; In Toilet: Ek Prem Katha, he saved women from the humiliation of defecating outdoors; in Padman, he once again came to the rescue, playing a man who creates low-cost sanitary napkins; in Kesari, as Havaldar Ishar Singh, he rescues a fort and Sikh honor; and now as Laxmii, he bats for transgenders and also throws in a few strokes for Muslims and a child with special needs. It's a heavy load. Which might be why his performance feels delivered in auto-pilot mode.<br/><br/>Laxmii is the remake of a Tamil film called Kanchana, written and directed by Raghava Lawrence, who also played the lead in that film. In Kanchana, his character, also called Raghava, isn't heroic. He's a cowardly man, so afraid of ghosts that he sleeps next to his mother and even insists that she accompany him to the bathroom. Some of the pleasure in that film was watching this wimp transform into the avenging angel Kanchana. Raghava has directed Laxmii but perhaps him and co-writers Farhad Samji, Sparsh Khetarpal and Tasha Bhambra who did the adaptation and dialogue, didn't want to risk downsizing their star. So Asif is some sort of ghostbuster. From his first scene itself, he is in savior mode, rescuing people from fraud babas. Kanchana was made in 2011. It's loud, simplistic and problematic in terms of representation. But Raghava created moments of cheesy fun and it was satisfying to see Kanchana ultimately get her revenge. The high pitch and stereotyping has not aged well and so much has been lost in translation. The tweaks to the original have only made this version worse – the interfaith marriage angle is laughably lame. Kiara Advani plays Asif's wife Rashmi. She does little except calisthenic dancing at the Burj Khalifa and widening her eyes as her husband behaves erratically. Rashmi's family disowned her when she ran away with Asif. They are offended that he is Muslim but not one person seems to notice the difference in age. Also Read: Laxmii, Starring Akshay Kumar, Is A Tone-Deaf Horror Comedy The writing is awful. The message of inclusion is noble but also obviously fraudulent because the film itself contradicts it. There is so much shrieking that it might induce a headache and perhaps the worst sin – the ghost, before it enters Asif's body, is basically a wig with a fan behind it.
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S Gamesr
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Wishma Ru
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