Vijay Raghavendra's Action-Packed Film Rippon Swamy Set for August 29 Release
Vijay Raghavendra
starrer Rippon Swamy is set to release on August 29.
Young director Kishore Moodbidre, who previously directed Malgudi Days, has said that Rippan Swamy will be an action-packed film.
Vijay Raghavendra is seen in a raw look in this movie.
Vijay Raghavendra is paired with Ashwini Chandrashekhar, who has acted in Kannada, Tamil, and Telugu cinema and is from Shivamogga. The rest of the cast includes Prakash Tummi Nadu, Vajradeer Jain, Yamuna Srinidhi, Mohan Shenyi, Krishnamurthy Kavathar, Prabhakar Kundar, Ranjan Shetty, Santosh Shetty and others.
The teaser and trailer of this much-awaited film will be released soon. Like-minded people have joined hands to produce it under the banner of Panchanana Films. has been shot in and around Koppa, Kalasa, and Balehonnur. Renowned Malayalam music director Samuel Abhi has composed the music for the film. Ranganath CM has handled the camera. Shashank Narayan has edited the film.
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Indian Express
16 minutes ago
- Indian Express
‘Holes in dosas in everyone's house': What ‘Ghachar Ghochar' taught me about the Indian middle class
There are books that yell their message out loud. And then there's Ghachar Ghochar (2015) – a whisper that gets under your skin and stays there. Vivek Shanbhag's slim, devastating novella, translated from Kannada to English by Srinath Perur, charts the rise of a Bengaluru family from modest means to quiet affluence as it peels back the polished veneer of a 'successful' Indian family made and unmade by money. The tale is not of triumph; it is an eerie, delicate dissection of how prosperity and upward mobility, so often seen as the reward for hard work, can slowly dissolve the very foundation it was built on: love, loyalty, and the ability to distinguish right from wrong. The unnamed narrator, mostly inert and almost invisible in his own life, sits in a cafe, retracing the arc of his family's transformation – from scraping by on a modest salary to riding high on the profits of the so-called head of the family – the uncle and his flourishing spice business. Their house is larger now, the money flows freely, and yet, something is rotting beneath the surface. The arrival of wealth brought a strange entropy: the family's moral compass begins to spin out of control, and the same people who once struggled together grow increasingly isolated, insular, manipulative, and morally opaque. The house is larger now, but darker; conversations are quieter, but heavier; love remains, but it has curdled. Shanbhag doesn't use overt confrontation or melodrama to depict the subtle reconfiguration of it. He does it in glances, silences, and most effectively, in the narrator's growing discomfort. The family members, now cushioned by privilege, begin to shift in subtle but alarming ways – exerting power, drawing boundaries, and rationalising every questionable action as justified or necessary. And crucially, they don't even realise it. They believe they are still good people. The narrator, however, does know. He watches this mutation unfold with an unease he cannot name and a complicity he cannot shake. It's this tension – between knowing and doing nothing – that gives the book its haunted pulse. The family's transformation is neither sudden nor shocking – it is slow, almost graceful. That is what makes it unsettling. One of the most haunting aspects of Ghachar Ghochar is how normal everything feels. The family never indulges in overt displays of power. There are no villains here, no screaming matches. Just a slow, insidious reshaping of values as money replaces meaning. Conversations become colder. People are kept in check. Everything is done 'for the family' – a phrase used as both shield and weapon. At one point, when the family discusses someone who challenged their ways, the ease with which they speak about manipulation – of protecting themselves, of silencing threats – is chilling. Nothing is said outright, but it doesn't need to be. Shanbhag excels at creating tension through what is not said. The story plays out largely within the walls of the family home and a small cafe where the narrator retreats for solitude. It's there that he encounters Vincent – the cafe's calm, enigmatic waiter who offers the only real wisdom in the book. Vincent doesn't say much, but his words are razor-sharp. Through one-liners and quiet observations, he functions as the narrator's unacknowledged conscience. The narrator's passivity becomes the book's greatest tension. He is not the instigator of harm, but he is a silent witness. He benefits from the system he knows is rotting. It's in this cafe that we also sense the narrator's internal split: he knows his family has lost its way, that the wealth has contorted their sense of right and wrong, but he cannot – or will not – stand apart from it. He is not evil, not cruel, but complicit. 'Holes in dosas in everyone's house, sir,' Vincent says early on. The narrator keeps connecting his one-liners to his life. Later, his final words to the narrator cut like a knife – not a rebuke, but a truth so clear it's impossible to forget. 'Sir, you may want to wash your hand. There's blood on it.' In a book filled with half-truths and rationalisations, Vincent's voice stands out: unambiguous, honest, and terrifying in its clarity. He never accuses, but he sees. It's a discomfort that mirrors the larger Indian middle-class condition: caught between old-world ideals and new-world aspirations, clinging to the illusion of moral high ground while making peace with transactional realities. The narrator's family is not unlike many real ones – seeking success without scrutiny, comfort without consequence. Their rise is not unusual. What makes it remarkable is how carefully Shanbhag shows its cost. The title itself, Ghachar Ghochar – a nonsensical phrase in the narrator's marriage, meaning 'tangled beyond repair' – is the perfect metaphor for what transpires. The characters are caught in a web of their own making, emotionally and ethically ensnared, but too ensconced in comfort to break free. Their wealth doesn't liberate them; it quietly erodes them. And worse, it convinces them they're better than they are. This is not an unfamiliar story in contemporary India, where class mobility often arrives with an invisible price tag. The nation's economic rise has birthed a new middle class eager to distinguish itself from both its working-class roots and the elite circles it now courts. Families like the narrator's became the new elite – not through lineage or education, but through enterprise. Yet with wealth came the fear of loss, the tightening of control, and the need to protect status at any cost. Shanbhag captures this with quiet brilliance: a family that once huddled together in adversity now builds walls to keep others out. The novella also offers a stark portrayal of how women are treated when they defy these invisible codes. The narrator's wife Anita – an outsider, observer, and moral compass – questions the family's choices, pushing him to confront what he's ignoring. But her voice becomes increasingly unwelcome in a household that has no appetite for dissent. Her honesty is a threat; her clarity, an intrusion. And eventually, like all inconvenient truths in tightly sealed worlds, she is pushed to the margins. A woman who arrives at the family home, seeking acknowledgment and dignity, is quickly painted as a threat. She is mistreated, but not violently – she is simply erased. That, Shanbhag seems to suggest, is often more dangerous. Violence leaves bruises, erasure leaves nothing. And so, when the climax comes, it is quiet. No confrontation, no moral reckoning. Just a moment of shattering realisation for the reader and the narrator, while the characters carry on, unaware or uncaring. It is a brilliant, brutal twist – one that lingers long after the last page, even a decade after the novella was published. Shanbhag's distinct Indian tragedy interrogates the costs of comfort, the ways we rationalise moral decay, and how the pursuit of wealth can make us strangers to ourselves. But it also asks: when the damage is done, when the knots are too tight to undo – what then? Some families fall apart. Others, like this one, stay together. But they become ghachar ghochar.
News18
40 minutes ago
- News18
Triptii Dimri Says She ‘Kept Quiet' Despite Facing A Lot In Life: ‘Never Had Guts To Tell…'
Published By : IANS Last Updated: Triptii Dimri, who will soon be seen in Dhadak 2, said that her character Vidhi isn't afraid to speak the truth, and she wants to be like her. Actress Triptii Dimri, who is gearing up for the release of her upcoming film 'Dhadak 2", shared that she has been an introvert, faced things and not raised her voice against them. In her upcoming film Dhadak 2, Triptii and her co-star Siddhant Chaturvedi fight casteism for their love, bringing a realistic lens to the concept. Referring to the character Vidhi, the actress said: 'She is not afraid to speak her truth. There is so much to learn from her because she makes you feel empowered." 'I have been an introvert. I've seen and faced things, and not raised my voice against them." Triptii said that for '30 years of my life, I have kept quiet about so many things." 'I never had the guts to tell people that it's wrong. I told Shazia that I want to be like Vidhi; that by the end of this film, I should have the courage to speak my truth without being scared of anyone or the outcome. Now, I do stand up for the right things. This film made me open up a lot more," she added. Directed by Shazia Iqbal, Dhadak 2 is scheduled to release on August 1. The romantic drama film is a spiritual sequel to Dhadak and a remake of the Tamil film Pariyerum Perumal. In addition to this, Triptii Dimri has a few more interesting projects in her kitty, including Vishal Bhardwaj's next with Shahid Kapoor, and Sandeep Reddy Vanga's Spirit opposite Prabhas. Triptii had her first lead role in the romantic drama Laila Majnu in 2018 but gained critical recognition for her performances in Anvita Dutt's films Bulbbul and Qala. She gained immense popularity with a supporting role in the top-grossing action film Animal and has since starred in the comedy films Bad Newz and Bhool Bhulaiyaa 3. First Published: July 28, 2025, 16:31 IST Disclaimer: Comments reflect users' views, not News18's. Please keep discussions respectful and constructive. Abusive, defamatory, or illegal comments will be removed. News18 may disable any comment at its discretion. By posting, you agree to our Terms of Use and Privacy Policy.
NDTV
an hour ago
- NDTV
Rohman Shawl Defines Relationship With Ex-Girlfriend Sushmita Sen: "Not Lovers, Not Strangers..."
New Delhi: Rohman Shawl shared an intriguing Instagram post on Monday on the occasion of completing seven years of his relationship with Sushmita Sen. Rohman and Sushmita are no longer in a relationship but their "quiet" friendship "stayed"; Defining their relationship status, Rohman wrote, "Not lovers, not strangers, something softer, rarer." What's Happening Rohman shared a gray-scale picture in which he's seen leaning over Sushmita Sen. Sushmita is seen posing with her back to the camera. Sushmita is seen wearing a hoodie which has the initial letter of her name S written over it. Refelcting upon their relationship, Rohman wrote, "7 years today. Some stories outgrow their titles, but never their meaning !! "I taught you chess, you now beat me without mercy. "You taught me to swim, dragged a water phobic soul into the deep end (emotionally and literally) And how can I not thank you for giving me the best haircuts. We swapped roles, fears, and strengths, and somewhere between checkmates and deep ends, we found a bond that outlived labels." Rohman shared their bond defies name and titles. "Not lovers, not strangers, something softer, rarer !!! "You were once my safe place & somehow, still are!!!! Grateful for the love we had & the quiet friendship that stayed." The post garnered love from the Internet. A user wrote, "Love in it's purest form, beyond comprehension." Another user wrote, "What an outstanding caption." View this post on Instagram A post shared by rohman shawl (@rohmanshawl) Background Sushmita Sen had confirmed their breakup back in 2021 with an Instagram post. She shared a picture with Rohman and wrote, 'We began as friends, we remain friends!! The relationship was long over…the love remains!!" Since then, Sushmita Sen and Rohman Shawl have often been seen together at events and family gatherings. Menwhile, Rohman Shawl is also exploring new paths in his career. He made his acting debut last year with the Tamil film Amaran. He played the antagonist in the film, and his performance was well-received. On the other hand, Sushmita Sen was last seen in the show, Taali: Bajaungi Nahi, Bajwaungi.
