Indian Film Festival of Melbourne 2025
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Hindustan Times
3 minutes ago
- Hindustan Times
Mouni Roy is tired of people saying stars call paparazzi all the time: 'You can't be at your best always'
She has been a naagin on TV, a fierce villain on the big screen, and everything in between. Now, Mouni Roy is a spy. Her new web series, Salakaar, sees Mouni as an Indian spy fooling a Pakistani army officer. In a conversation with Hindustan Times, Mouni discusses her role, the exoticisation of female spies, and the pressure of being in the public eye all the time. Mouni Roy talks about her new show, Salakaar, and Bollywood's paparazzi culture. On Salakaar Salakaar gets one thing right. It depicts Mouni as a spy who thinks, without merely relegating her to a 'honey trap'. She agrees: 'Thankfully, it is written in a way that isn't demeaning, and it isn't about her sexuality or sensuality. It's about what she is set out to do, and she will fulfil her mission, come what may.' But Mouni does not look down upon female spies being presented as femme fatales. She explains, 'When you are a spy, I'd like to believe it's saam-daam-dand-bhed. There is no one term you use for her. She sets up a honey trap as they call it, and also uses her intelligence. Whatever she needs to do, she does. What matters is the assignment at hand.' On being in the public eye The conversation moves to the selection of roles, and the urge to be seen all the time, when her co-star Naveen Kasturia calls the latter 'pressurising'. Mouni promptly chimes in, 'Don't even ask what that's like.' She has been on TV, appearing on the screens day in and day out. And over the last few years, she has been a favourite of Bollywood's paparazzi. Mouni says it is a lot of pressure to be in the public eye 24x7. But what irks her is the public perception of that spotlight. 'They think we are calling the paps all the time, and that's not the case,' she says. Her complaint is not without merit. Stars have often been accused of calling paparazzi to cover themselves and then feigning ignorance. We ask her to set the record straight. Mouni says, 'They are there, especially because if we are here in Bandra, they know your cars and where you're going. Sometimes, the restaurants or places you go to want to promote themselves. I am not saying I never call paps. But I call them when I need to be or want to be spotted, and I am dressed well. If I am promoting a film or a show, it's a very different thing. But every day, no!' The actor adds, matter-of-factly, 'It's really taxing, because you can't look nice all the time, and can't be at your best every time.' Apart from Mouni Roy and Naveen, Salakaar also stars Surya Sharma and Mukesh Rishi in pivotal roles. The show is streaming on JioHotstar.
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First Post
3 minutes ago
- First Post
'Gehraiyaan' director Shakun Batra on Raanjhanaa's climax being altered by AI: 'It raises concerns because...'
Batra is the first Indian filmmaker to collaborate with Google on an experimental Al- driven storytelling campaign. With this latest campaign, Shakun's Jouska Films explores how Al can reshape storytelling read more Filmmaker Shakun Batra, who has directed Ek Main Aur Ekk Tu, Kapoor & Sons, and Gehraiyaan, is the first Indian filmmaker to collaborate with Google on an experimental Al- driven storytelling campaign. With this latest campaign, Shakun's Jouska Films explores how Al can reshape storytelling & streamline production. And in an exclusive interview with Firstpost, Batra spoke about all of it and also his own films he has directed so far. Edited excerpts from the interview STORY CONTINUES BELOW THIS AD What do you have to say about your collaboration with Google for the AI-driven storytelling? It's been a really exciting space to explore. The collaboration was born out of curiosity—just a genuine interest in what could happen if storytelling and these emerging AI tools met somewhere in the middle. We weren't aiming for perfection; we were testing, playing, pushing boundaries to see what new kind of cinematic language could emerge. Google came in with the same spirit—open to experimentation, which made it feel less like a partnership and more like a creative lab. We're still learning, and that's the most interesting part of it. Do you see AI as a potential threat or a boon in the filmmaking process in India? It's a bit of both—and I think it's important to be honest about that. On one hand, AI can absolutely be a leveller. In India, we have no shortage of stories, but we do often face limitations—budget, access to equipment, time. AI can help reduce those barriers. A student in a small town could potentially create something visually compelling with tools they can afford, without needing a massive crew or infrastructure. That's a huge shift in who gets to tell stories and how. But at the same time, there are real concerns. If we start treating AI as a shortcut that bypasses craft, or if it leads to generic storytelling, we risk losing the richness that comes from effort, collaboration, and time. There's also the question of how AI models are trained—whose work is being used, and whether artists are being credited and compensated. These are ongoing conversations. I don't think we should be blindly optimistic or overly fearful. We need engaged, intentional use—and open dialogue as we move forward. How did this collaboration come about? It started from a place of genuine curiosity. I had been experimenting with some of Google's early AI tools on my own—playing with visual prompts and narrative textures, to see what cinematic language could emerge. That led to conversations with their team, where I shared my interest in pushing storytelling through these tools—not as a gimmick, but as a new kind of craft. STORY CONTINUES BELOW THIS AD The idea grew organically. There was no big pitch—just shared curiosity about whether we could create something cinematic through AI. That's how the car chase came to life. From that, we decided to develop a special project called Imagine—a series exploring five different ideas using AI to push cinematic storytelling in fresh, emotional, structural ways. It's work-in-progress, but that's precisely the point—to explore, to test, to learn. We recently saw a Hindi film (Raanjhanaa) whose climax was altered with AI. Does this scare or bother you as a filmmaker? It does raise concerns—not because AI was involved, but because the filmmaker's consent wasn't part of the decision. That's the bigger issue. Tools and techniques may change, but creative intent must always remain central. That kind of alteration without the director's voice in the room risks eroding what the art stands for. We need open dialogue and creative integrity—not silent overrides. What do you feel are the advantages of AI? STORY CONTINUES BELOW THIS AD Speed and access. You can now visually explore an idea in hours instead of weeks—something that can fundamentally change the storytelling pipeline, especially for filmmakers without big budgets. It also helps bridge collaborative gaps—writers, editors, designers, directors can work in tighter, more visual loops. Used thoughtfully, AI can make creation faster and more thoughtful. The plumber scene in Kapoor and Sons is often viral on social media. What are your memories of shooting it? I'm still pleasantly surprised every time it pops up on my phone. It wasn't something I expected would become such a shareable moment—but it always brings a smile. The whole film was special because of the people and place—Coonoor was magical, and the atmosphere stayed with me. It's probably my most cherished memory from any shoot. The final scene of Gehraiyaan, where the old lady recognizes Deepika, is one of the best cliff-hangers of recent times. Why do you end the film right there, and what do you feel happens next? STORY CONTINUES BELOW THIS AD We ended it there because that moment felt complete. It wasn't about delivering closure—it was about letting everything land in the silence. What happens next? I leave that for the viewer to decide. That's where the emotional weight sits—it becomes theirs, not mine. What are your upcoming projects? When can we see you direct next? Lust stories for Netflix is up next and I'm developing a few projects—some traditional, some experimental. I'm writing again, which feels refreshing. Hopefully very soon.
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First Post
3 minutes ago
- First Post
'Together' movie review: A horror-thriller that will leave you fascinated and frightened
Stanks creates a palpable atmosphere of both creep and claustrophobia that one could gasp for breath just as desperately as the protagonists. And the visual effects only add a cherry on the cak read more Cast: Dave Franco, Alison Brie, Damon Herriman, Mia Morrissey, Karl Richmond Director: Michael Shanks Language: English Writer and director Michael Stanks' film Together signifies a lot of things. And so does the title. The lead pair is real-life married couple Dave Franco and Alison Brie acting together. And unlike most of the horror thrillers and psychological dramas, this time the central characters land in trouble together. The film takes its own time to come into its own and unleash its madness and mayhem. The start is rather restless and shaky, and we take time to get used to these people's motivations and conflicts. It's only after an awkward proposal scene at a party that things in Together come together. STORY CONTINUES BELOW THIS AD Cliches can be fun to watch if done correctly and this horror-thriller is a good example. A holiday to an unknown destination that involves the luscious jungles and a looming cave. It involves a fruitful night but a rather frightening morning when their legs are stuck together. The word may be used a lot more times by the time the review ends. This is the first glimpse of what the film promises. In any horror or thriller, the maiden jump scare or twist decides if the others in line will land or not. Fortunately, most of them do here. And just like the other monikers in this genre, this film also involves a dive into the past that answers inevitable questions about possessions. The performances neatly camouflage into the creepy camerawork and cinematography (by Germain McMicking) as opposed to being at odds with them. This is the second sign that the film is heading in the right direction. It also breaks away from the mould of letting women take charge of being possessed. It's Dave, who beautifully essays his demons as Tim, and experiences a relentless assault on his body, that's the target of evil. And later, Alison Brie as Millie, joins him (rather literally) too. Stanks creates a palpable atmosphere of both creep and claustrophobia that one could gasp for breath just as desperately as the protagonists. And the visual effects only add a cherry on the cake. A ghastly and gratifying sexual encounter in a washroom stands out just because of how it culminates. The final twist works more than it doesn't purely because of the areas it veers into. This is a love story you wish weren't true. It's not operatic or obnoxious, but bold and badass. A rare instance when you wish these two maniacs were not together after a point. They survive, not as smoothly as you'd expect. You leave smiling as much as shocked. And that's always a nice concoction that doesn't happen too often. Rating: 3 (out of 5 stars) Together released in Indian theatres on August 8, 2025
