Latest news with #Caravan
NDTV
3 days ago
- Entertainment
- NDTV
Tusshar Kapoor Reveals Father Jeetendra Has No Plans To Return To Acting: "He Is Done With It"
Mumbai: Actor Jeetendra, one of the top stars of the 1960s and 70s, has no plans to be back on the screen, says son Tusshar Kapoor. Jeetendra gave hits like "Geet Gaya Patharon Ne", "Gunahon Ka Devta", "Farz", "Humjoli" to "Caravan", "Dharam Veer", "Parichay" and "Nagin". He continued to be in top form till the '80s with credits like "Himmatwala", "Tohfa" and "Mawaali", but stopped acting by the mid-1990s and has since made only cameo or minor appearances in films post-2000. Kapoor said his father has no desire of being on a film set ever again. 'He tracks today's cinema. But he's not really interested in going on sets. He said, 'I've done somewhere 200 films'. He started so young, when he was just 20. So, he's done with that. I don't think he was ever interested in doing character roles," the actor told PTI. Kapoor said when his father called it quits on acting, he and many other senior actors were being offered only "stereotypical" roles. "The roles that were offered to senior actors were very stereotypical. Today, there are a lot of very diverse characters. But that wasn't the case back then. He decided to ease out of it. Now, he's more of a businessman," he added. Kapoor hopes his father's legacy is explored through a docudrama series. And not just Jeetendra, a project honouring Dharmendra's career should also be made. "I think dad deserves one, actors like Dharam ji and him, they don't really go out and market themselves," he said, giving the example of "Elvis", the 2022 biographical film about legendary musician Elvis Presley. "Our legends here also deserve that kind of a tribute. That generation of actors, they have such great work, we've learned from those experiences of theirs. So, I think it will be very 'masaledar' to have a docudrama of either of these icons from the 60s,' he said. The actor currently stars in the movie 'Kapkapiii', which was released in theatres on May 23.
Chicago Tribune
4 days ago
- Sport
- Chicago Tribune
Brady Holland, who strikes out in first at-bat, bounces back with walk-off hit for Mount Carmel. ‘So much better.'
Junior second baseman Brady Holland took ownership for his first trip to the plate for Mount Carmel. He struck out lunging at a pitch by Whitney Young junior left-hander Marcus Garton. But if at first you don't succeed … 'That first time up he struck me out, but it gave me a chance to see all of his stuff, his pitches and what he was throwing,' Holland said. 'The next couple of times up, I had much better swings. 'I was just seeing the ball so much better.' The payoff came in the seventh inning Wednesday as Holland hit a walk-off RBI double for the host Caravan in clinching a 3-2 win in a Class 4A Mount Carmel Regional semifinal in Chicago. Junior outfielders Logan Fernandez added a big RBI for the fifth-seeded Caravan (23-13), who advanced to play at 11 a.m. Saturday in the regional final against Lyons (22-10-1). Holland finished 2-for-3 with the RBI double Wednesday, while junior right-hander Jake Matise pitched a complete game, striking out four and scattering five hits and three walks. Junior designated hitter Pancho Vazquez led off the bottom of the seventh with a walk for Mount Carmel and went to second base on a single by Fernandez. It also set the stage for Holland. 'When it's late in a game like that and there are people on base, I knew my teammates did their part getting on,' Holland said. 'I decided to do mine.' Vazquez had no doubt Holland was ready for the moment. 'I knew we were in good hands,' Vazquez said. 'He's gritty, he works hard and he hustles. He's somebody you always want on the field. That was a beautiful hit to go the other way.' In his second varsity season, Holland hopes his game-winning hit mirrors the surge of the Caravan's run last spring to the supersectional. He's also learned from this ride. 'To be honest, I've had a lot of ups and downs this year and I didn't exactly play the way I wanted,' Holland said. 'The one big difference is the power. Last year, I had zero home runs. 'I got into the weight room, put on 40 pounds, and this season I hit three home runs.' Coping with the mental demands and satisfying expectations are often the hardest part, according to Mount Carmel coach Brian Hurry. 'Baseball is a tough game,' Hurry said. 'It's about staying even keel during the ups and downs, the peaks and valleys. Brady's fought through adversity and done it the whole year. 'He made adjustments from at-bat to at-bat. That kid for Young was a tough pitcher. Brady's hit just speaks to his mental toughness.' Holland, who lives in Beverly, balanced playing basketball and baseball his first two years at Mount Carmel. Baseball is his first love, a game that he started playing seriously at age 8. As illustrated by his showdown with Garton, Holland loves the comeback nature of the game. 'Baseball is such a competitive sport, and when you think about it, everything comes down to you versus the game,' Holland said. 'In that situation, I don't think anybody could beat me.' That desire has been evident from the start. Holland has childhood memories of getting emotional if he lost at cards. 'Any sport I'm down to play, whatever it is — pingpong, basketball, football, I love to play it all,' he said. 'I gave up basketball, but I'm thinking of making a comeback next year. 'It has really helped with my athleticism and coordination.' Baseball is personal, though, for Holland. Every opportunity offers personal redemption. 'Last year I think I was pretty shy, a role player not a leader, but now I have become more outgoing,' Holland said, 'When I'm playing baseball, I'm so much more confident. 'It just helps me express myself.'
Indian Express
5 days ago
- Entertainment
- Indian Express
Sirens review: Hilarious and horrifying, Julianne Moore's Netflix show is a cult hit in the making
The Caravan reported in 2024 that Nita Ambani hired choreographer Vaibhavi Merchant during the inauguration of the NMACC, which was attended by everyone from Zendaya to Gigi Hadid. Merchant, known for choreographing iconic songs such as 'Kajra Re,' was reportedly with Mrs Ambani, telling her 'how to smile, now to fold hands, say namaste.' This is the sort of detail about how the other half lives that would elicit gasps of disbelief from the likes of you and I. Sirens, the new dark comedy mini-series on Netflix, offers an exaggerated glimpse inside the lives of the one percent. Julianne Moore plays Michaela, the wife of a billionaire, who is joined at the hip with her assistant Simone, played by Milly Alcock. Simone's sister, Devon, is rattled when she doesn't respond to frantic messages about their father's declining health. He has early onset dementia, and needs constant care. Devon is forced to deal with it all by herself, while Simone is living the high life with Michaela on a private island. Played by Meghann Fahy, Devon hops onto a ferry and shows up at the island, only to learn that her little sister has seemingly been indoctrinated into some kind of cult. 'Hey hey,' Michaela says to her comical coven of followers, whom she lectures about birds and animal conservation. She has her own Vantara on the island; it takes up most of her time and energy. In fact, Devon shows up at a rather inopportune moment; Michaela is putting together a fund-raiser for the birds in a couple of days, and her entire staff, including Simone, is busy putting things in order. Also read – The Perfect Couple review: Phony and farcical, Netflix murder mystery doesn't deserve Ishaan Khatter and its incredible cast Simone wants nothing to do with her past life — she grew up working class, and miraculously found herself with a seat at Yale. Her early life was marked by unspeakable trauma, which is revealed in the show's stand-out fourth episode. There are five in total; all tightly wound and written with a richness that is so rare in this day and age of ambient 'content'. Simone ran away the first chance that she got, and essentially remodelled herself into a different person after being taken under the wing by Michaela — think of her as a version of Sobhita Dhulipala's character from Made in Heaven. Devon, on the other hand, was left to deal with her family's fragility with zero support. When we meet her, she has just been released from jail, following an all-night bender. The several other addictions that she is battling manifest through the course of the show, inviting nothing but sympathy. Devon is hanging by a thread, and she didn't think that the one person she could count on to lend a hand would have joined a cult. Determined to break her out, she parks herself on the island, and gets a good look at the madness Michaela and her minions are up to. Every staff member, she discovers, has been made to sign non-disclosure agreements. The entire property is overseen by a state-of-the-art personal assistant named Zeus. The domineering Michaela exists in a cuckoo-land, while her husband Pete, played by a deceptively demure Kevin Bacon, appears to have retreated into a corner. In a memorable conversation that he has with Simone and Devon's dad Bruce in the fourth episode, they discuss the merits of wealth. While Bruce is certain that he'd have been happier with a little more cash in his pocket, Pete tells him that even his endless wealth couldn't help him reconcile with his estranged children. Both middle-aged men are living in regret, of mistakes made, relationships abandoned, and time wasted. Meanwhile, Simone and Devon have their own heart-to-heart about the horrors they experienced as kids. By this time, it becomes clear that Sirens isn't as farcical as it had initially let on; in fact, it's surprisingly complex. And writer Molly Smith Metzler knows exactly what she's doing. By hitting all the buzzwords in her premise — Cults! Murder! Money! — she is able to sneakily introduce hefty ideas about the class divide, about family ties, about survival. Because that is what each of these people is doing. They're surviving. The children are surviving despite their parents; the women are surviving despite the men; the men are surviving despite each other. Sirens wants to lure you in with the promise of scandal and sleaze, but this is merely a trick. The show sheepishly apologises to the audience for doing this, via Devon, of course. Read more – Saltburn movie review: Barry Keoghan delivers jaw-dropping performance in the most provocative movie of the year Speaking of Fahy, what she pulls off here is nothing short of incredible. It isn't easy to find dramatic depth when you're sheathed in satire. The first couple of episodes are especially silly; this is when the show is pretending to be a The White Lotus rip-off; it's when Fahy is supposed to roll her eyes loudly and trip over herself. It speaks to her skills as a performer that she's able to inject heart-wrenching pathos into scenes that would've played more broadly in the hands of a lesser actor. Ditto for Moore and Alcock; they're doing a performance within a performance, which is always the most difficult kind of acting to pull off. It's like Benedict Cumberbatch in The Power of the Dog, playing a character who's playing another character. Sirens is like an unputdownable novel; the sort of summer read that you shred over a weekend. It's a show about cults that's destined to become a cult show. Sirens Creator – Molly Smith Metzler Cast – Meghann Fahy, Julianne Moore, Milly Alcock, Kevin Bacon, Glenn Howerton Rating – 4/5
Yahoo
24-05-2025
- Entertainment
- Yahoo
‘Romería' Director Carla Simón on the Importance of Gender Equity in Filmmaking: Women Are ‘Half of the World, We Should Tell Half of the Stories'
Acclaimed director Carla Simón spoke about the importance of gender equity in filmmaking during her Kering Women in Motion Talk at Cannes on Friday, saying: 'We are half of the world, we should tell half of the stories.' The Spanish filmmaker, who premiered her new film 'Romería' in competition at Cannes Film Festival this week — one of seven women directors to do so — said female representation behind as well as in front of the camera is 'so important.' More from Variety 'Caravan' Review: Tender Debut Feature Focuses on a Single Mom's Experience with Her Disabled Son Margaret Qualley and Aubrey Plaza Get Raunchy in Ethan Coen's Detective Movie 'Honey Don't!,' Earning Rowdy 6-Minute Cannes Ovation 'Once Upon a Time in Gaza' Review: An Altruistic but Scattered Palestinian Crime Farce 'I feel that we are advancing, little by little, not so fast. But at least things are changing,' she told Variety's Angelique Jackson. 'And I think we live in a moment [where] there's a historical reparation of themes that have always been told by men, and suddenly we take our perspective. And this is so important because we are half of the world, we should tell half of the stories in order to have a diverse look at the world.' Simón continued that this is 'so, so needed' because stories 'mark society' and are ultimately what help the world to evolve. 'I think little by little, we are getting there,' she said. 'It's fragile… I think we cannot stop talking about it and making sure that we don't go back.' 'Romería' is a personal film for Simón, as it follows an orphaned young woman who travels to the Spanish city of Vigo looking for more information about her biological father, who died of AIDS. There, she meets his side of the family, who are reluctant to revisit the past out of shame. The storyline closely mirrors Simón's own life, as both of her parents died from AIDS when she was 6 years old. 'It was born out of my frustration of not knowing much about my parents when I was a kid,' she said during the Kering talk. 'My family never told me clear things, and I had to kind of almost invent a story for them. And the film is about that, about the power of cinema to create the images that you don't have.' Watch the full conversation in the video above. Best of Variety New Movies Out Now in Theaters: What to See This Week Emmy Predictions: Talk/Scripted Variety Series - The Variety Categories Are Still a Mess; Netflix, Dropout, and 'Hot Ones' Stir Up Buzz Oscars Predictions 2026: 'Sinners' Becomes Early Contender Ahead of Cannes Film Festival
Yahoo
24-05-2025
- Entertainment
- Yahoo
‘Caravan' Review: Tender Debut Feature Focuses on a Single Mom's Experience with Her Disabled Son
Zuzana Kirchnerová's road-trip movie 'Caravan' opens with a series of idyllic holiday scenes. A wide shot of a tranquil swimming pool. A beach ball, close up, with iridescent sequins inside. Lambent rays of sunshine bouncing lazily off the surface of the pool. A breathy voiceover whispers, 'It's going to be nice, David. You'll see.' The whisperer is revealed as a mother, reassuring her child as they lie next to each other in bed under a white sheet. If Terrence Malick directed a commercial for an Italian holiday home, it would go something like this sequence. However, the idyll is a short-lived mirage. Filmed mainly in Italy's Reggio Calabria, as well as Bologna and the Czech Republic, this is the story of 45-year-old single mom Ester (Ana Geislerova) and 15-year-old David (David Vodstrcil), whose holiday with comfortable middle-class friends is disrupted when the pair are asked by the family they are supposed to be staying with to move into a caravan. This unexpected request is precipitated by the friends' inability to cope with David's behavior: He is intellectually disabled, and this sometimes results in explosively physical outbursts. Exhausted and piqued after overhearing a patronizing conversation about David, Ester leaves in the caravan, taking her son on an impromptu drive, during which they are joined by livewire free spirit Zuza (Juliana Brutovska). More from Variety Margaret Qualley and Aubrey Plaza Get Raunchy in Ethan Coen's Detective Movie 'Honey Don't!', Earning Rowdy 6-Minute Cannes Ovation 'Once Upon a Time in Gaza' Review: An Altruistic but Scattered Palestinian Crime Farce 'Honey Don't!' Review: Margaret Qualley Is Back, with Even More Panache, in the 'Drive-Away Dolls' Companion Piece No One Asked For. But It's Throwaway Fun 'Caravan' marks the return of Czech filmmaking to the official selection at Cannes after a gap of 30-odd years, and so far, Kirchnerová is also the only Czech filmmaker ever to win the Premier Prix at the Cinéfondation in Cannes — back in 2009. So what took her so long to capitalize on that win? The focus of her body of work to date on the obligations of female caregivers likely provides the answer. Building on short-film work about a teenage girl's struggle to provide care for a bedridden grandparent (Baba), and a docu-drama following four women through pregnancy ('Four Pregnancies'), 'Caravan' is a film firmly rooted in the experience of what it is to provide fulltime care for another human being while also trying to exist as yourself. In Ester's case, the self is what bears the brunt of her labor, her existence as anything beyond caregiver gradually eroded, with no end in sight. Partly as a result of the road-trip format, 'Caravan' isn't tightly plotted, with vignettes unfolding in fairly interchangeable order as Ester, David and Zuza attempt to make their way in the world. The subject of sex rears its head in a number of ways, sometimes in relation to David's status as a curious teenager, but more often around his mother, as Ester tries to navigate what romance might look like for someone in her situation. Dating as a single parent is already fraught with the dilemma of how, when and if to disclose the existence of your child, a decision as much about the child's welfare as anything else, but which also tends to confer the status of a secret that must be managed on single parenthood. Ester is dealing with very particular circumstances on top of this, managing her son's experience of the world in a way that is different from the majority experience of parenting a teenager. One standout scene in Ester's own love life handles an ambiguity around sexual consent in a way that feels altogether unique: Ester is propositioned by an old farmer who has employed her and Zuza as casual laborers. At first unsure, Ester allows the guy to touch her, and as a viewer the scene is ambiguous. To Zuza, when she stumbles across them, this is clearly a dirty old man coercing her friend, and she reacts with forthright anger, whisking Ester away and off the farm. Shortly thereafter, Ester breaks down in tears, doubling down on the ambiguity of the viewer experience, before she clarifies: She was actually enjoying herself. Zuza is all apologies and laughter. David, meanwhile, is 'getting that peach fuzz on the chin', as Zuza puts it, and knowing exactly how to handle his burgeoning interest in other bodies is a question the film leaves fairly open. Rooted in Kirchnerová's own life raising a child with Down syndrome and autism, the film has a fundamental tenderness running throughout, while tougher scenes earn their place at the table with their sense of authenticity and personal testimony. Like a small child, David expresses his anger physically and without restraint, though he has the strength of a robust young man. He expresses his anger without any filter, but this isn't his fault — which doesn't change the fact that his punches and scratches cause serious damage. Watching Ester attempt to navigate this with love but little external support is undeniably tough. Nothing here is going anywhere narratively unexpected, but that's okay. With some films, the pleasure is all in getting there, and with others, the same is true of intentional discomfort. This is a film bent on taking you on a sometimes sentimental but frequently painful journey, and it does so in a generally clear-eyed way, born of experience. 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