Latest news with #DiesIrae
New Indian Express
09-05-2025
- Entertainment
- New Indian Express
Pranav Mohanlal-Rahul Sadasivan film titled Dies Irae
Pranav Mohanlal's new film with director Rahul Sadasivan has been titled Dies Irae. The title, which translates to 'Day of Wrath', is a medieval Latin poem. A horror thriller, the upcoming film marks the director's third consecutive venture in the genre after Bhoothakaalam (2022) and Bramayugam (2024). Both the previous films were critically acclaimed, with Bramayugam, starring Mammootty, also becoming a commercial success. Dies Irae reunites Rahul with his regulator collaborators—cinematographer Shehnad Jalal and editor Shafique Mohamed Ali. The film has its art department handled by Ponman director Jothish Shankar and stunts choreographed by Marco-fame Kalai Kingson. It is backed by Bramayugam producers Ramachandra Chakravarthy and S Sashikanth under the banners of Night Shift Studios and YNOT Studios. The team has already completed filming.
India Today
09-05-2025
- Entertainment
- India Today
Dies Irae: Bramayugam makers announce title of horror film with Pranav Mohanlal
Night Shift Studios, the production house behind the Mammootty-starrer Malayalam film 'Bramayugam', has officially announced the title of its second feature film on Instagram. The horror film is titled 'Dies Irae', Latin for 'The Day of Wrath'. The film stars Pranav Mohanlal and is directed by Rahul Sadasivan, who previously directed the blockbuster horror film 'Bramayugam'. Speaking about the new project, producer Chakravarthy Ramachandra said, 'With 'Bramayugam', we showed what Indian horror films can achieve. Dies Irae is the next step, and we believe Pranav Mohanlal will make a strong mark in this genre.'advertisementThe phrase 'Dies Irae' originally comes from a 13th-century Latin hymn used in the Roman Catholic Church. It means the final judgment when souls are judged and sent to heaven or hell. Over time, the phrase came to symbolise fear, doom, and the unknown - making it a fitting title for a horror film. Director Rahul Sadasivan shared that 'Dies Irae' will be very different from his earlier work. 'This film explores new emotions and connects with the younger generation. It has a different style and mood but stays true to the horror-thriller space,' he explained. 'Dies Irae' aims to take Indian horror films to a new level. Filming has been completed, and the movie is currently under post-production. The film is expected to hit the theatres later this year.
Time of India
09-05-2025
- Entertainment
- Time of India
Pranav Mohanlal film with Rahul Sadasivan gets a title, it's called 'Dies Irae', here's what it means!
The much-awaited title for director 's upcoming collaboration with has finally been unveiled — and it's as haunting as expected. Day of Wrath Titled ' Dies Irae ', Latin for 'Day of Wrath,' the film promises a chilling cinematic experience rooted in dark, judgmental themes. Tired of too many ads? go ad free now Bramayugam - Official Trailer Taking to Instagram, Rahul Sadasivan shared a title reveal video featuring an eerie, gothic soundtrack that hints at the film's brooding tone. He wrote, '#NSS2 is titled 'ഡീയസ് ഈറേ' #DIESIRAE Starring @pranavmohanlal Written & Directed by @rahul_madking' What does 'Dies Irae' mean? Dies Irae is a Latin hymn from the 13th century describing the Day of Judgment — when souls are judged and either saved or damned. The phrase has been extensively used in classical music, literature, and film to evoke themes of reckoning and doom. Its powerful symbolism is echoed in compositions such as Mozart's Requiem, Verdi's Requiem, and Berlioz's Symphonie Fantastique. The musical motif has also made appearances in iconic films like The Shining, Harry Potter and the Prisoner of Azkaban, The Lion King, and Star Wars. An impressive crew With 'Dies Irae', Rahul Sadasivan reunites with much of the team behind his acclaimed horror thriller 'Bramayugam'. Director of photography Shehnad Jalal, known for his atmospheric frames, returns. So does art director Jothish Shankar, whose visual design contributed significantly to Bramayugam's eerie tone. Editor Shafique Mohammed Ali, who crafted the tight pacing of Bramayugam, is also back on board. The music will be composed by Christo Xavier, raising expectations for a haunting, immersive score that resonates with the film's intense themes. Tired of too many ads? go ad free now Expectations are sky high Following the critical success of 'Bramayugam', fans are eagerly anticipating what Rahul Sadasivan will be cooking next, that too with the talented Pranav Mohanlal. Rahul Sadasivan has previously helmed the films 'Red Rain' and 'Bhoothakaalam', in which the former one received much acclaim after its satellite streaming.
New York Times
07-04-2025
- Entertainment
- New York Times
She Knocks the Cobwebs Off the Violin Repertory
In classical music, we think we know how the great pieces go. We hear these standards so often — they have formed our ears so thoroughly — that it can be hard to imagine why some of them were resisted when they were new. Take Tchaikovsky's beloved Violin Concerto, which endears us with its graceful lyricism and good spirits. Not when Patricia Kopatchinskaja plays it. Kopatchinskaja, who makes her New York Philharmonic debut on Wednesday, released a recording of the Tchaikovsky in 2016. The performance is bracing and even manic, pressing toward extremes of loud and soft, fast and slow. Kopatchinskaja's violin often sounds raw and wiry; she plays as if she's improvising on a fiddle at a sweaty barn dance. For once, you understand what the 19th-century critic Eduard Hanslick was talking about when he panned the piece as 'stink one can hear.' 'The violin is no longer played,' he wrote. 'It is pulled about, torn, beaten black and blue.' Kopatchinskaja doesn't always beat music black and blue. She can reduce her sound to a fragile whisper, or honey her tone into sweetness: But she always strips away the fat, giving canonical works a breathing — indeed, panting — vitality. She grounds decorous masterpieces in the earthiness of Central European folk traditions. She doesn't do plush or placid. Pretty? Kopatchinskaja gives you biting wildness. Born in Moldova in 1977, she moved with her family to Vienna after the fall of the Soviet Union and developed into one of music's quirkiest stars — and not just because she made a habit of performing barefoot. She has avoided the usual endless tours of Beethoven and Brahms. Instead, with similarly open-minded colleagues, she's organized a slew of idiosyncratic, time-spanning, sometimes staged thematic programs. Their mood is often dark. 'Dies Irae' evokes war and other catastrophes with works from Gregorian chant to George Crumb. Anchored by Beethoven's 'Pastoral' Symphony, 'Les Adieux' is a funeral for a warming planet. Religiously infused solemnity emanates from her 2023 album 'Maria Mater Meretrix,' a mesmerizing exploration of the figure of Mary in music through the ages. Kopatchinskaja favors small, agile ensembles like the Camerata Bern of Switzerland, her partner on 'Maria Mater Meretrix' and other recent albums. When she works with major orchestras, she tends to play contemporary music or the more modern side of the standard repertory, like Stravinsky's concerto, which she will perform with the Philharmonic this weekend; its elegant angularity is a perfect fit for her lean sound. Her appearance in New York should be treasured since she doesn't play often in the United States. (Her stint as an artistic partner of the St. Paul Chamber Orchestra in Minnesota ended in 2018.) But even if you can't go see her, her recordings convey much of the intense commitment of her live performances. 'Rapsodia' (2010) brought her together with her parents, who played in Moldova's state folk ensemble: her mother as a violinist and violist and her father on the cimbalom, the twangy Hungarian hammered dulcimer. On the recording, wild folk tunes — almost bluegrassy — are juxtaposed with art music by Enescu and Kurtag and Ravel's 'Tzigane,' with the piano part transcribed for cimbalom. Personal, adventurous, surprising, charming, throaty, a raucous party that's somehow rigorous and informal at once: The album is classic Kopatchinskaja. So is the Tchaikovsky concerto, which she recorded with the equally provocative conductor Teodor Currentzis and MusicAeterna. That take, for all its daring, is more persuasive than some of her early recordings of standards, like a Beethoven 'Kreutzer' Sonata so harsh it can make you wince. The first movement of that 'Kreutzer' feels more intent on puncturing listeners' expectations of the core Classical-Romantic repertory than on offering a better alternative. Music that dances, though, finds Kopatchinskaja at her most irresistible, and she blazes through the sonata's tarantella finale with rhythmic spiciness and snap. Her chronology-hopping programs with staged elements, while ambitious by the standards of classical music, can come off a little scrappy and sophomoric in person. When recorded, though, these combinations of old and new, well known and unusual, are far more successful. 'Death and the Maiden' (2016), with the St. Paul orchestra, ingeniously threads Renaissance melodies and some morose Kurtag through a heated ensemble arrangement of Schubert's 'Death and the Maiden' Quartet. By alternating Vivaldi concertos with contemporary Italian pieces, 'What's Next Vivaldi?' (2020), with the conductor Giovanni Antonini and his Il Giardino Armonico, offers a new context for Baroque virtuosity. Kopatchinskaja's latest collaboration with the Camerata Bern, 'Exile,' released in January, has a subtle political charge, featuring works by composers who were — like her — uprooted from their homelands. The album begins with a scraping scrawl, the start of an arrangement of a folk song originally written for a Ukrainian-Russian variant of pan pipes. It's not the kind of sound that typically opens a classical music album, and it's emblematic of why Kopatchinskaja is not to all tastes. Someone in the field once asked me why The New York Times gave so much coverage to a violinist whose playing was so ugly. But I don't think it's ugly. It's unforgettable.
