Latest news with #Santosh
The Wire
11 hours ago
- Entertainment
- The Wire
‘Sister Midnight' Is a Feel-Bad Fable That Liberates Radhika Apte From Bollywood
A still from Sister Midnight. Screengrab from video. Real journalism holds power accountable Since 2015, The Wire has done just that. But we can continue only with your support. Contribute Now Even though it is widely known, I don't think enough gets written about how much of a nightmare it is to watch a film in its 'purest' form in India. One can overlook the overzealous censors that infantilise the audience with humongous smoking warnings, even for films rated 'A', desecrating the work of any self-respecting filmmaker. Along with that, most ambitious films play in sparsely-populated theatres. The screening for Karan Kandhari's Sister Midnight that I attended in Bengaluru had about a dozen audience members. I have a feeling I would've enjoyed the film more if I'd seen it in a packed theatre because it has many visual gags, and most of them are spot on. Also, muted cuss words can feel like sensory speed bumps even if one can decipher them by reading the lip movement. I wondered how the British-Indian director reacted to the alterations? But hey, at least the film released, unlike Sandhya Suri's Santosh (2024). A still from Sister Midnight. Screengrab from video. Kandhari's film, also produced in the UK, has the irreverence and an energy that no Bollywood film could muster in 2025 (or a film like this couldn't get funding in India right now). Intent on feel-good fables on newly married couples, where the demure bride discovers her agency in the finale (like say, Laapataa Ladies or Mrs), Kandhari's film could be labelled a feel-bad fable. Offering Radhika Apte the license to be at her most unhinged, especially after being repeatedly let-down by most films and directors, in one clean stroke, Kandhari liberates her from Bollywood. This might be the rare film where the 39-year-old actor's bravery is reciprocated. Uma (Apte) and Gopal (Ashok Pathak) are a newly-married couple navigating the initial awkwardness of an arranged marriage. The first time we see them, she's concerned about living in a city like Mumbai, while he's asleep. They're dumped in a one-room chawl in one of those back alleys in Bandra/Khar – ones that bustle with hawkers, autorickshaws in the mornings, and become dead silent at night. Gopal isn't the most expressive – on his first day after their marriage, he leaves for work without saying a word. To make matters worse, he comes back home drunk at night, not bothered about how Uma spent the day in this fully alien environment. A still from Sister Midnight. Screengrab from video. But it's not just him who is socially not equipped to play the part of 'husband'. If anything, Uma looks even more troubled by this life sentence of domesticity. She can't fathom her responsibility as a wife. Torn between understanding her 'duty' of providing the carnal pleasures of marriage, and fully aware of how completely ill-prepared she is to play the role of a homemaker, Uma suffocates, and then takes defiant strides to find her happiness. The first hour of Kandhari's film is a sensational study of arranged marriages and their deeply patriarchal nature, as much as about a life in an unforgiving metropolis like Mumbai. Gopal and Uma's chawl never feels like a set; one can almost smell the damp air, feel the heat trapped from the asbestos roofing and taste the humidity. What I found strained to believe in the film is how it shows Uma walking up and down from Khar to Fort everyday, for a job she takes up in a shipping company as a late-night janitor. Chhaya Kadam – India's resident character actor to showcase a middle-aged woman doling out advice to wet-around-their-ears women – plays Sheetal, the neighbour on the other side of a thin ply that separates her home from Uma and Gopal's. Kadam's wry, matter-of-fact delivery deepens the enigma of Uma's sense of displacement in Mumbai. Smita Tambe, playing Uma's nosy neighbour Reshma, is a delight. She's at the receiving end of Uma's best, most crude line, which is unfortunately muted in the version playing in Indian theatres. A still from Sister Midnight. Screengrab from video. I also liked the dynamic Apte and Pathak share on-screen. Uma's profane mouth and utter disregard for household work is balanced by Gopal's quiet fragility. His ignorance is not entirely intentional, some of it is also social awkwardness. He never asks her where she's coming from, holding a bucket and a mop, even though she can't clean their house. He eats out of polythene bags of rice and dal, too polite to confront Uma about why she hasn't cooked him a meal. Even though Uma is the author-backed role in the film, Pathak makes Gopal this luminous being, aware of his less-than-impressive face, so he tries to compensate with his soft, passive presence – never going on to become an obstacle in the path of his abrasive wife. As Uma, Apte delivers a physical performance for the ages. Saying the darndest of things, while shedding every last inch of vanity (from scratching her bum to projectile vomiting multiple times) – she never tries to lessen the blow of Uma as an anti-heroine. The best compliment I can think of paying Apte and Kandhari is how they never try to mine sympathy for Uma, and yet they also never let her become sub-human (even when the film dives deep into the pit of genre). It's in the second hour, and the longer Kandhari commits to the absurdity of his chosen genre, that the film begins to seem clueless about where it's headed. The whimsicality of the first hour – especially Paul Banks' score that features classical rock, grunge, blues, wonderfully at odds with bustling Mumbai compositions and its arid outskirts – becomes less novel towards the end. Especially, once we realise Kandhari hasn't quite figured out a way to make it land. The reflective commentary around Uma-Gopal's dysfunctional marriage – and how some people are simply not cut-out for 'conjugal bliss' – doesn't reach the heights I imagined; the messaging instead becomes garbled. Apte still swings for the fences till the last scene, but the film (with some dodgy VFX) starts to look less than what was initially promised. As it concludes, it's impossible to not admire the storm that is Karan Kandhari's Sister Midnight – even if it leaves behind a whole lot of wreckage in its wake. Such beautiful wreckage. *Sister Midnight is playing in theatres The Wire is now on WhatsApp. Follow our channel for sharp analysis and opinions on the latest developments.
Indian Express
20 hours ago
- Entertainment
- Indian Express
127 cuts, no release: Diljit Dosanjh's Punjab 95 is caught in a cycle of postponements, disappointments, says director Honey Trehan
An Indian film screened on the sidelines of the recent Cannes film festival which caught the eye of a group of visiting Indian and international journalists was Punjab '95, produced by Ronnie Screwvala's RSVP Movies, directed by Honey Trehan, and starring Diljit Dosanjh, Kanwaljeet, Arjun Rampal, Suvinder Vicky and Geetika Vidya Ohlyan, among others. It was a private screening organised by the director who has been running from the proverbial pillar to post for the past two years to get the film released. In September 2023, it was meant to premiere at the Toronto International Film Festival (TIFF), but the filmmakers were told by Indian authorities that they would have to pull out the film. Since then, there's been a stand-off between the Central Board of Film Certification (CBFC) and the filmmakers, causing the film to lie in limbo, joining other recent films which have been stopped from releasing, including Sandhya Suri's 'Santosh', which officially screened in Cannes in 2024. Punjab '95 tells the story of an ordinary man who became extraordinary through his dogged attempts to help those who could not help themselves. Jaswant Singh Khalra, a bank manager in Amritsar, got sucked into the murky goings-on in the state at a time when terrorist activity was rife. After some digging, it was found that the legitimate action against militants was being used to target innocents, leading to an unconscionable number of extra-judicial killings. Khalra's initial attempts to discover what happened to a family he knew well led him to uncovering a massive cover-up, and he became a thorn in the side of those in power. In September 1995, he was abducted from his home, and taken to the police station; after a few days, he was found dead, his body showing signs of torture. Dosanjh plays Khalra with a quiet conviction, taking care not to bring any awareness of his own celebrity status into the role. A man pitch-forked quite inadvertently into a slice of contentious history, Dosanjh as Khalra is shown at sea, to begin with: he has no idea where, how and why people are disappearing, and how the nameless dead are piling up at mortuaries, only gradually unravelling the stealth and conspiracy behind the killings. The ensemble cast does a good job, with Suvinder Vicky in a stand-out turn as the dirty cop who cracked the whip at the state's command. Director Honey Trehan has turned Khalra's powerfully moving story into a telling document of a time when Punjab was in the throes of militancy, and how one man's tireless crusade blew the covers off a crime against humanity. During an impassioned conversation in Cannes after the screening, he spoke about his efforts to keep the film's letter-and-spirit intact even as the number of cuts have kept climbing from the initial 21: at last count they numbered more than a hundred. 'Shuru shuru mein maine mann maar ke 21 cuts kare, socha chalo picture nahi atkey', says Trehan (at first instance, I made the 21 cuts reluctantly, thinking this way the film wouldn't get stuck). They wanted the name changed right from the beginning (it started off by being called 'Ghaluhgara'), and they also wanted us to drop the line 'inspired from true events'. We made the cuts, created a new DCP (print) and gave it in, they came back with some more cuts. We made those also, and gave in a fresh print yet again, and again there was silence'. All through 2024, it was more of the same. Fresh cuts, submissions, followed by a demand for more cuts. Earlier this year (2025), hope was held out that the film could be released out of the country, but that plan also had to be dropped. As things stand now, the number of cuts demanded is about 127 or so, and there is no news of when the film can, or will, release. Amongst the cuts demanded are the ones that 'we have verbally been told are non-negotiable', says Trehan. 'Change Khalra's name. Drop any visuals of the Indian flag. Take out all sounds of the 'gurbani'. Don't say Punjab police, when it is clearly the state police in turbans that's on screen. Take out the names of the places mentioned in the film where the bodies were discovered in the morgue. And change the name of the film. What is left then?' 'What I don't understand is the reason behind these cuts, he says, 'no reasons have been given formally. I am willing to cut anything if it is a directive from a court as I am a law-abiding Indian citizen, but I am not being allowed to fight in court.' The case was, in fact, being heard at the Bombay High Court in the early stages (2023), but at a crucial juncture, the producers were told that the film would have to be withdrawn from court. Ever since, it has been a case of continual postponements, and disappointments. We have taken utmost care to stick to facts, compiling them from police records and news reports, says Trehan. 'Khalra's family, which was reluctant to give the rights to anyone else, was happy for us to bring alive his legacy. They have seen the film and are satisfied with it. So has the Akal Takht. If all stakeholders are happy with it, why isn't the film being allowed to release? Last heard, he says, the film will be called 'Sutlej', and all the cuts that have been demanded, have been made by the production team. 'But this is not my film, and I'm withdrawing my name from it. So is Diljit, who has been with me through and through, saying paaji main aapke vision ke saath khada hoon (I'm standing by your vision). That is Diljit for you, when he surrenders, he surrenders completely'. 'I feel so demotivated', he says. 'There's a strong sense of betrayal. I truly feel that if I cannot stand by the person who fought fearlessly for so many people, I don't deserve to make the film on him. It is my moral, ethical duty to stand by him, and my film. Thirty years later, it feels as if Jaswant Singh Khalra is being abducted again'.
Hans India
a day ago
- Business
- Hans India
Bhu Bharati Initiative Gains Momentum: Collector Santosh Leads Village-Level Drive to Resolve Land Disputes
Gadwal: The District Collector B.M. Santosh has emphasized that the Bhoomi Bharati program is playing a crucial role in addressing land-related disputes at the village level. He made these remarks while participating in a Revenue Grievance Redressal Camp organized at the Village Panchayat Office of Anantapuram in Gadwal Mandal on Tuesday. During his visit, the Collector reviewed the process of application acceptance, issuance of receipts by registrars, and the types of land issues being reported by applicants. He also personally interacted with the farmers, enquired about their land problems, and provided valuable suggestions on possible solutions. He issued clear directions to the officials, stressing the need to resolve land grievances promptly. The Collector stated that under the Bhu Bharati program, revenue officials are reaching out directly to villages to address and settle land disputes on-site. He informed that this program will be actively conducted across the district from June 3 to June 20, 2025. Collector Santosh advised farmers facing land-related problems to fill out the prescribed forms and submit them to the concerned authorities. He assured that revenue officials will be available from 9:00 AM until all applications are received each day, ensuring accessibility and support to every applicant. He instructed officials to act responsibly at every stage of the process, from form collection to online entry of application data, to ensure transparency and efficiency. He urged the public to fully utilize the opportunities presented by the Bhoomi Bharati camps being held in their villages. Several key officials were present during the event, including Additional Collector Lakshmi Narayana, RDO Alivelu, Gadwal Tahsildar Mallikarjun, revenue department staff, farmers, and other local stakeholders. This initiative marks a significant step by the district administration in decentralizing land administration and delivering timely solutions to the common man's land issues right at their doorstep.
New Indian Express
6 days ago
- New Indian Express
Eight-year-old boy sold by mother for Rs 18,000 rescued from Odisha's Bhuban
JAJPUR: The district child protection unit (DCPU) on Thursday rescued an eight-year-old boy who was allegedly sold by his mother to a childless couple of Bhuban area in neighbouring Dhenkanal for Rs 18,000. A team of the DCPU rescued the boy from the house of one Santosh Nayak in Bhuban and produced him before the child welfare committee (CWC). District child protection officer Truptimayee Panda said, 'Acting on the complaint lodged by the boy's father, we rescued the minor from Bhuban with the help of Child Helpline and police.' CWC chairperson Raxona Jena said the boy's mother Puja Parida had sold her son to Santosh. It was facilitated by a ration shop owner who happens to be a relative of Santosh. 'Police produced the boy's mother before the CWC and she admitted to have sold her son to Santosh through a ration shop owner. The CWC has taken custody of the child and sent him to Utkal Balashram,' Jena added. On May 22, the boy's father Prasant Parida, a native of Bada Suara, had accused his wife Puja of selling their son for Rs 18,000. He had approached the district authorities seeking help to get his son back.
Hindustan Times
7 days ago
- Hindustan Times
Ludhiana: Accused turned to opium sale after betting loss, say cops
After a 31-year-old man was caught in possession of a large quantity of opium at Ludhiana Junction government railway police (GRP),officials said that he wanted to sell the contraband to recover a loss of over three lakh rupees suffered in an online betting application. The accused, Santosh Singh, was arrested on May 16 with 16 kg of opium,the largest quantity recovered by the department so far. Santosh, a resident of Chatra district in Jharkhand, was caught while attempting to leave the station through an alternate route. According to inspector Palwinder Singh, station house officer (SHO) of the GRP station at Ludhiana Junction, Santosh raised suspicion after he was seen heading towards the Lakkar bridge from platform number 4-5, carrying a large backpack. Initial investigation had revealed that Santosh had been working at an eatery in Bhogpur near Jalandhar. He had returned to his hometown in Jharkhand for Holi and was allegedly transporting the contraband back as he resumed work. Inspector Palwinder Singh said that when Santosh was at his hometown, he got hooked to an online betting app. The addiction ended in a loss of three lakh rupees. To make up for his losses he gathered a huge tranche of opium and set out for Jalandhar. The SHO further claimed that this was not his first attempt. 'He had tried selling around 1kg of opium in December last year. He tried to repeat it but only on a larger scale as he wanted to compensate for the losses incurred in online betting,' said Palwinder Singh. Explaining how the accused sold opium, inspector Singh, said that he would initiate conversations with truck drivers at dhabas and then slip in opium offers and get customers. Inspector Singh said that GRP had checked Santosh's bank transactions to verify his history of betting.
